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Showing posts with the label Scriptwriting

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Comics 4 Film: Part 1

on April 07, 2024

Filmmaking Punchline Scriptwriting Short Films Storytelling

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Ingredients for your film from the Great Masters

on March 14, 2024

Cinematography Dreyer Filmmaking Hitchcock Joan of Arc Music for Film Narrative Psycho Scriptwriting Vampyr

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A Lesson in Punch Lines

on February 15, 2024

dialogue Image and Sound Punchline Scriptwriting

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A Lesson in Story Telling with Chat GPT

on July 23, 2023

Scriptwriting Short Films

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A Lesson in Storytelling With Images 1: All Gold Canyon

on July 23, 2023

Coen Brothers Scriptwriting Storytelling The Ballad Of Buster Scruggs

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Music For Film

Mario Cordina

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Anidroc Themes

Aaron Copeland
Absurd
All Films
Anepathetic Sound
Antonioni
Atomic Blonde
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Theory, Analysis and Analysts

Aaron Copeland
Absurd
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Aural Objects
Baudry
Caryl Flinn
Chion
Chizek
Christian Metz
Claudia Gorbman

Dimitri Tiomkin
Eisenstein
Empathetic Sound
Erich Wolfgang Korngold
Father of Film Music
Five ways in which music serves the screen'
Franz Waxman
Gilles Deleuze
Gorbman
Gottfried Huppertz
Jeff Geiger
Kodachrome
Max Steiner
Michel
Michel Chion
Movement Image
Music for Film
Nightmares
Surreal
Synchresis
The Aims of Music for Films
Time Image
Tom Levin
Unheard Melodies
henri Bergson
sound on screen
𝐓𝐫𝐚𝐯𝐞𝐥𝐨𝐠𝐮𝐞 𝐀𝐫𝐜𝐡𝐢𝐯𝐞𝐬 𝐚𝐧𝐝 𝐀𝐦𝐚𝐭𝐞𝐮𝐫 𝐂𝐨𝐥𝐨𝐮𝐫

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Hitchcock
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Lars Von Trier
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Quentin Tarantino
Roman Polanski
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Joan of Arc
Knife in The Water
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La Jetee
Melancholia
Metropolis
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Pirates of the Caribbean
Psycho
Repulsion
The Ballad Of Buster Scruggs
Tragedy of Macbeth
Vampyr

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Filmmaking and Script Writing

Cinematography
Film
Filmmaking
Image and Sound
Music for Film
Music.
Narrative
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Scriptwriting
Short Films

The Aims of Music for Films
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Check These Out

A Lesson in Storytelling With Images 1: All Gold Canyon

Other lessons: Lesson 2 , Lesson 3 All Gold Canyon A lesson in introducing and ending a film. All Gold Canyon by Mario Cordina (Anidroc) Slide 1/2: All the 6 vignettes that make up the Coen Brothers' The Ballad of Buster Scruggs come up in the shape of a book with colour plates and text that are featured before and at the end of each story. The nature of colour plates (just as Charles Dickens used his illustrations) is to give part of the story away before it even starts. "And in all that mighty sweep of man he saw no sign of man, nor the handiwork of man." Slide 2/3/4: The first shots of the canyon are indeed shots of wilderness untouched by man. The sun rising up behind the hill or mountain tops, a birds eye view of the plain and stream below. This we will learn is the owl's point of view from the trees. It also obviously implies that someone is watching. We watch fish in the stream and butterflies pollinating the flowers. A stag comes to drink. An ow...

Music As Filmic Narration. Claudia Gorbman

Unheard Melodies: Narrative Film Music. By Claudia Gorbman. Music as a Narrational Tool Claudia Gorbman comments on the fact that the introduction of music into film from 1927 to 1931 was a novelty that was not welcome by all. Silent films were still the norm and popular. Music often was included as a soundtrack and dialogue was omitted or intermittent. The 'Talkies' often did not include music and if they did it was of the accompanying sort. Few seem to have grasped the notion that adding music to film would have an appeal as strong, if not stronger as synchronised dialogue. Gorbman sets out to challenge established assumptions about soundtrack history and strongly places music as a narrational tool. Music as entertainment was nothing new, so when silent cinema was added to the menu, it was natural for music to accompany it. From 1911 onwards cue sheets regularised music improvisation till technology made it possible to synchr...

Anempathetic and Empathetic Sound

The terms I'm here to talk about are anempathetic and empathetic sound and music and film. Chion introduced these terms not simply about music and the relationship that music has in film with the image, but sound in general, and as the terms suggest, empathetic sound. It's an emotional term, so that the sounds that we hear are emotionally resonant to the images that we see. Anempathetic I find a lot more interesting because there's-the examples that you find of it are a little rarer and tend to have a lot of punch. One of the reasons I think that anempathetic sound has so much force is because it creates a tension that's almost imperceptible between what you're taking in visually or in other aspects of the soundtrack. And this sound is just there to almost diminish what's happening. The classic example that Chion uses and other people have used is at the end of the shower scene in "Psycho" after Marion Crane's ...

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