Master in film direction 2015/2016 English

BANDE À PART ESCUELA DE CINE | BARCELONA

MASTER IN FILM DIRECTION2016 / 2017

París 143 - local. 08036 Barcelona · Tel: +34 93 444 76 78. Fax: +34 93 419 13 89 · [email protected]

www.bandeapart.org

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BANDE À PART ESCUELA DE CINE | BARCELONAParís 143 - local. 08036 Barcelona · Tel: +34 93 444 76 78. Fax: +34 93 419 13 89 · [email protected]

www.bandeapart.org


COURSE STARTS 2016/2017:OCTOBER 2016.

SCHEDULE:16 teaching hours in the afternoon shift with student availability between 16h and 21:30 h from Monday to FridayFEES :We have two payment options:• Payment by instalments: TOTAL: 10.975€With an registration fee of 1.900 € and eleven monthly payment of 825 €(from November 2016 to September 2017, both included)• Single payment: 9.875 € (This option involves a bonus of 1.100 €)REQUIREMENTS:Degree in audiovisual arts or previous curriculum. Entrance test.Places will be allocated in strict order of registration.

REGISTER NOW1. Download the registration form in www.bandeapart.org2. Fill in all pages and select the course and payment form (single or monthly ).3. Sing all pages of the application form and, once you have paid, send them toghether with the payment proof and a photocopy of your identity card or passport to our administration departament.

By MAIL: [email protected] FAX: Nº de Fax: +34 934191389By POST: Bande à Part Escuela de Cine c/ París, 143 · Local 08036 Barcelona · España

4. Once all documents have been receibed,you will receive confirmation of your place.If you have any queries, please address them to our department of student assistance and information

Monday to Friday from 10:00 am to 9:00 pm

Tel.:+34 934447678Skype: bandeapartbcnE mail: [email protected]

REGISTER NOW

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If you want culminate your training and be prepared for your future career as Director of movies or any other audiovisual format (TV, Video-Clips, Radio Spots ...) our Master in Film Direction offers you an intensive program on the subject that enable you to write, direct and edit �lms.

Our Master in Film Direction is the only one in Spain in which every student shoots his GRADUATION SHORTFILM IN RED ONE, a professional movie format, and during the course on the development of a FEATURE FILM SCRIPT. Because your next destination is the audiovisual industry.

If your goals are �rm you’ll be faced to a very intense year; the Master in Film Direction is an exigent proposal that requires from the student a dedication of many hours to re�ection, analysis and viewing of �lms, script writing, casting sessions, shooting script, production design, directing actors ...

And because the work of a director has its application in the shooting, practices during the course will offer a professional setting where develop your talent, consolidating the work with different teams and work with the latest technologies.

The preparation, the shooting and the post-production of your SHORTFILM will make you to collaborate with experts and professionals from other specialties: Actors, Photography, Camera, Production, Art Direction, Live Sound, Feature, Digital Effects, Colorists, Mixers ...

Every stage will be supervised by our teachers and technicians: idea, script development, technical writing of the script, story board, breakdown, production design, production schedule, camera tests, shooting, editing, dubbing, sound mixing, subtitling and professional completion in DCP format for the theatrical projection.

Your future starts when others people can see your work; promoting your short �lm in nationals and internationals festivals you may have new opportunities.

SUBJECT- MATTERS OF THE MASTER IN FILM DIRECTION

• Frame.

• Light.

• Color.

• Camera Movements.

• Props.

• Space.

• Sound.

• Dialogue.

• Music.

• Edition.

• Film Analysis of over 30 films.

• Film Screenplay (Short Film, Feature Film and

Documentary).

• Brief History of Film.

• The Documentary.

• The universe of the Directing Actors.

• The Director’s job.

• The jobs in the Direction team (Assistant and Script).

• Applied Film Production.

• Promotion and Distribution in Festivals.

• Professional Strategies.

• Tutoring script, production, directing actors.

• Preparation, monitoring and shooting of fiction and

documentary projects.

• Preparation of a feature script.

• Participation in professional shootings.

• Material for filming outside the training plan: free projects.

OUR MASTER IN FILM DIRECTION IS THE ONLY ONE IN SPAIN IN WHICH EVERY STUDENT SHOOTS HIS GRADUATION SHORTFILM IN RED ONE

IF YOUR GOALS ARE FIRM YOU’LL BE FACED TO A VERY INTENSE YEAR;

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• Frame.

• Light.

• Color.


• Props.

• Space.

• Sound.

• Dialogue.

• Music.

• Edition.



Documentary).















YOUR FUTURE STARTS WHEN OTHERS PEOPLE CAN SEE YOUR WORK; PROMOTING YOUR SHORT FILM IN NATIONALS AND INTERNATIONALS FESTIVALS YOU MAY HAVE NEW OPPORTUNITIES.

EVERY STAGE WILL BE SUPERVISED BY OUR TEACHERS AND TECHNICIANS: IDEA, SCRIPT DEVELOPMENT, TECHNICAL WRITING OF THE SCRIPT, ETC

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• Frame.

• Light.

• Color.


• Props.

• Space.

• Sound.

• Dialogue.

• Music.

• Edition.



Documentary).















MASTER IN FILM DIRECTION OFFERS YOU AN INTENSIVE PROGRAM ON THE SUBJECT THAT ENABLE YOU TO WRITE, DIRECT AND EDIT FILMS.

PRACTICES DURING THE COURSE WILL OFFER A PROFESSIONAL SETTING WHERE DEVELOP YOUR TALENT.

THE PREPARATION, THE SHOOTING AND THE POST-PRODUCTION OF YOUR SHORTFILM WILL MAKE YOU TO COLLABORATE WITH EXPERTS.

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• Frame.

• Light.

• Color.


• Props.

• Space.

• Sound.

• Dialogue.

• Music.

• Edition.



Documentary).















DEVELOPMENT OF THE SUBJECT-MATTERS OF THE MASTER IN FILM DIRECTION

I. Language Film in 111 Points

1. The position and distance from the camera.2. Scales frames forward and backward3. Film’s space and its functions4. Global Designs5. Camera angles and �eld of view.6. The �lm composition7. The frame and its background. Film unit.8. Iliads and Odysseys of the space.9. Balances and imbalances10. Internal structures of the image11. Active and Passives Sets12. How the space builds ideas.13. The point of view and its possibilities. Ruptures.14. An in�nite world: subjectivity15. The space: how to take out expressive dimensions in what you �lm and in the way you �lm?16. External and internal dynamic17. Associative and combinative properties of frames and spaces18. Pictures serials19. Architectures20. The frames and the multiple space.21. Light and its contributions22. A cinematographic element at the border of consciousness.23. The off field24. Cinema is what you don’t see.25. Tone: start, structure and maintenance26. Possibilities on the justi�cation or not of the light source.27. Bases of sound.28. Heard images and watchable sounds.29. The princes of darkness30. What is a real dramatic light and how to build it?31. Audiovisual balances and imbalances.32. Sounds of space. Sounds of the character.

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33. The double narrative of light34. Light Expressions35. The sound as a tool of the point of view.36. The sound, a tool of the tone.37. Photography is the truth; cinema is the truth 24 times per second.38. Categories of the dynamic light and its possibilities.39. Sound maps.40. Boundary sounds: an open door to the sound systems.41. Subjectivities of light.42. Natural light and his potential.43. The sound and the music. The sound and the dialogue.44. The character of the sound.45. Stolen light.46. The concept of availability.47. When a sound is enough, do not use the image.48. The noises as the soundtrack.49. Achromatism: white, gray and black.50. Atavisms of light and its contraries.51. Cacophony.52. The second birth of sound53. Lights and shadows, unlimited company.54. Forms of the light.55. The three routes of the dialogue.56. Functions and de�nitions.57. Continuity ruptures.58. Global systems.59. Dialogues for everybody.60. Active dialogue. Passive Dialogue61. What color is? Additive and subtractive synthesis.62. The illusory nature of the color.63. The counterpoint dialogue.64. The dialogue-noise.65. The visible spectrum.66. Primary, secondary and tertiary. Relations.67. The rhythmic dialogue.68. The progressive dialogue.69. Chromatic tonalities.70. Dominances and ways to work them.71. The dialogue in repetition.72. Words isle.73. Color: the complementary and the opposite.

74. Chromo-dynamic.75. Thematic dialogue.76. Tonal dialogue.77. Chromatic sets and integrations.78. Color methodology.79. Modal exuberances.80. Dialogue without words.81. The needs of the movements of camera and of the actors.82. Motion-change.83. The voice-off: essential premises.84. The voice-off: beyond the obvious.85. Motion-emotion.86. Considerations deciding camera movements.87. The successive and simultaneous in the camera movements.88. Taking the viewer hand in hand.89. The concept of delayed apprehension.90. Edition on the frame.91. Types of movement: Panoramic, Travelling and Crane.92. Directions.93. Speed and movement cadence.94. Form of the movement.95. Writing with the camera.96. A movement of camera is a moral issue.97. What props is?98. Different modes of props: objects, props, costumes ...99. Props Categories: common, of the space, of the character ...100. Concepts of absence, transgression and replacement.101. Objects to express the world.102. Concerts for props and orchestra.103. Basic musical concepts.104. The essence of the film music.105. The cinematographic meaning of the musical border.106. Musical tones and cinematographic tones.107. Diegetic music. Non-diegetic music.108. Intermediate diegesis.109. The leit-motif.110. Modes.111. A true musical theater.

II. Brief History of Film

1. The birth of Cinema: Lumière, Méliès ..., the birth of Film Language: DW Grif�th, Chaplin, Sjöstrom ...2. The Splendor of the Silent Movie: Murnau, Stroheim, Lubitsch, Eisenstein, Vidor, Dreyer ...3. The Birth of the Sound: Vidor, Sternberg, Lang, Renoir ...4. Construction of Classicism and Gender: Hitchcock, Hawks, Ford, Ophuls, Walsh ...5. Revolutions: Welles, Rossellini ...6. A cinema without borders: Ozu, Mizoguchi, S.Ray, Bresson, Fellini, Bergman, A.Mann, N.Ray ...7. New Cinemas: Godard, Truffaut, Antonioni, Pasolini, Cassavetes, Tarkovsky, Rocha ...8. A vanguard of the soul: Duras, Akerman, Makavejev, Garrel ...9. Neoclassicism: Coppola, Scorsese, Allen, Eastwood ...10. The cinema today: blockbusters: Spielberg, Almodóvar, Coen, Lucas ..., new looks: Kar Wai, Lynch, Tarr, Suwa, Costa ...

III. Film analysis

1. The language of images and sounds. The evolution of the topics. The big names that marked the history of cinema. The masterpieces of every genre and style. The rami�cations, in�uences and progressions. The cinema narrated by the cinema.

Titles:

*. GREED E.Von Stroheim 1924.

*. THE CROWD K.Vidor 1928.

*. HALELUYA! K. Vidor 1929.

*. DER BLAUE ENGEL.J. V. Sternberg 1930.

*. DISHONORED. J.Von Sternberg 1931.

*. M. F. Lang 1932.

*. THE BROKEN LULLABY. Ernst Lubitsch 1932.

*. L'ATALANTE. J. Vigo 1934.

*. NOTORIOUS. A. Hitchcock 1946.

*. MADAME DE… M. Ophüls 1953.

*. SOMMAREN MED MONIKA. I. Bergman 1953.

*. EL. L.Buñuel 1953

*. L'ANNÉ DERNIÈRE À MARIENBAD. A. Resnais 1957

*. THE BIRDS. A.Hitchcock 1963.

*. TINI ZABUTYKH PREDKIV. S.Paradjanov 1965.

*. LA CAZA. C. Saura 1966.

*. LA MAMAN ET LA PUTAIN. J. Eustache 1973.

*. ANGST ESSEN SEELE AUF. R. Werner Fassbinder 1974.

*. BARRY LINDON. S.Kubrick 1975.

*. MAUVAIS SANG. L. Carax 1986.

*. KÁRHOZAT. B. Tarr 1988.

*. L'ENFER. C. Chabrol 1982

*. HUNGER S. Mcqueen 2008.

*. MIDNIGHT IN PARIS W. Allen 2011.

IV. Screenplay

a) Feature:

1. Sequence and its developments.2. The construction of verisimilitude. Tone and ruptures.3. Maneuvers of the point of view.4. The time.5. The space.6. Setting. Objects.7. The Characters. Types of character.8. The con�ict. Estates of the drama.9. Dimensionalities. The construction of the character.

10. Characterization and character.11. Motivations and objectives.12. Developments and changes.13. Empathy and identification.14. The scale of values.15. Vanguard Scripts.16. The disappearance of the concept of plot.17. Motives and themes. Structures. Shapes and designs. Searches.18. Adaptation.19. Different materials of adaptation.20. Techniques and strategies. Modes. Loyalties and ruptures.21. The remake.22. Dialogue. What is a �lm dialogue? Functions and forms.23. Dialogues for everyone. Active dialogue, passive dialogue.24. Counterpoints. Cacophony. Rhythmic methods. Hook up. Progression. The Wall.25. Dialogue isle. Relations. Tonalities. No words. The universe of the off.

b) Short Film:

1. Speci�cities.2. The synthesis and the detail.3. Reason Vs. Theme.4. Dialogue friend, dialogue enemy. Beyond anecdote.5. The concept of structure in the �lm.

c) Documentary:

1. What is a documentary script?2. Different types of documentary script.3. Starting point and end point.4. Processes and analysis.5. Practice.

IV. Documentary

1. The creation of the documentary. The giant appears: Flaherty.2. The drama �lm is the opium of the people: Vertov.

3. Urban Poems (Strand, Ruttman, Cavalcanti, Shub, ...)4. English School (Grierson) and the Dutch wandering (Ivens).5. Frontier Films6. Documents of the Third Reich (Riefenstahl)7. An ethnographic �lm and the Cinema-Verité.8. The group of Drew and Direct Cinema.9. Mockumentary.10. Other routes and documentary today.

V. Directing Actors

1. Directing actors: nature and matter.2. Differences and common territories with the interpretations.3. Castings: How and Why? What we look for? Find the point. Strategies.4. The audiovisual construction of the character: the way, the gesture, the movement ..... the expression, gaze and voice ...5. The audiovisual construction of the character: The characterization, costumes, makeup ...6. Working with the actors: Objectives. The transmission of ideas. Stimuli. Collaboration.7. Previous rehearsal: When are necessary? How many? Which kind? What do we look with each rehearsal? Limits and availability.8. Speci�cs of directing actors and �lm acting. A technical world. What needs to be know and what not. T-h-e-d-i-r-e-c-t-i-o-n-f-r-a-m-e-b-y-f-r-a-m-e : direct and interpret pieces of a puzzle.9. Shooting rehearsal: The mechanization of the action. Balance between the character's life and the mechanics of the frame.10. Directing the actor and directing the movie I: The technique is not the rival of the actor. The direction of the actors begins in the camera angle and ends on the light.11. Directing the actor and directing the movie II: The relations with the actor further than the work on the character. Directing between frames. We are all the same but some less equal than others.12. Directing multiple actors I: When there is more than one actor in the set. One plus one is three!

13. Directing multiple actors II: Differences in the direction of leading and secondary actors with small parts. Harmonization.14. Directing multiple actors III: The �guration also has to be directed. Levels of importance and adjustments. Modes.15. The direction of actors through the Film History I: Different styles of directing actors and the different methods of great directors. From the beginnings of the Cinema to the 2nd World War.16. The direction of actors through the Film History II: The different styles of directing actors and the various methods of the great directors. From the 50s to today.

VI. The Profession of the Director

1. Planning a sequence. Artistic principles and style.2. Make movies with what you have: �t to the production resources.3. Shooting Script and Story-board.4. Locations and sets.5. Preparation: the breakdown of the script.6. The shooting schedule.7. Worksheets. Call-sheets.8. Organizing the shooting.9. Editing rushes. Kilometre Zero.10. The choice of the takes: image and sound.11. Applying the forsee order.12. Building the structure.13. Editing against the shooting.14. Sound. Transformations.15. Dubbing. Wild-tracks. Hall Effect. Music16. You’ll edit again!!!

VII. The Professions of the Directing crew (Assistant director and Script supervisor)

1. Assistant Director: Differences between working by "hand" or using the industry standard software. The EPS program.

2. Preparation of the script and Breakdown: Adapting the program to the user's preferences. Bene�ts. Create lists automatically. Reviews.3. Introduction of elements in the breakdown sheet, modi�cations, rearrangements of positions categories.4. Duplications, treatments and breakdown of simple and multi-layer scenes.5. Shooting schedule: ranking and selection tools according to preference (Ext / Int., Availability of Actors and Locations ...)6. Establishing the calendar depending on requirements or limitations.7. Reports occurrence (per scene, per day of shooting, by ...)8. Days of calls for each element according to the day of shooting (Date out of dates-DooD-).9. Design and adaptation of Reports, Running Plans, Forecasts ...10. Practice using the software with a movie of these days.11. A day of shooting for a script supervisor. Before and after. Where did we come from? Where are we going?12. Prior Timing and its importance. Relation materials / duration in the shootings in cinema. Responsibility of the Script supervisor.13. Chronology of the story: Time marks the continuity.14. Observing the actors: the invisible marking. What does a Script supervisor in the shooting?15. Continuity lists, camera sheets, sound sheets, editing lists, production lists, time reports ...16. After shooting: Editing Script, List of dialogues.

VIII. Applied Film Production

1. Legal fundaments: what you should know in Film Production.2. Rights and Image Authoring (Assignments)3. Grants, Sponsorships, Private Finance. Budget (s) The day-to-day Executive Producer4. Promotion. Posters and press-books. The making off. Web page: Viral is visible.

5. The Management of the Copy: Festivals. Theatrical exhibition, Mass Media and new medias6. As far as the production arrives.

IX. The Student and The School

1. Shooting.

2. The universe of directing actors. Immersion in the script.

3. Reflection on cinematographic themes.

4. Analysis of over 30 films which cover the history of cinema.

5. Previous research to a documentary

6. Preparation, supervision and shooting of projects.

7. Tutoring of script, directing, directing actors ...

8. Preparation of short �lm projects to submit to subsidies.

9. Preparation of the �rst feature �lm.

10. Opportunity to use the equipment for practices and short

outside of the training plan.

11. Knowledge and practices of the Directing crew trades

making short-�lms.






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III. Film analysis


Titles:






*. M. F. Lang 1932.



















IV. Screenplay

a) Feature:



b) Short Film:


c) Documentary:


IV. Documentary



V. Directing Actors












1. Shooting.



















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III. Film analysis


Titles:






*. M. F. Lang 1932.



















IV. Screenplay

a) Feature:



b) Short Film:


c) Documentary:


IV. Documentary



V. Directing Actors












1. Shooting.



















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III. Film analysis


Titles:






*. M. F. Lang 1932.



















IV. Screenplay

a) Feature:



b) Short Film:


c) Documentary:


IV. Documentary



V. Directing Actors












1. Shooting.





















III. Film analysis


Titles:






*. M. F. Lang 1932.


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IV. Screenplay

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b) Short Film:


c) Documentary:


IV. Documentary



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1. Shooting.





















III. Film analysis


Titles:






*. M. F. Lang 1932.



















IV. Screenplay

a) Feature:


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b) Short Film:


c) Documentary:


IV. Documentary



V. Directing Actors












1. Shooting.





















III. Film analysis


Titles:






*. M. F. Lang 1932.



















IV. Screenplay

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b) Short Film:


c) Documentary:


IV. Documentary


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V. Directing Actors












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III. Film analysis


Titles:






*. M. F. Lang 1932.



















IV. Screenplay

a) Feature:



b) Short Film:


c) Documentary:


IV. Documentary


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V. Directing Actors












1. Shooting.





















III. Film analysis


Titles:






*. M. F. Lang 1932.



















IV. Screenplay

a) Feature:



b) Short Film:


c) Documentary:


IV. Documentary



V. Directing Actors







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1. Shooting.





















III. Film analysis


Titles:






*. M. F. Lang 1932.



















IV. Screenplay

a) Feature:



b) Short Film:


c) Documentary:


IV. Documentary



V. Directing Actors










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1. Shooting.












