* filmplus.org/style analysis POV
2008 class -- 4 Masters @ vtheatre.net/fm
8.5 -- analysis on style
Vertov's lessons [Man with a Movie Camera] -- director as a narrator, i.e. stylist!
Elements of style [list]
Bordwell [textbook] -- chapter on style.
Images & symbols [and signs]
Mise-en-scene -- casting is tyle, too! [ see pix on this page ]
The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn't. - Jean-Luc Godard
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KEY TERMS: Glossary
Method for Directors?
ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA
new: 2003 *
QuestionsTo me style is just the outside of content, and content the inside of style, like the outside and the inside of the human body. Both go together, they can't be separated. - Jean-Luc Godard
NotesThis subject is discussed on my film analysis webpages.
Documentary films interviews *
You know that each director must have his own style. There two answers why it is so -- short and long one. The short is commercial; the unique style is your ability to say the old stories in a new way. They give your a proven formula story and you make money selling it again.
The long answer involves theory about texture and structure, Aristotle and other interesting subjects.
Anyway, a new director must have his NEW voice. You know how it is in the music industry. So, what is youes?
If you read "The Poetics," you know that Aristotle separated three categories under TEXTURE: language, music and spectacle. In our case this is FILM language and each director has its own use of it (style?) -- and "music" (read it as THEME(s) -- each director has his own thematic core). Finally, the spectacle: film is the SPECTACLE!
After a few minutes we know it, we sense it, the style. Especially, with the masters; Fillini and Bergman are so different that we can recognize the individual style in a single shot!
[ see more see film.vtheatre.net ]
[ I do not have a page on documentary & camera-style; here are some links to Vertov (Man with a Camera). ]
Our eyes see very little and very badly – so people dreamed up the microscope to let them see invisible phenomena; they invented the telescope…now they have perfected the cinecamera to penetrate more deeply into he visible world, to explore and record visual phenomena so that what is happening now, which will have to be taken account of in the future, is not forgotten. —Provisional Instructions to Kino-Eye Groups, Dziga Vertov, 1926
Dziga Vertov (January 2, 1896 - February 12, 1954), was a Russian documentary film and newsreel director. Vertov was born Denis Abramovich Kaufman to Jewish intellectuals living in Bialystok--at the time a Russian territory--and Russified his Jewish patronymic to Arkadievich in his youth. Kaufman studied music at Bialystok Conservatory until his parents fled with their family from the invading German army to Moscow in 1915; they soon settled in St. Petersburg, where Kaufman began writing poetry and science fiction/satire. In 1916-1917 Kaufman was studying medicine at the Psychoneurological Instituted in St. Petersburg and experimenting with "sound collages" in his free time. Kaufman adopted the name "Dziga Vertov", which connotes "turning, revolving"; Vertov's political writings and his work on the Kino-Pravda newsreel series shows a revolutionary bent which is perhaps unsurprising. wikipedia
documentary page (?)
[ segments in class ]
RIEFENSTAHL' shots [Olimpia]
and Orson Welles' Citizen Kane.
You have to shoot a few shorts first!
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