UMass Amherst COMM 231 - Non-scripted Filmmaking (3 pages)

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Non-scripted Filmmaking

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Non-scripted Filmmaking


Tips and information about filming without a script

Lecture number:
Lecture Note
University of Massachusetts Amherst
Comm 231 - Film and Television Production Concepts
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COMM 231 1st Edition Lecture 19 Outline of Last Lecture Documentary definitions and examples Outline of Current Lecture Realism and Formalism Essential Elements for Filmmakers Examples of Professor Anderson s works Current Lecture Reminder Exam 3 is scheduled during final exam week December 11th 10 30 am S240 at ILC Non Scripted Filmmaking and the Foundation of Film Art Working with non actors no story out there so you need to go find it the filmmaker makes the story takes comments from people footage of different things and turns it into a story Realism and Formalism Nonfiction filmmaking uses formalist elements music narration montage even animation in its effort to achieve a sense of realism But it needs to be a delicate and justifiable use of formalist elements Strategies for working in the field without a script working with non actors people can freeze up in front of the camera good strategy is to have a conversation have your camera person rolling the whole time and just help them and get to know the person and keep the camera rolling need to be polite but forthright in getting interviews shooting coverage for unscripted sequences always have other shots to cut to need a lot of extra footage if you don t have a script flexibility on the ground you can plan on shooting somewhere and have it be too loud too different looking need to be quick on your feet editing terminology and its role in filmmaker performative and creative nature of non fiction film those you film are going to be aware of the camera being there so it is going to affect how they present themselves Essential Elements for filmmakers Curiosity need to be curious question why things are the way they are Original thinker turn something you find interesting into a story needs some originality Research and communication skls filmmakers are mmi experts are what they are filming on need to do a lot of research be able to articulate with other people why this film needs to be made and with your crew Technical proficiency how cameras work lighting sound editing you can work with professionals who are very good at certain aspects Eye for aesthetics what is visually appealing on set and in editing Attention to details mise en scene Motivated worker no filmmaker is lazy Ability to find and tell a story Prof Anderson s interests and approaches to filmmaking Curiosity like international locations Flexibility like cross cultural encounters Agility collaboration Visual storytelling the senses Showing of his work Tokunbo Shot in Lagos Nigetia late 2009 Most populated country in Africa Booming middle class Everyone wants a car Virtually no automobile manufacturing Used cars or tokunbo are imported But not just from anywhere Preparation and Flexibility from a simple question to narrative device flexibility on the ground finding narrative structure Collaboration director as midwife work for spontaneity and authenticity get everyone s permission go beyond the authorities attentive to issues of power and access Example clip from Tokunbo themes conditions of working in these car lots motif wear and tear of hands and feet basic elements earth fire dirt water Example clip from Layers of Pompeii six weeks of filming July 2012 2013 Themes Ancient and modern Pompeii Cultural identity Archaeology and tourism Sensorial Pompeii Mediated Experiences

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