EDUCATIONAL OBJECTIVES: Acquisition of theoretical and practical elements on Filmmaking.
Curriculum
teacher profile teaching materials
II: How to proceed in writing a screenplay-treatment for documentary cinema and exercises with viewing excerpts from a selection of documentary films.
The different methodologies to adopt to make a documentary film compared to subjects and history: the most analytical approach of study and in-depth knowledge of the character before the start of the shooting, and the most direct approach to discovering the character and the story together with the camera. Exercises starting from the stories identified by the participants.
III: On the basis of the adopted point of view and of the language used, choice of technical shooting equipment, sound and crew necessary for the realization of the documentary film.
IV: Shooting techniques: formats, lenses, and accessories. Practical exercises are foreseen starting from the loglines sent by the students.
V: Shooting: hand camera, tripod and steadycam. How, why and when to use them. Practical exercises are planned.
VI: Scenes, how to set up the shooting and why. Cuts and shots.
VII: Cinematographic sequences, how to approach them and which grammar to use. Expressive choices and aesthetic choices.
VIII: Sound, between shooting, editing and audio mix.
IX: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part I.
X: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part II.
XI: Assembly: what it is and how to deal with it. From the choice and the lineup of materials, to the actual rewriting and research of dramaturgy through images.
XII Post-production, music, titles and effects. The invisible importance of careful finalization.
1) Italo Calvino, Lezioni americane (Six Memos for the Next Millennium)
2) Walter Murch, In un batter d'occhi. Una prospettiva sul montaggio cinematografico nell'era digitale (In the Blink of an Eye: A Perspective on Film Editing, 2nd Edition)
3) Ivelise Perniola, L'era postdocumentaria.
Filmography:
- La scomparsa di mia madre (Beniamino Barrese, 2019)
- Normal (Adele Tulli, 2019)
- Selfie (Agostino Ferrente, 2019)
- Linfa (Carlotta Cerquetti, 2018)
- Fuocoammare (Gianfranco Rosi, 2016)
- Saro (Enrico Maria Artale, 2016)
- 1960 (Gabriele Salvatores, 2010)
Antonietta De Lillo's filmography:
- Il Resto di Niente (2004)
- Let's Go (2014)
- OGGI INSIEME DOMANI ANCHE film partecipato (2015)
- Metamorfosi napoletane (2018)
Mutuazione: 20709146 LABORATORIO DI FILMAKING 3 in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 N0 de lillo antonietta
Programme
I: Identify the subject of the story and the subtext. Choice of the point of view adopted to tell the story and practical exercises starting from the loglines presented by the students.II: How to proceed in writing a screenplay-treatment for documentary cinema and exercises with viewing excerpts from a selection of documentary films.
The different methodologies to adopt to make a documentary film compared to subjects and history: the most analytical approach of study and in-depth knowledge of the character before the start of the shooting, and the most direct approach to discovering the character and the story together with the camera. Exercises starting from the stories identified by the participants.
III: On the basis of the adopted point of view and of the language used, choice of technical shooting equipment, sound and crew necessary for the realization of the documentary film.
IV: Shooting techniques: formats, lenses, and accessories. Practical exercises are foreseen starting from the loglines sent by the students.
V: Shooting: hand camera, tripod and steadycam. How, why and when to use them. Practical exercises are planned.
VI: Scenes, how to set up the shooting and why. Cuts and shots.
VII: Cinematographic sequences, how to approach them and which grammar to use. Expressive choices and aesthetic choices.
VIII: Sound, between shooting, editing and audio mix.
IX: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part I.
X: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part II.
XI: Assembly: what it is and how to deal with it. From the choice and the lineup of materials, to the actual rewriting and research of dramaturgy through images.
XII Post-production, music, titles and effects. The invisible importance of careful finalization.
Core Documentation
Bibliography:1) Italo Calvino, Lezioni americane (Six Memos for the Next Millennium)
2) Walter Murch, In un batter d'occhi. Una prospettiva sul montaggio cinematografico nell'era digitale (In the Blink of an Eye: A Perspective on Film Editing, 2nd Edition)
3) Ivelise Perniola, L'era postdocumentaria.
Filmography:
- La scomparsa di mia madre (Beniamino Barrese, 2019)
- Normal (Adele Tulli, 2019)
- Selfie (Agostino Ferrente, 2019)
- Linfa (Carlotta Cerquetti, 2018)
- Fuocoammare (Gianfranco Rosi, 2016)
- Saro (Enrico Maria Artale, 2016)
- 1960 (Gabriele Salvatores, 2010)
Antonietta De Lillo's filmography:
- Il Resto di Niente (2004)
- Let's Go (2014)
- OGGI INSIEME DOMANI ANCHE film partecipato (2015)
- Metamorfosi napoletane (2018)
Type of delivery of the course
There are 12 attendance lessons, each of which has a specific topic that teaches students the technique for making a documentary film. For didactic purposes, practical exercises and film visions are provided, strictly related to the topics covered.Attendance
Being a practical laboratory, frequency and continuity are indispensable for understanding the techniques for producing a documentary film.Type of evaluation
The laboratory aims to teach students how to make a documentary film, starting from the students' proposals, and unfolding itself through the practical realization of the techniques of making a documentary film. The evaluation of the students will be created on the basis of the project that it will be realised. teacher profile teaching materials
II: How to proceed in writing a screenplay-treatment for documentary cinema and exercises with viewing excerpts from a selection of documentary films.
The different methodologies to adopt to make a documentary film compared to subjects and history: the most analytical approach of study and in-depth knowledge of the character before the start of the shooting, and the most direct approach to discovering the character and the story together with the camera. Exercises starting from the stories identified by the participants.
III: On the basis of the adopted point of view and of the language used, choice of technical shooting equipment, sound and crew necessary for the realization of the documentary film.
IV: Shooting techniques: formats, lenses, and accessories. Practical exercises are foreseen starting from the loglines sent by the students.
V: Shooting: hand camera, tripod and steadycam. How, why and when to use them. Practical exercises are planned.
VI: Scenes, how to set up the shooting and why. Cuts and shots.
VII: Cinematographic sequences, how to approach them and which grammar to use. Expressive choices and aesthetic choices.
VIII: Sound, between shooting, editing and audio mix.
IX: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part I.
X: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part II.
XI: Assembly: what it is and how to deal with it. From the choice and the lineup of materials, to the actual rewriting and research of dramaturgy through images.
XII Post-production, music, titles and effects. The invisible importance of careful finalization.
1) Italo Calvino, Lezioni americane (Six Memos for the Next Millennium)
2) Walter Murch, In un batter d'occhi. Una prospettiva sul montaggio cinematografico nell'era digitale (In the Blink of an Eye: A Perspective on Film Editing, 2nd Edition)
3) Ivelise Perniola, L'era postdocumentaria.
Filmography:
- La scomparsa di mia madre (Beniamino Barrese, 2019)
- Normal (Adele Tulli, 2019)
- Selfie (Agostino Ferrente, 2019)
- Linfa (Carlotta Cerquetti, 2018)
- Fuocoammare (Gianfranco Rosi, 2016)
- Saro (Enrico Maria Artale, 2016)
- 1960 (Gabriele Salvatores, 2010)
Antonietta De Lillo's filmography:
- Il Resto di Niente (2004)
- Let's Go (2014)
- OGGI INSIEME DOMANI ANCHE film partecipato (2015)
- Metamorfosi napoletane (2018)
Programme
I: Identify the subject of the story and the subtext. Choice of the point of view adopted to tell the story and practical exercises starting from the loglines presented by the students.II: How to proceed in writing a screenplay-treatment for documentary cinema and exercises with viewing excerpts from a selection of documentary films.
The different methodologies to adopt to make a documentary film compared to subjects and history: the most analytical approach of study and in-depth knowledge of the character before the start of the shooting, and the most direct approach to discovering the character and the story together with the camera. Exercises starting from the stories identified by the participants.
III: On the basis of the adopted point of view and of the language used, choice of technical shooting equipment, sound and crew necessary for the realization of the documentary film.
IV: Shooting techniques: formats, lenses, and accessories. Practical exercises are foreseen starting from the loglines sent by the students.
V: Shooting: hand camera, tripod and steadycam. How, why and when to use them. Practical exercises are planned.
VI: Scenes, how to set up the shooting and why. Cuts and shots.
VII: Cinematographic sequences, how to approach them and which grammar to use. Expressive choices and aesthetic choices.
VIII: Sound, between shooting, editing and audio mix.
IX: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part I.
X: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part II.
XI: Assembly: what it is and how to deal with it. From the choice and the lineup of materials, to the actual rewriting and research of dramaturgy through images.
XII Post-production, music, titles and effects. The invisible importance of careful finalization.
Core Documentation
Bibliography:1) Italo Calvino, Lezioni americane (Six Memos for the Next Millennium)
2) Walter Murch, In un batter d'occhi. Una prospettiva sul montaggio cinematografico nell'era digitale (In the Blink of an Eye: A Perspective on Film Editing, 2nd Edition)
3) Ivelise Perniola, L'era postdocumentaria.
Filmography:
- La scomparsa di mia madre (Beniamino Barrese, 2019)
- Normal (Adele Tulli, 2019)
- Selfie (Agostino Ferrente, 2019)
- Linfa (Carlotta Cerquetti, 2018)
- Fuocoammare (Gianfranco Rosi, 2016)
- Saro (Enrico Maria Artale, 2016)
- 1960 (Gabriele Salvatores, 2010)
Antonietta De Lillo's filmography:
- Il Resto di Niente (2004)
- Let's Go (2014)
- OGGI INSIEME DOMANI ANCHE film partecipato (2015)
- Metamorfosi napoletane (2018)
Type of delivery of the course
There are 12 attendance lessons, each of which has a specific topic that teaches students the technique for making a documentary film. For didactic purposes, practical exercises and film visions are provided, strictly related to the topics covered.Attendance
Being a practical laboratory, frequency and continuity are indispensable for understanding the techniques for producing a documentary film.Type of evaluation
The laboratory aims to teach students how to make a documentary film, starting from the students' proposals, and unfolding itself through the practical realization of the techniques of making a documentary film. The evaluation of the students will be created on the basis of the project that it will be realised.