I just stuck my head out the window to see if it had rained it reminded me of Korea. Upon feeling that 'in Korea sensation' I suddenly remembered that I had a dream I was in Korea. It's crazy how things work sometimes.
Yesterday I showed the chase scene that I had to direct for my class and my teacher liked it. There were some issues with one shot that was too long and the ending was awkward but otherwise it was good.
One of the guys in my group also showed his (which I had shot) and again my instructor told me my shooting was beautiful. He uses that word maybe once a class so I was happy. I'm three for three now.
This Saturday I have to shoot a short involving close ups, I have no idea what it's going to be about but I've got images from Persona, The Passion of Joan of Arc, Repulsion running through my head. Hopefully I can translate just 1% of the brilliance of those films into mine... I might settle for .5% as well...
I went to go talk to my boss yesterday (for those of you that don't know, I work for a photographer that looks like Julliane Moore) and we were supposed to meet at the Trump tower somewhere around 60th St. but instead the plans got changed and I had to go to her place at 185th! AGH!
It wasn't too bad though, long subway rides are nice sometimes. Work was fun, I showed her the stuff I've been working on and recommended about ten gazillion films to her.
On the subway I had Eisenstein's Film Form with me so I just read that. So far I'm really enjoying the book. Much of it deals with the idea of montage which he explains in a really interesting manner.
His theory is that the basic elements of cinema are shots and montage. One typically thinks of montage as a series of shots, one after another. Eisenstein prefers to think of the images as being on top of one another because as the next image appears you're laying it on top of the previous image you just saw in your head and creating a new idea that can't be expressed through just one image. Basically, by combining images you're creating ideas and feelings that can't be conveyed in just a picture.
He compares cinema to Chinese writing which is representational, meaning the characters somewhat look like what they're representing. By combining characters you get ideograms which are a combination of two "depictables" that "achieve the representation of something that is graphically undepictable."
examples.
knife + heart = sorrow
mouth + child = scream
mouth + bird = sing
mouth + dog = bark
etc.
Eisenstein hails this use of shots and montage as the beginning of "intellectual cinema" and a big step in being able to visually represent abstract concepts.
He also goes into other things such as Kabuki theatre and "the filmic fourth dimension" which maybe I'll try to write about later. This stuff is fun, it makes watching films more academic but also more enjoyable. (the quote at the top is from his essay on "A Dialectic Approach to Film Form" which I'm stumbled through and need to read one more time)
Next up on my film theory reading list are two essays by Adorno, one by Benjamin then stuff by Christian Metz who was recommended to me by my friend, Rufus, who's in Cinema Studies.
Eventually, both of us hope to be able to write something that would get published in Senses of Cinema which is a really great online film journal. One of the recommended topics right now is on Lee Chang-dong and auteur theory. I might be able to tackle that but it's been awhile since I've seen his work...
Anyway, so I looked outside my window this morning and it hadn't rained like it was supposed to. Hopefully it won't rain later. It's 57 degrees outside which is awesome. It feels really nice in my room right now and I have the window thrown wide upon.
It's time for me to shower and enjoy the nice weather. Paz.