Filmproduktion: teknik og tekniske discipliner

Studienarbeit aus dem Jahr 2016 im Fachbereich Germanistik - Sonstiges, Note: 2,0, Universität Duisburg-Essen, Sprache: Deutsch, Abstract: Das Ziel der vorliegenden Modulabschlussarbeit ist, zu untersuchen, inwiefern psychologisch-inhaltliche sowie filmästhetische Aspekte eine Unheimlichkeit im Horrorfilm bewirken können. Als Untersuchungsgegenstand und exemplarisches Beispiel dient ¿The Evil Dead¿ von dem damals 23-jährigen Studenten Sam Raimi. Bevor Sam Raimi mit Spider-Man 2002 erfolgreich wurde, schuf er im Jahr 1981 mit einem Minimalbudget von 380000 Dollar diesen Film, dessen Kamera aus Dämonenperspektive schon viele Filmproduzenten kopierten. Der prominente Horror-Autor Stephen King pries den Horrorstreifen mit dem deutschen Titel ¿Tanz der Teufel¿ als ¿de[n] härteste[n] und originellste[n] Horrorfilm des Jahres¿. The Evil Dead erreichte ohne Werbung in nur drei Monaten eine Besucheranzahl von 160.000, ab dem 6. Juli 1984 jedoch beschlagnahmten diverse Staatsanwaltschaften eine große Anzahl an Filmkopien aufgrund exzessiver Gewaltdarstellungen. Infolgedessen wurde eine gekürzte Fassung veröffentlicht, die allerdings weiterhin beschlagnahmt wurde, bis das Bundesverfassungsgericht 1993 beschloss, dass der Film erneut in den Kinos gezeigt werden darf. Weil dieser Kultschocker allerdings nicht nur der Unterhaltung dient, sondern auch einen wichtigen Teil der Horrorfilmgeschichte repräsentiert, werde ich mich auf diesen konzentrieren, um folgende Fragestellung zu beantworten: Welche Wirkungsweise besitzt die autonome Kamera als Gestaltungsmittel in Horrorfilmen?

CINEMA OF OBSESSION: EROTIC FIXATION AND LOVE GONE WRONG IN THE MOVIES

The newest screenplay from the Oscar®-nominated writers of Election and About Schmidt, Sideways is the tale of two men's adventure in California wine country.Based on Rex Pickett's acclaimed first novel, Sideways tells the story of Miles (Paul Giamatti), a failed novelist, and his soon-to-be-married friend Jack (Thomas Haden Church), a washed-up actor.To salute the remains of their youth, the two men take one last road trip in the week before Jack's wedding.A serious wine enthusiast, Miles is determined to educate his friend on the region's beloved Pinot Noir wines before the week is out.Jack indulges his best friend's passion for the grape but is mainly interested in living his last week of bachelorhood to the hilt.Trouble ensues with wine and women (Virginia Madsen and Sandra Oh), and the duo comes to some profound realizations as they come to terms with maturity.

UP PERISCOPE YELLOW

Footsteps in the Fog is a celebration of the San Francisco films of Alfred Hitchcock. The master director's familiarity with Northern California greatly influenced his decision to use Bay Area locations in several of his landmark motion pictures, and more importantly was often the source of inspiration for many of these same cinema classics.Three of Hitchcock's masterpieces were set in the San Francisco area: Shadow of a Doubt, Vertigo, and The Birds. In addition, Rebecca, Suspicion, Marnie, Topaz, Psycho, and Family Plot utilized Bay Area locations and/or were inspired by Northern California events and settings. Footsteps in the Fog examines these famous films, taking the reader on a journey around the Bay Area, while weaving together cinemagraphic intrigue, Bay Area history and lore, and the timeless elegance of San Francisco and its picturesque surroundings.Over 400 historical and contemporary photos are featured in the book, including impromptu off-camera images and shots from the films themselves—many never before seen!Footsteps in the Fog can be used as a companion to viewing the Northern California Hitchcock films, as a guide for visiting the sites and settings used in these motion pictures, and as a source of biographical information about Alfred Hitchcock's personal connections to San Francisco and the Bay Area. Hitchcock loved Northern California; he often entertained Hollywood celebrities at his ranch and vineyard outside of Santa Cruz, and frequented such San Francisco institutions as Jack's Restaurant, the Fairmont Hotel, the Top of the Mark, and the historic Bercut Brothers' Grant Market.Hitchcock fans everywhere will rejoice as they revisit and rediscover the locations and settings used in the great director's most beloved films.

Right now, you're wondering, "Gee, what kind of information is in this cute yet stylish guide?" Sure, there are a bunch of other books that will take you through the filmmaking process, and if your name is Beaver Cleaver, you might be interested in them. But you should know that filmmaking is a war, and this book will lead you through it like no other. These pages contain information learned from years spent in the filmmaking trenches. Anyone with a credit card can rent a camera and buy film stock -- but who can: Rent a camera for two weeks and pay for only two days? Set the exposure on the camera without a light meter? Feed a crew of twenty with yesterday's chicken soup?Not many. You want more? Then turn the book over and crack her open. Still here? Fine -- we'll do it the hard way: This book will tell you how to shoot a sex scene, tell you what a stinger is. And if you need help writing your script, we'll give you some scenes to copy right into your screen-play -- and yes, we even provide the characters. In short, everything you need to know about filmmaking in the real world is in this book. Everything. We'll even help you select the proper baseball cap so you can look like a big-time director. Now start reading. Let's make film history.

This new edition of the filmmaker's bible has been completely updated to reflect changes in every aspect of the moviemaking process.

This modern film classic, an extraordinary tale of hope and survival inside a maximum security prison, follows the complex twenty-year relationship between two convicts who have little in common?except friendship. Based on the novella Rita Hayworth and The Shawshank Redemption by Stephen King, director/screenwriter Frank Darabont's film, starring Tim Robbins and Morgan Freeman, was nominated for seven Academy Awards®, including Best Picture and Best Screenplay and has been named one of the 100 Best Films of All Time by the American Film Institute.The Newmarket Shooting Script Series® book includes: Introductions by Stephen King and Frank Darabont Complete shooting script Analysis of script-to-screen changes Behind-the-scenes photos Storyboards Complete cast and crew credits "Memo from the Trenches" by Frank Darabont

THE ART OF LOOKING

Gaffers, Grips, and Best Boys goes way beyond the usual Hollywood glamour and hype to explain every aspect of who does what in the making of a motion picture--from conception and casting to production, postproduction, advertising, and marketing here and abroad. A veteran film-industry insider, Taub takes readers through the labyrinthine world of today's studio system, sharing the candid and revealing interviews he's conducted with some of Tinseltown's most successful actors, directors, producers, and so forth. Each of Taub's subjects offers behind-the-scenes accounts of the precise role that he or she has played in making today's top-grossing (and, in some cases top-flopping) movies.

Stop-motion Animation explores how all the elements of film-making - camera work, design, colour, lighting, editing, music and storytelling - come together in this unique art form. With tips and suggestions to help you get the most out of your films, and with examples from some of the masters of the craft, Barry Purves shows how to make the most of the movement, characters and stories that typify stop-motion.With dozens of beautiful new examples from around the world, this new edition includes a project in each chapter, with pointers on finding a story and characters, developing a script and storyboard, constructing puppets and dealing with the practicalities of film-making. These projects combine to lead you through the creation of your first one-minute stop-motion animation.

Metaphors in audiovisual media receive increasing attention from film and communication studies as well as from linguistics and multimodal metaphor research. The specific media character of film, and thus of cinematic metaphor, remains, however, largely ignored. Audiovisual images are all too frequently understood as iconic representations and material carriers of information. Cinematic Metaphor proposes an alternative: starting from film images as affective experience of movement-images, it replaces the cognitive idea of viewers as information-processing machines, and heals the break with rhetoric established by conceptual metaphor theory. Subscribing to a phenomenological concept of embodiment, a shared vantage point for metaphorical meaning-making in film-viewing and face-to-face interaction is developed. The book offers a critique of cognitive film and metaphor theories and a theory of cinematic metaphor as performative action of meaning-making, grounded in the dynamics of viewers' embodied experiences with a film. Fine-grained case studies ranging from Hollywood to German feature film and TV news, from tango lesson to electoral campaign commercial, illustrate the framework's application to media and multimodality analysis.

Although recent linguistic and media-studies' research has increasingly dealt with forms of imagery beyond language, such as in audiovisual formats, only little attention has been paid to the specific media character of audiovisual images. This raises a theoretical as well as methodological problem: How can processes of figurative meaning making in audiovisual media be adequately conceptualized and described? The book intends to bridge this research gap with an analysis of campaign commercials, a hitherto largely underexplored object of study in metaphor and metonymy research. To achieve this goal, a transdisciplinary film-analytical and cognitive-linguistic account of audiovisual figurativity is developed and examined through a comparative analysis of figurative meaning-making processes in German and Polish campaign commercials from 2009 and 2011. By setting the inseparable intertwining of language and cinematic staging, sensing and understanding center stage, the book provides insight into the dynamic nature and embodied affective grounds of audiovisual figurativity, and challenges the long-known dichotomies of rational discourse and affective manipulation, political message and media effect.

Von Februar bis November 1978 arbeitete HR Giger in den Shepperton Studios bei London an den Figuren und Kulissen des Films "Alien"(1979) von Ridley Scott. Der Film sollte ein Welterfolg werden und brachte Giger einen Oscar ein. In den hier erstmals als Faksimile veröffentlichten und transkribierten "Alien Tagebüchern" beschreibt HR Giger seine Arbeit in den Studios. Er schreibt, macht Skizzen und fotografiert mit seiner Polaroid SX70. Schonungslos, sarkatisch und zuweilen verzweifelt schildert Giger seinen Alltag in der Filmindustrie, wie er versucht, seine Entwürfe in die Wirklichkeit umzusetzen - allen Widrigkeiten zum Trotz, sei es nun die Knauserigkeit der Produzenten oder die Langsamkeit seiner Mitarbeiter.Die "Alien Tagebücher" (in deutscher Transkription und englischer Übersetzung) zeigen den Künstler HR Giger von einer kaum bekannten Seite und bieten einen ungewöhnlichen Einblick in die Entstehung dieses Filmklassikers aus Sicht des Schweizer Künstlers. Das Buch enthält fast ausschliesslich unveröffentlichtes Material, darunter Zeichnungen und Polaroids, die das Werden des Monsters zeigen, sowie zahlreiche Standbilder aus dem reichhaltigen Filmmaterial, das Giger in Shepperton aufnahm.

I mørket er et undervisningsmateriale om film og om, hvordan man laver film – fortalt af professionelle filmfolk. Med udgangspunkt i tre af filminstruktøren Kaspar Munks kortfilm og deres tilblivelse gives et sjældent indblik i processen omkring filmproduktion – fra ideen til den færdige film, fra den helt lille produktion til den større. Gennem dvd’ens tre film samt bogens tekster og opgaver arbejdes med kortfilmgenren og med ideer, manuskript, storyboard, optagelser, klipning, lyd og markedsføring af film.I mørket er en del af Tid til dansk i overbygningen, der tilbyder en bred vifte af muligheder for fagligt velfunderet, engagerende og reflekterende danskundervisning i de ældste klasser.

Casting og Audition for skuespillere og statisterFra en af de mest rutinerede castere i Danmark kommer nu bogen om casting. Hvordan gør man? Hvem ringer man til? Og hvad må man for alt i verden ikke gøre, hvis man drømmer om at blive skuespiller? Det giver Tommy Duus svar på i bogen Casting og Audition, som i klare vendinger gennemgår casting fra bunden og undervejs bruger masser af eksempler fra virkelige castingsUnder castingen til spillefilmen ´2 ryk og en aflevering´ var Tommy Duus med til at caste over 1000 unge, som alle gerne ville være med i filmen - heriblandt en meget dygtig pige, som hele tiden gik videre til næste runde af castingen. Men pludselig viste det sig, at pigen skulle ud at rejse i tre uger, mens der var optagelse, og det vidste hun allerede, da castingen gik i gang. Hun måtte derfor vælge mellem rejsen og at kæmpe videre for en rolle i filmen. Pigen valgte rejsen. Men hun valgte samtidig, at hun aldrig igen ville komme i betragtning til en rolle hos de pågældende castere - når hun havde spildt deres tid én gang, ville hun måske gøre det igen.Sådan lyder en af anekdoterne fra Tommy Duus i bogen Casting og Audition, som giver svar på alle de spørgsmål om skuespilbranchen, man som skuespiller bør kende svaret på. For ligesom i de fleste andre brancher er det heller ikke her nok blot at have talent - hårdt arbejde og forberedelse betyder lige så meget som de kunstneriske færdigheder, og hvis ikke man kender spillereglerne, så løber alle konkurrenterne med rollerne.Derfor har Tommy Duus - caster på 10. år og ejer af Dansk Skuespil Katalog - skrevet bogen om casting, som henvender sig til alle med interesse for emnet - lige fra førstegangsstatisten og wannabe-skuespilleren til den professionelle skuespiller. Her gives der klare svar på alt; lige fra hvor castings bliver slået op, og hvordan man forbereder sig til en casting til overvejelser om casting-billeder, aflønning og vigtigheden af at skabe sig et netværk.