Monday, August 28, 2017

Welcome, Class of 2019!

Welcome back, class of 2019! I hope you all had a restful and enjoyable summer.

Here we are again. This year is partly devoted to writing scripts (both theatrical and for the screen). What you learn here can help you improve your fiction "dialogue" skills, examine the use of conflict in your plots, play and experiment with language and poetry, as well as make you a better psychologist (dealing with people in crisis), all the while honing your writer's craft and developing your writer's voice. The other half of your year will focus on contemporary writers--which should give you some good themes and ideas for your play scripts. It's a small world, after all.

Anyway, after reviewing our course criteria, we will get started with a required writing activity, read a bit, and start on a couple of assignments to begin this course. By the end of class today, we'll get our locker assignments.

IMPORTANT INFORMATION:

Check this blog each class period for agendas, deadlines, educational information, advice, and a whole lot of links to enhance your education. All you have to do is read and click. You are responsible for reading and interacting with the material I post on the blog. It is a useful resource for the course (since we don't have a specific textbook)--so please use it. You can even see it on your cell phones (which you shouldn't have with you during class...)

If you're absent or missed something in class, please check the blog to get caught up. As indicated above, each new class period usually includes a new post. If you have a question about an assignment and are too embarrassed to speak to me in public (or you have a question that you think you will forget to ask), feel free to use the comment section. It is, however, your responsibility to talk to me about your needs. This is your education. Make it worthwhile.

On our link page, you will also find some useful tools for this course. During the course, I will direct your attention to these tools for your use in this class and for use in Contemporary Writers.

Today, after reading about the course, checking the theater vocab sheet & advice, and answering any questions regarding same, let's begin playwriting with a baseline writing exercise.

You will need a notebook, the essay paper/booklet provided, and a writing utensil.
  • The task is simple. You have 30 minutes to write a complete scene (with a definite beginning, middle, and end) in script format as you remember it. Note that "scenes" are not full plays. You don't need to wrap up every detail and plot hole. But your scene should begin, sustain conflict a bit, and ultimately end.
  • Limit your cast of characters to no more than four (4). Two or three (2-3) characters works best. You must have more than one. Setting, plot, writing style, and theme is completely up to you. Have at it. 
  • Be creative. Focus on the task of writing. Let your words flow from you without a lot of editing or over thinking this exercise. Stay off your neighbor's radar. You'll have time to chat later in class. Don't spend your writing time talking or going to sleep. Wake up and write! Also: trust your instincts as an artist and writer! Let's get back into practice.
  • If you need a prompt, choose one of the following starters (or make up one of your own by combining any 3 things):  
    •  A lawyer, a local politician or minor celebrity, and a contract
    •  A widow, her half-sister, and a secret 
    •  One character walks in to a familiar place but meets someone unexpected
  • You will have about 30 minutes to write. If you get stuck, unstick. Review the handout, etc. Timer will now be set. And...Go!
If you happen to finish your scene early and the rest of the class is still writing, please begin reading Talking With by Jane Martin. It's a good idea to start with the last monologue first, as you will likely read the first monologue and subsequent pages in order with your group.

After we write our baseline, we'll receive our locker assignments, then return and get started reading Talking With in small groups.
HOMEWORK: #1 - Complete Talking With by Jane Martin. As you read the monologues, pay close attention to how language and conflict within the monologues help to develop character. Bring the play script with you to our next class (Friday) for a discussion of the play. 

#2: Please share the course criteria sheet and field trip forms, etc. with your parents/guardians.  Get them signed and return them to me. 

Have a nice day!

Monday, June 12, 2017

Last Day

Please take a last look at Tim Dirk's filmsite.org. Check out the top 100 films of all time. In the comment section below, write about this course and how your knowledge of film has improved.

Please work on your final projects. Turn these in any day this week. Please send the URL's for the video to the comment section here. Then, make sure you turn in any missing work, etc.

2nd Period we will screen the last part of Alien by Ridley Scott.

Have a relaxing summer and good luck with your final exams!

HOMEWORK: None.


Wednesday, June 7, 2017

Film Project; Alien (part 2)

Please continue to work on your film projects. See previous post for details.

You should complete all missing work for this class by Monday, June 12. The last day to submit any materials for this class is June 12. Your final project is due by the end of that week. You will not see me past Monday's class. Please make arrangements to turn in all work.

Period 2: Alien, Part 2.

HOMEWORK: Complete all film studies work.

Monday, June 5, 2017

Final Film Project: Day 2.5

For your final project, you have an option.

A. Collaboratively, work on an original film, using a film script (perhaps one that you have written), and create an original short film. All members of the team should work together in a significant manner to see the completion of the film project. (i.e., each member of the team should have a well-defined role to complete in the making of the film...)

  • Submit your film by June 16 (last possible date to turn in your film draft). Films should be submitted to Youtube as MP4's, then send me the link for your team's film in the comment section of our last blog post (June 12). 
  • Films can be of any length.

B. Choose a director from the American New Wave, research, watch 1 film from this director and at least 3 clips from other films directed by the auteur. Use this information to create a short film documentary about the director & his/her impact on film.
  • Woody Allen
  • Robert Altman
  • Hal Ashby
  • Peter Bogdanovich
  • John Cassavetes
  • Francis Ford Coppola
  • Brian De Palma
  • William Friedkin
  • Dennis Hopper
  • George Lucas
  • Mike Nichols
  • Bob Rafelson
  • Martin Scorsese
  • Steven Spielberg
Submit the documentary by June 16 (last possible date to turn in your documentary draft). Films should be submitted to Youtube as MP4's, then send me the link for your team's film in the comment section of our last blog post (June 12). Films can be of any length, but should discuss the significance of the film(s) that you researched and information about the director.

C. Select a director from the list below

Contemporary Film Directors:
  • Pedro Amoldovar
  • Wes Anderson
  • Darren Aronofsky
  • Kathryn Bigelow
  • Danny Boyle
  • Mel Brooks
  • Charles Burnett
  • Tim Burton
  • Joel & Ethan Coen
  • James Cameron
  • Jane Campion
  • Sofia Coppola
  • David Cronenberg
  • Cameron Crowe
  • Alfonso Cuaron
  • Julie Dash
  • Guillermo Del Toro
  • Claire Denis
  • Ava Duverney
  • Clint Eastwood
  • David Fincher
  • Jean Luc Godard
  • Terry Gilliam
  • Mary Harron
  • Werner Herzog
  • Peter Jackson
  • Alejandro Gonzalez Inarratu
  • Ang Lee
  • Spike Lee
  • Kasi Lemmons
  • Richard Linklater
  • David Lynch
  • Terrence Malick
  • Steve McQueen (not the actor)
  • Bennett Miller
  • Hayao Miyazaki 
  • Errol Morris
  • Christopher Nolan
  • Gordon Parks
  • Tyler Perry
  • Sidney Poitier
  • Gina Prince-Bythewood
  • John Sayles
  • Ridley Scott
  • Jim Sheridan
  • John Singleton
  • Steven Soderbergh
  • Quentin Tarantino
  • Julie Taymor
  • Paul Thomas Anderson
  • Melvin Van Peebles
  • Gus Van Sant
  • Keenan Ivory Wayans
Watch 3 films from the director, research, and write a research paper on the director examining his/her films. See handout on Stanley Kubrick as an example.

Your research paper should include a works cited page with the three films you watched, and any other resources you used in your paper. Each paper should summarize the director's career or important aspects of his/her life that connect reasonably to the films you watched, and, furthermore examine the 3 films from this director as indicative of this director's style and artistic voice. What is important about these films in relation to our film-viewing contemporary culture? See previous handouts and chapters on films as models for what I'm expecting. Your paper should be long enough to analyze the material you researched and present it in an effective and clear, thoughtful manner.

Period 2: Choice: Before leaving the lab, please choose our last class film--see handouts for additional details on each film:

  • Alien (1979, Ridley Scott)
  • Raiders of the Lost Ark (1981, Steven Spielberg)
  • Do the Right Thing (1989, Spike Lee)
  • Toy Story (1995, John Lasseter) 
We will then screen the film today and Thursday. 

Tuesday, May 30, 2017

American New Wave Directors or Film Project Introduction

This morning, please turn in your film scripts. In the lab, read the article handouts and study for the upcoming exam on Friday. We may leave the lab a little early today if folks aren't using the time to study for the upcoming exam...we'll need the time to examine Blaxploitation and trends in the 1960's. See posts below.

Finally, for your final project, you have an option.

A. Collaboratively, work on an original film, using a film script (perhaps one that you have written), and create an original short film. All members of the team should work together in a significant manner to see the completion of the film project. (i.e., each member of the team should have a well-defined role to complete in the making of the film...)
B. Choose a director from the American New Wave, research, watch 1 film from this director and at least 3 clips from other films directed by the auteur. Use this information to create a short film documentary about the director & his/her impact on film.
  • Woody Allen
  • Robert Altman
  • Hal Ashby
  • Peter Bogdanovich
  • John Cassavetes
  • Francis Ford Coppola
  • Brian De Palma
  • William Friedkin
  • Dennis Hopper
  • George Lucas
  • Mike Nichols
  • Bob Rafelson
  • Martin Scorsese
  • Steven Spielberg
C. Select a director from the list below

Contemporary Film Directors:
  • Pedro Amoldovar
  • Wes Anderson
  • Darren Aronofsky
  • Kathryn Bigelow
  • Danny Boyle
  • Mel Brooks
  • Charles Burnett
  • Tim Burton
  • Joel & Ethan Coen
  • James Cameron
  • Jane Campion
  • Sofia Coppola
  • David Cronenberg
  • Cameron Crowe
  • Alfonso Cuaron
  • Julie Dash
  • Guillermo Del Toro
  • Claire Denis
  • Ava Duverney
  • Clint Eastwood
  • David Fincher
  • Jean Luc Godard
  • Terry Gilliam
  • Mary Harron
  • Werner Herzog
  • Peter Jackson
  • Alejandro Gonzalez Inarratu
  • Ang Lee
  • Spike Lee
  • Kasi Lemmons
  • Richard Linklater
  • David Lynch
  • Terrence Malick
  • Steve McQueen (not the actor)
  • Bennett Miller
  • Hayao Miyazaki 
  • Errol Morris
  • Christopher Nolan
  • Gordon Parks
  • Tyler Perry
  • Sidney Poitier
  • Gina Prince-Bythewood
  • John Sayles
  • Ridley Scott
  • Jim Sheridan
  • John Singleton
  • Steven Soderbergh
  • Quentin Tarantino
  • Julie Taymor
  • Paul Thomas Anderson
  • Melvin Van Peebles
  • Gus Van Sant
  • Keenan Ivory Wayans
Watch 3 films from the director, research, and write a research paper on the director examining his/her films. See handout on Stanley Kubrick as an example.

More details to follow.

HOMEWORK: Study for your upcoming exam.

Blaxploitation

After the Civil Rights Movement, blacks in film began to appear more frequently, although not very often.

Blaxploitation is a film genre that emerged in the early 1970s when many exploitation films were made that targeted the urban black audience; the word itself is a portmanteau of the words "black" and "exploitation."

Characteristics of Blaxploitation films:
  1. Story uses the urban ghetto as a locale for its setting
  2. Often includes such characters as: pimps, hit men, drug dealers, the ho, etc.
  3. White characters are often antagonists: corrupt cops, evil politicians, easily fooled organized crime goons, etc.
  4. Characters are often stereotypes
  5. Black music (hip hop, rap, jazz, R&B, funk, blues, etc.) is used as a score
  6. Black actors play primary and protagonist roles
Popular genres of Blaxploitation films include:
Crime (Foxy Brown), action (Three the Hard Way), horror (AbbyBlacula), comedy (Uptown Saturday Night), nostalgia (Five on the Black Hand Side), coming-of-age/courtroom drama (CornbreadEarl and Me), and musical (The WizSparkle).

Here is a list of clips for your viewing pleasure:

They Call Me MISTER Tibbs (1970) (Sidney Poitier) - sequel to In the Heat of the Night (1967)
Cotton Comes to Harlem (1970) directed by Ossie Davis
Sweet Sweetback's Baadasssss Song (1971) starring Melvin Van Peebles - considered (with Shaft) to have created the Blaxploitation cycle.
Shaft (1971) Directed by Gordon Parks; starring Richard Roundtree

The popularity of this film spawned these sequels:

Shaft's Big Score (1972)
Shaft in Africa (1973)
And a remake in 2000, Shaft 2000

Also by Gordon Parks:
Superfly (1972)

Blacula (1972) directed by William Crain
And its sequel: Scream, Blacula, Scream (1973)

And because Dracula was lonely:
Blackenstein (1973)
Abby (influenced by The Exorcist (William Freidkin, 1973) - 1974)

Female protagonists:
Cleopatra Jones (1973) starring Tamara Dobson and its sequel for all the sistahs:
Cleopatra Jones and the Casino of Gold (1975)
Coffy (1974) starring Pam Grier

These exploitation films were influenced by lesbian exploitation films (also prison exploitation films):
Black Mama, White Mama (1972)
Sugar Hill (1974)
Dolemite (1975)

Ralph Bakshi's Coonskin (1975) Bakshi is not black, but many white filmmakers took advantage of reaching a black audience in their films. Contemporary directors do the same thing, as Quintin Tarantino can testify.

Musicals:
Sparkle (1976) Musicals like this also included such popular titles as the Wiz (1978)
The Wiz (1978) (Starring Diana Ross and little Michael Jackson)

Later in the 1980's until the present, blaxploitation film style has been parodied:

I'm Gonna Git You Sucka! (1988)

Jackie Brown (directed by Quentin Tarantino) 1997

Pootie Tang (2000)

Directors like Spike Lee are encouraged to make films for a black audience. Many other actors, directors, and writers begin expanding the ground opened by blaxploitation.
Other critically acclaimed films:
The 100 Best Black Movies (trailer)

HOMEWORK: Study this material for your upcoming test.

1960's Trends in Film

1960's Film Trends:
With the change in restrictions based on the rating system from the MPAA, content in films gets grittier, more violent, more sexual, and more...well...Hollywood. View a few clips of famous films and film categories developed in the 1960's. Take notes on your graphic organizer. This material is fair game for the upcoming exam. Note years, genres, actors, directors, and films.

1960's Epic/Costume Drama Films:
Spartacus (1960) Kirk Douglas, Laurence Olivier, Charleton Heston, Peter Ustinov
El Cid (1961) Charleton Heston
Cleopatra (1963) Elizabeth Taylor & Richard Burton
Becket (1964) Richard Burton & Peter O'Toole
The Sound of Music (1965) Julie Andrews & Christopher Plumber
Doctor Zhivago (1965) Julie Christie, Omar Sharif
The Lion in Winter (1968) Peter O'Toole & Katherine Hepburn
Planet of the Apes (1968, Rod Serling screenwriter; Franklin Schaffner, dir.) Charleton Heston

Angry Young Man Films:
Look Back in Anger (1959) Richard Burton
The Loneliness of the Longdistance Runner (1962)
The Caretaker (1963)
The Leather Boys (1963)
If (1968) Malcolm McDowell
Easy Rider (1969) Dennis Hopper

Beatles' Films
A Hard Day's Night (1964)
Help! (1965)
The Magical Mystery Tour (1967)
Yellow Submarine (1968)

Famous/Influential Directors
:

Stanley Kubrick: Lolita (1962), Dr. Strangelove (1964, Peter Sellers), 2001, a Space Odyssey (1968), A Clockwork Orange (1971, Malcolm McDowell)
John Ford: The Man Who Shot Liberty Valance (1962)
George Pal: The Time Machine (1960), Jason & the Argonauts (1963), One Million Years BC (1966)
John Frankenheimer: The Young Savages (1961), The Manchurian Candidate (1962)
Arthur Penn: The Miracle Worker (1962), Bonny & Clyde (1967), Alice's Restaurant (1969)
Robert Aldrich: Whatever Happened to Baby Jane (1962) with Bette Davis & Joan Crawford; The Dirty Dozen (1967)
Blake Edwards: Breakfast at Tiffany's (1961, with Audrey Hepburn); The Pink Panther (1963 with Peter Sellers)
Alfred Hitchcock: The Birds (1963, Tipi Hedren), Marnie (1964, Sean Connery, Tipi Hedren), Torn Curtain (1966, with Julie Andrews & Paul Newman)
James Bond Films: Dr. No (1962, Sean Connery), Goldfinger (1964, Sean Connery)

African American Films:
Sidney Poitier films: A Raisin in the Sun (1961), Lilies of the Field (1963), To Sir With Love (1967), Guess Who's Coming to Dinner (1967)

HOMEWORK: Study this information for your upcoming test.

The Murky Middle (Even More Advice)

Aristotle wrote that stories should have a beginning, middle, and end. Middles can be difficult. You might have a smashing opening to a stor...