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Iain Williamson

Film Websites - Media@ESF - 0 views

  • fantastic websites
    • Iain Williamson
       
      Good website
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    Useful IB film studies
  • ...10 more comments...
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    Useful for independent studies. 
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    y'all tis a useful IB Film Studies Website
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    Film website
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    Useful film websites for referencing, etc.
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    useful film websites
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    Useful film related websites
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    Useful film websites for IB film studies. 
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    My first bookmark !!!
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    Great website to help us in our research.
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    Great website to help us out for research
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    Useful IB Film Studies Website 
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    Website of film websites
Iain Williamson

'Menthol' Micro-Budget Film Case Study Part 1: 'Your Trailer is Your Film' « ... - 0 views

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    "'Menthol' Micro-Budget Film Case Study Part 1: 'Your Trailer is Your Film.' A fantastic resource for HL film students.
Iain Williamson

Lighting for Film & TV - Part 1: The Basics | Through The Lens Film School - 1 views

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    Great resource for teaching both IB Film & BTEC Media
Iain Williamson

From Edison & Beyond: This 6-Part Video Series Will Take You Through the Hist... - 1 views

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    Very useful for IB Film students when approaching their Independent Study choice. Especially when used alongside Mark Cousins, 'Story of Film.'
Iain Williamson

15 Great Female Film Critics You Ought to Be Reading - Flavorwire - 2 views

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    "15 Great Female Film Critics You Ought to Be Reading "
Iain Williamson

IB Film Studies - Media@ESF - 0 views

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    The IB Film resource centre for South Island...daily updates.
Iain Williamson

Video essay: What is neorealism? | British Film Institute - 0 views

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    Fantastic resource for IB Film students
Iain Williamson

Cinephilia and Beyond * Paul Schrader: Notes on Film Noir An amazing... - 0 views

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    Fantastic resource for teaching and learning of Film Noir
Iain Williamson

Video: The History of Editing, Eisenstein, & the Soviet Montage « No Film School - 0 views

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    Fantastic IB Film resource.
Iain Williamson

A Brief Explanation of the Controversial Film Movement Dogme 95 by Co-Creator... - 0 views

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    Very useful for South Island students studying Dogme 95 in class at present. Pamoja students, you may find this interesting too.
Iain Williamson

The Mise En Scène of Wes Anderson, a Video Essay Examining the Director's Qui... - 0 views

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    For Wes Anderson fans and IB Film students, a very useful resource
Iain Williamson

Learn the 'Rules' of Film Noir & How to Light It « No Film School - 0 views

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    A great resource for filmmakers and theorists alike.
Edward Bradley

Knife in the Water - From the Current - The Criterion Collection - 2 views

  • obsessed not so much with the big issues of the day as with the quirks and backwaters of human nature.
  • It is an exercise in the Absurd and the surreal that suggests the hostility and suspicion with which outsiders can be regarded like the two men in the film who emerge from the sea carrying a large wardrobe. “I wanted to show a society,” said Polanski, “that rejects the non-conformist or anyone who is in its eyes afflicted with a moral or physical burden.” Two Men and a Wardrobe marks several other themes the director would continue to explore in future films––relationships between people, claustrophobia, scorn, deceit, violence, and humiliation.
    • Iain Williamson
       
      Those last points in this paragraph are very rich for exploration. Could they form conceptual lenses with which to structure the Independent Study?
    • Edward Bradley
       
      Focus of film involves psychological and personal issues.
    • Iain Williamson
       
      So are you going to mention Wajda as a pioneer who led to Polanski? Did Polanski deliberately avoid the same subject matter and approach shown by Wajda?
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  • The solitude, or rather isolation, that envelops so much of Polanski’s early cinema is seen again in Knife in the Water. He told The New York Times Magazine in 1971: “What I like is a realistic situation where things don’t quite fit in. I like to begin with a mood, an atmosphere. I begin to people the atmosphere with characters. When I thought of Knife in the Water, I thought, first of the north of Poland where I used to sail and of a theme that wouldn’t involve large numbers of characters.” In Knife in the Water, the Polish lake district appears utterly uninhabited. Not a single other human being even slips into the frame. So, despite the immense skies and vast stretches of water, the three characters remain trapped in a hermetic, Sartrean huis clos.
  • Knife in the Water focused on the concept of non-conformity, on the subtle battles that erupt between the haves and have-nots. Most of the film’s witticisms are at the expense of the privileged, even pampered married couple, the prosperous “Establishment” in a Poland where most people were still struggling to cope with everyday poverty. More intriguingly, Polanski omits all reference to World War II, marking an escape from a past that obsessed Wajda and the somewhat older generation of Polish filmmakers. The youth in Knife in the Water (who Polanski considered playing himself) is a restless spirit, reluctant to accept orthodox habits, and his exit from the film, skipping nimbly away across the floating logs to the unknown promise of the mainland, confirms his survival instincts.
  • surrealist
    • Iain Williamson
       
      Surealism seems a common trait associated with Polanski's work.
  • Knife in the Water, Polanski’s maiden feature would define his maverick status once and for all. Polanski’s personality stamps every frame.
    • Iain Williamson
       
      This suggests that the writer favours the auteur theory...
  • One should not, however, forget the contribution of Jerzy Skolimowski,
    • Iain Williamson
       
      However, this reatains the caveat, which stem frm the form wars of the 70s and in particular, the Kael/Bogdanovich debate.
  • These elements work in alliance with the film’s dialogue time and again.
  • These elements work in alliance with the film’s dialogue time and again.
  • These elements work in alliance with the film’s dialogue time and again
    • Iain Williamson
       
      Is this metaphorical style used in other Polanski fims?
  • ith Michelangelo Antonioni, Claude Chabrol, Louis Malle, and with Central European directors like Miklos Jancso, Jan Nemec, and Ewald Schorm
    • Iain Williamson
       
      This would offer alternative comparative analysis if you choose to do only 1 or 2 Polanski texts.
  • chamber cinema,
    • Iain Williamson
       
      Worth researching this term further...
  • And at every turn, the weather dictates the fickle mood. The desolate horizons in every direction. The waters of the lake, now placid, now whipped into irritation. The glaring sun at noon. The milky light of a summer’s evening. The dark, ominous massing of clouds.
Iain Williamson

'In a World' of Movie Trailers: The History of the Best Part of Going to the ... - 0 views

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    Worth watching this video if you're an IB Film (HL) student thinking about producing a trailer for your work!
shivers1997

Cannes 2014: Quentin Tarantino declares 'cinema is dead' ahead of Pulp Fiction screenin... - 0 views

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    "Death Of Cinema"
Stephanie Dixon

» The Draughtsman's Contract - 0 views

  • Yet in Greenaway’s world, systems or codes of any kind are treated as inadequate, hopelessly subjective fantasies that deserve contempt, not respect. Categorical thinking claims it makes the world easier to understand; Greenaway maintains it distorts the world by forcing it into unnatural categories. Many of his films satirise catalogues and organising principles, firstly by presenting absurd examples of each, and secondly by structuring events around them
    • Stephanie Dixon
       
      This reading of the world that Greenaway creates goes well with the reading of the statue that suggests that it a metaphor for the unpredictability of the real world. The statue captures an ideal form and it is a fixed representation. By having it move around, Greenaway exercises a sense of satire on his world of the Draughtsman's contract. 
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    "Yet in Greenaway's world, systems or codes of any kind are treated as inadequate, hopelessly subjective fantasies that deserve contempt, not respect. Categorical thinking claims it makes the world easier to understand; Greenaway maintains it distorts the world by forcing it into unnatural categories. Many of his films satirise catalogues and organising principles, firstly by presenting absurd examples of each, and secondly by structuring events around them"
Iain Williamson

vol. 1, issue 1 | cléo - 3 views

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    Excellent resource for Film Studies students.
Iain Williamson

Meet the Reader: How to Write a Screenplay in Nine (Not So) Easy Steps - 2 views

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    This is a fantastic resource to use for all budding IB Film scriptwriters.
Iain Williamson

Cinephilia and Beyond * Sam Peckinpah's 2 hour film school: The track... - 1 views

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    Great IB Film resource...
Iain Williamson

mobygratis - 1 views

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    Free music from Moby for Film/Media purposes
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