This is what I do / did for semester one. Project one:one week, one minute, one shot, no sound. Project two: one week, two shots, and so on (including, or not, shot one from the previous project, building up to more complex structures. Drawing on film early on in the semester. A B&W project etc.
Years ago, on the Time Based Media course founded by David Hall at KIAD Maidstone (UK), we used to have the students make no-technology time-based work before they got their hands on camcorders. This generally meant performance, a walk-through environment, sometimes a crawl through environment, eg, where the spectator had to crawl through a tunnel made of cardboard boxes whiles they were subjected to human-generated effects from outside the tunnel, or an object that could only be seen in a series of successive moves etc. Worked well. Nicky. -----Original Message----- From: John Knecht <jkne...@colgate.edu> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> Sent: Wed, 23 Apr 2014 20:39 Subject: Re: [Frameworks] query for those who teach filmmaking Tim, I would hold their first projects to one minute in length. Talk to them up front about each frame being "precious". Hold them responsible for what they shoot. Talk to them about light, color, motion (the camera moving and what is being shot as moving). Keep it extraordinarily essential. If they can learn to appreciate the shot that they are making, if they can think about composition, color, and the semiotic system within each framed rectangle, then they will be able someday to make any kind of film; narrative, doc, or strictly formal. Forget this "story telling" stuff. That is something else. Teach them about light and motion. You will then have empowered them to use a cinematic tool to convey the content of what ever it is that they want to say to the world. Then they can tell their stories if they have something to say. jk On Wed, Apr 23, 2014 at 3:05 PM, Tim Halloran <televis...@hotmail.com> wrote: But with our students it actually is "speed" that's killing creativity, as they become more and more acclimated to working "fast"--digital cameras, digital editing systems, etc. Ah, it's just terrible--so much junk. Shoot slow, edit slow, experience slow. ;] Tim From: fl...@flickharrison.com Date: Tue, 22 Apr 2014 12:29:52 -0700 To: frameworks@jonasmekasfilms.com Subject: Re: [Frameworks] query for those who teach filmmaking On Apr 18, 2014, at 15:26 , Tim Halloran <televis...@hotmail.com> wrote: Slow=bad?! Bah. Tim It's nice to work slowly if you are trying to do so; it's insanely annoying if you are not. Imagine if a painter put a stroke on the canvas and couldn't see it for 30 seconds afterwards. Not too many painters are striving to achieve that workflow. ;-) -- * WHERE'S MY ARTICLE, WORLD? http://wikipedia.org/wiki/Flick_Harrison * FLICK's WEBSITE: http://www.flickharrison.com ↑ Grab this Headline Animator Sent from my iPhone On Apr 18, 2014, at 1:16 PM, "Flick Harrison" <fl...@flickharrison.com> wrote: ...will sloooooow you down, and that's bad creatively... - Flick _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- John Knecht, Russell Colgate Distinguished University Professor of Art and Art History and Film and Media Studies _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
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