Welcome to Film Studies!

This course will help develop a greater aesthetic appreciation for film as an art form and as a reflection of society. Film Studies will provide students with an overview of the history, theory, and techniques involved in the art of film making. Students will study the components and history of film, analyze narrative structure, and discuss cultural issues found in a variety of films. Additionally, it is a course in reading and writing about film. Students will learn how to write a screenplay, explore film genre, and participate in various activities which will culminate in their own film script project. Successful films may be given a public screening some time in June of this year, equipment and student willing.

What is FILM STUDIES?

How do we go about studying film?

Film studies is:
1. A technological history emphasizing pioneers in the film industry and film technology
2. A study of techniques that asks “What technical choices are available to film makers?”
3. A study of personalities (movie stars)
4. A study of the relationship between film and other arts (usually theatre or the novel)
5. A chronological history of classical or important films
6. A study analyzing film in relation to society
7. A study of the history of movie studios, like the famous Hollywood studios
8. A study of directors and their work with film
9. A study of genres
10. A study of issues in the film industry, such as censorship or anti-trust laws

Additionally, in this class (since it's creative writing focused) we will be writing our own treatments, short film scripts, and writing film reviews (journalism, creative non-fiction, etc).

Spring Awakening - Workshop and Performance

For those of you who are attending the Spring Awakening master class, please note that it will occur 1-3 period on Thursday, Feb. 4 at 7:30. Please let your 1-3 period teachers know that you are attending. The actual performance for Spring Awakening will be held on the evening of Thursday, Feb. 11 at the Auditorium Theatre (next to Red Cross at the corner of Prince Street and Main).

Film Review - Waiting for Guffman

We are starting our unit on Film Studies today. If you have NOT turned in your full length play, please do so.

If you are planning on attending the Master Class for Spring Awakening, please turn in your money by Monday at the latest. If you are having trouble coming up with the funds, please see me immediately.

For next class (after mid-term week), please read the handout: "The Reception of Film: The Art and Profession of Film Reviewing"

There are 4 parts to a film review:
1. A short plot synopsis
2. Background information (usually about the director or major actors, but can also include cinematographer, special effects history, genre, or production).
3. A few paragraphs evaluating and analyzing the film: this can be broken down into examining the film's artistic quality, significance, entertainment & social value.
4. In summary, most film reviews end with a final statement or judgment about the film.

After watching Waiting for Guffman (directed by Christopher Guest) please write a 1-2 page review that includes the 4 parts of a film review (above). This assignment is due the first day of the new semester, Monday, Feb. 1. Use these articles to help you.

"The Handout"
Waiting for Guffman
Christopher Guest and (Christopher Guest)
Waiting for Guffman - clips (check the sidebar for various scenes)

Final Exam Today! Full Length Play Due Today!

Yep. Final exam and full length play due today. When completed, please work on Sokol or Gannon or Geva 10 minute play scripts or study for other upcoming exams or read Animal Dreams.

Full Length Play, Final Exam, Dialogue

Full length play due next week (Wednesday, Jan. 20)
Final Exam: Wednesday, Jan. 20. Please see the review below.

Dialogue: Some final points about dialogue:

1. If you can cover up the name of your characters and tell through the dialogue who is speaking, you have succeeded.
2. Short sentences are preferable in script writing. Short sentences speed up tempo!
3. Long sentences are fine in script writing. Long sentences SLOW down the tempo!
4. Match your tempo to the action, the action to the tempo.
5. Avoid generalizations and abstractions.
6. Remove "filler" phrases: such as "well,", "so,", "what do you mean by that?", "What?". If dialogue doesn't advance the plot or scene, remove it.
7. Break up long sentences in favor of short declarative ones.

Spring Awakening

Students interested in attending the Spring Awakening workshop and show, the following information is essential:

1. The Master Class costs $40 and includes a ticket to the show, a 2-hour workshop, a copy of the script, and play material, etc.

2. Our workshop will be held 2/4 from 8:30 to 10:30. The workshop promises to be very interesting. The presenters are top notch. The workshops deal with communication, suicide, and sexuality. Our workshop will also include writing for the stage info.

3. The show will be either the Wednesday, 2/10 or Thursday, 2/11 performance. We will have this date confirmed shortly (just waiting to hear from the Broadway Theatre League).

4. Checks should be made out to The Broadway Theatre League and should be turned in by Jan. 22 (next Friday) to Mr. Craddock so that he can pay The Broadway Theatre League and confirm a space in the workshop for the student.

5. Students attending the workshop and show will also gain extra credit from the experience.

Final Exam - Review

The Final Exam for Playwriting may cover the following items, please review:

The plays:

Nzotake Shange: For Colored Girls...Rainbow is Enuf
Dael Orlandersmith: Monster
Jane Martin: Talking With
Charles Busch: Psycho Beach Party; Vampire Lesbians of Sodom; Lady in Question; Red Scare on Sunset
Moss Hart & George S. Kaufman: You Can't Take It With You
Samuel Becket: Waiting for Godot, Happy Days, (Endgame)
Eugene Ionesco: Rhinoceros
The Complete Works of Shakespeare, Abridged
William Shakespeare: The Comedy of Errors
John Guare: The House of Blue Leaves
Christopher Durang: (particularly: Desire, Desire, Desire; For Whom the Southern Belle Tolls, Death Comes to Us All Mary Agnes, Sister Mary Ignatius Explains it All for You, The Actor's Nightmare, Titanic, 'dentity Crisis, The Life and Purpose of the Universe)
Anton Chekhov: The Seagull
Robert Harling: Steel Magnolias
Lorainne Hansberry: A Raisin in the Sun
Henrick Ibsen: Hedda Gabler

Play Vocabulary:
Premise
Types of comedy: Sentimental comedy; romantic comedy; farce; satire; black/dark comedy; absurdist comedy
Types of drama: Tragedy; realism;
Aristotle's six elements of plays: plot, character, diction (dialogue), thought (theme), spectacle, song/music
Conflict
Truth
Structural Unity
Inciting Incident
Major Dramatic Question (MDQ)
Major decision
The three C's: Conflict, crisis, complication
Rising Action
The dark moment/crisis
Deus ex machina
Enlightenment
Climax
Catharsis
Ten minute play format
One act plays
Full length plays (2, 3, 4, or 5 act)
Monologues/Soliloquies
Cross-dressing and theatrical tradition
Generating ideas for plays
Absurdism
Commedia dell'Arte
Farce
The Event: (a uniquely significant moment in the character's lives)
Time lock
Moliere & French scenes
Place & setting
Theme
Scenario
Sidney Poitier
Constantin Stanislavski, the Moscow Art Theatre, and Russian drama
Catalyst
Positive Motivation
Character flaw
A character's Ghost
need vs. desire
Creating credible characters
Protagonist
Antagonist
Subtext
Beat
Backstory
A Confidant
Verisimilitude