Search The Internet Movie Database Enter the name of a movie, TV show, or person and then
click "Go" to get more information about it/them from
imdb.com.
One way to navigate this directory is to use syllbus, another -- to use the floating frame (top left), and the new one -- htmlgears.
There is another approach -- vertical narratives, which I hadn't master yet. For example, you are interested in cinematography ONLY, there must be a new page-directory where the links are arranged into CINEMATOGRAPHY order. Or ACTING FOR THE CAMERA. This is what hypertext can offer!
Why didn't I do it? Check the Virtual Theatre for my thoughts on this subject. Not only the extra-work, but the questions how each file must be rearranged in order to be linked to different narratives.
So, for now I try to link each "subject" page with other subject files -- Actors with both System of the Method and Biomechanics. But how much an actor should know about Visual Composition (a must for directors). This "polyphonic" principle is applicable only to the web, friends, and I would love to make some use of it. Anatoly 2001
* Illustrations: historical images (old archives), photos from my own productions, pix from the classics (fine art & sculpture). In short, everything that is copyright free. *
... What? Another textbook? On Film Directing? No, I am to use "The Grammar of the Film Language" for my classes! Well, if I am to work on my own, I would call it "Film directing for Actors"! What actors need to know about filmmaking...
NB. Interesting criteria for web applications (Amazon): utility 50%, scalability 10%, elegance 10%, efficieny 10%, portability 10% and the "coolness" factor -- 10%!
Summary
All Notes pages are for myself or for you, if you're interested what I have on my mind for the future changes on Film-North site. The big plans are linked to the Virtual Theatre projects; the small ones -- to add the graphics (and to write out the notes). It would be nice to develop the pages intro "workbook" type. I added the Summary, Questions, Homework sub-titles already. Next? The hyper-linked Glossary in every directory. References and Books and biblio pages. There are appendix and list pages to list the credits, illustrations, individual files... in this embrio forms.
There must be a better way to arrange the inner links! And to make them two-way connections. See Instructors page.
I have to move some texts into directory (supporting film classes -- basics).
WEB-CREDO: In what way my webpages could be useful = the manner I myself use them. I keep my notes, the important stuff I have to remember when I teach, direct or write. About Chekhov or Stanislavsky, Sophocles or Brehct, the principles and thoughts that need constant attention because they have no final answers, but endless questioning.
Long ago Hegel said that "trurth is a process" and I believe that being is becoming. So, I place some notes (and quotes -- to stimulate myself), something to remind me what is in focus, to help myself to stay focused... If reading those pages can help you as well, great. If not, fine. It helps me.
I try to limit myself, to the same names, the same titles. I believe that reading Shakespeare ten times is better experience than reading 10 new unknown plys. My webpages evolve without any specific plans, I made them and I workon them on the "need only" basis. You see, I do not have a "situation" page, I deal with this construct daily -- in class, on stage, on page... For actors, directors, writers? For myself!
Do I understand (dramatic) "situation"? Maybe more than my students... Well, I write it only to explain why I have my webpages and have so many. To explain what you can expect from the pages and me.
Yes, the "notes" are for myself -- and for you, if you want to know what I have in mind for this directory, what changes I plan to make, what (according to me) is missing, or not working. Usually, for the next wave of rewrites.
My comments on the class, too.
You are welcome to do the same! Use the guestbooks.
NB. The irony, my webpages are nothing but notes and notes on notes (not real texts) and I do not know how much they can help you, if you are not in my classes, or not taking your notes in class.
Well, originally webpages in each directory were bilt for the class use, but now I use them more and more for other classes (without any system of connections). Logic? How to link the subject pages in Film Directing with 200X Aesthetics, where I introduce the basics of film? And how to place the links in 200X Files back to filmmaking pages? [ I already have too many "htmlgears" for redirection. ]
Good idea (new): posting the segments from the movies scripts to use them, while watching the same scenes on the screen.
workshop (style) : in class and home
scenes (list)
...
film.vtheatre.net pages are poorly intergrated (film analysis). I will need them for my lecture (first) segment every monday!
[ this and any directory must have CONTENT connections with the other directories, not just links! For example, film and stage directing. According to Godard, mise-en-scene is a part of montage -- and mise-en-scene (primary motion) is associated with realism (v. expressionism = montage). So, what is this equivalent of "expressionism" (montage) in stage directions? Lighting, sound? ]
Many questions do not belong to this directory and I try to move them to THR334 Film Analysis pages. Also, there is a new strange directory Film600: Bad Theory, Wrong Subjects (postmodernism approach to film theory). I do not use subdirectory Research, which I started, when I thought about my online portfolio (too formal).
Of course, there are POV texts I haven't touch in years (nonfiction). Nevertheless, I still hope that somehow all of this could come together...
Scenes from shows: Glass Menagerie (scenes, Laura-Jim * scene 7 or Tom (monologue) -- Amanda ), Pinter (bring what you're working on in class). Oleanna scenes?
[from "Lady with a Dog"]
One evening he was dining in the gardens, and the lady in the béret came up slowly to take the next table. Her expression, her gait, her dress, and the way she did her hair told him that she was a lady, that she was married, that she was in Yalta for the first time and alone, and that she was dull there. . . . The stories told of the immorality in such places as Yalta are to a great extent untrue; he despised them, and knew that such stories were for the most part made up by persons who would themselves have been glad to sin if they had been able; but when the lady sat down at the next table three paces from him, he remembered these tales of easy conquests, of trips to the mountains, and the tempting thought of a swift, fleeting love affair, a romance with an unknown woman, whose name he did not know, suddenly took possession of him.
He beckoned coaxingly to the Pomeranian, and when the dog came up to him he shook his finger at it. The Pomeranian growled: Gurov shook his finger at it again.
The lady looked at him and at once dropped her eyes.
"He doesn't bite," she said, and blushed.
"May I give him a bone?" he asked; and when she nodded he asked courteously, "Have you been long in Yalta?"
"Five days."
"And I have already dragged out a fortnight here."
There was a brief silence.
"Time goes fast, and yet it is so dull here!" she said, not looking at him.
"That's only the fashion to say it is dull here. A provincial will live in Belyov or Zhidra and not be dull, and when he comes here it's 'Oh, the dulness! Oh, the dust!' One would think he came from Grenada."
She laughed. Then both continued eating in silence, like strangers, but after dinner they walked side by side; and there sprang up between them the light jesting conversation of people who are free and satisfied, to whom it does not matter where they go or what they talk about. They walked and talked of the strange light on the sea: the water was of a soft warm lilac hue, and there was a golden streak from the moon upon it. They talked of how sultry it was after a hot day. Gurov told her that he came from Moscow, that he had taken his degree in Arts, but had a post in a bank; that he had trained as an opera-singer, but had given it up, that he owned two houses in Moscow. . . . And from her he learnt that she had grown up in Petersburg, but had lived in S---- since her marriage two years before, that she was staying another month in Yalta, and that her husband, who needed a holiday too, might perhaps come and fetch her. She was not sure whether her husband had a post in a Crown Department or under the Provincial Council -- and was amused by her own ignorance. And Gurov learnt, too, that she was called Anna Sergeyevna.
Another segment:
The room was close and smelt of the scent she had bought at the Japanese shop. Gurov looked at her and thought: "What different people one meets in the world!" From the past he preserved memories of careless, good-natured women, who loved cheerfully and were grateful to him for the happiness he gave them, however brief it might be; and of women like his wife who loved without any genuine feeling, with superfluous phrases, affectedly, hysterically, with an expression that suggested that it was not love nor passion, but something more significant; and of two or three others, very beautiful, cold women, on whose faces he had caught a glimpse of a rapacious expression -- an obstinate desire to snatch from life more than it could give, and these were capricious, unreflecting, domineering, unintelligent women not in their first youth, and when Gurov grew cold to them their beauty excited his hatred, and the lace on their linen seemed to him like scales.
But in this case there was still the diffidence, the angularity of inexperienced youth, an awkward feeling; and there was a sense of consternation as though some one had suddenly knocked at the door. The attitude of Anna Sergeyevna -- "the lady with the dog" -- to what had happened was somehow peculiar, very grave, as though it were her fall -- so it seemed, and it was strange and inappropriate. Her face dropped and faded, and on both sides of it her long hair hung down mournfully; she mused in a dejected attitude like "the woman who was a sinner" in an old-fashioned picture.
"It's wrong," she said. "You will be the first to despise me now."
There was a water-melon on the table. Gurov cut himself a slice and began eating it without haste. There followed at least half an hour of silence.
amazon.com * movimaking online book * wikipedia
directory (supporting film classes -- basics).
2005 * After so many years of webbing I cannot change the nature of my webpages -- they are what they were from the start; notes, thoughts, points I make for myself for classes and productions. Do they have an independent existence? Maybe, somewhere in the future...
©2004 filmplus.org *
