The course aims to provide students with the basic knowledge about the realization of an audiovisual product, through the direct involvement of the participants. In particular, it aims to provide knowledge concerning: 1) the three production steps of writing, production, post-production; 2) the functioning of audiovisual language, including its rhetoric; 3) the making of short audiovisual stories through easily accessible technological devices.
Curriculum
teacher profile teaching materials
Choice of the point of view to adopt to tell the character.
How to proceed in the drafting of a screenplay-treatment for documentary cinema and exercises with viewing of extracts from a selection of documentary films.
The different methodologies to be adopted to make a documentary film with respect to the subjects and their stories: the more analytical approach to study and in-depth knowledge of
character before the start of filming and the more direct approach to discovering the character and the story together with the camera. Exercises starting from the stories
identified by the participants.
January 10, 2023
On the basis of the point of view adopted and the language used, choice of the technical equipment, sound and crew necessary for the making of the documentary film.
Shooting techniques: formats, objectives, and accessories. Practical exercises are foreseen starting from the loglines sent by the students.
January 11, 2023
Shooting: handheld camera, tripod and steadycam. How, why and when to use them. Practical exercises are foreseen.
The scenes, how to set up the shots and why. Cuts and shots.
The cinematic sequences, how to approach them and which grammar to use. Expressive choices and aesthetic choices.
January 12, 2023
The sound, between shooting, editing and audio mixing.
Montage: what it is and how to deal with it. From the choice and line-up of materials, to the real rewriting and research of dramaturgy through images.
Post-production, music, titles and effects. The invisible importance of careful finalization.
January 13, 2023
Final reflections on the subjects proposed by the students and on the project sheet developed by each during the workshop, in preparation for the exercises to be carried out in
view of eligibility.
2) Walter Murch, In un batter d'occhi. Una prospettiva sul montaggio cinematografico nell'era digitale.
3) Ivelise Perniola, L'era postdocumentaria.
Programme
January 9, 2023Choice of the point of view to adopt to tell the character.
How to proceed in the drafting of a screenplay-treatment for documentary cinema and exercises with viewing of extracts from a selection of documentary films.
The different methodologies to be adopted to make a documentary film with respect to the subjects and their stories: the more analytical approach to study and in-depth knowledge of
character before the start of filming and the more direct approach to discovering the character and the story together with the camera. Exercises starting from the stories
identified by the participants.
January 10, 2023
On the basis of the point of view adopted and the language used, choice of the technical equipment, sound and crew necessary for the making of the documentary film.
Shooting techniques: formats, objectives, and accessories. Practical exercises are foreseen starting from the loglines sent by the students.
January 11, 2023
Shooting: handheld camera, tripod and steadycam. How, why and when to use them. Practical exercises are foreseen.
The scenes, how to set up the shots and why. Cuts and shots.
The cinematic sequences, how to approach them and which grammar to use. Expressive choices and aesthetic choices.
January 12, 2023
The sound, between shooting, editing and audio mixing.
Montage: what it is and how to deal with it. From the choice and line-up of materials, to the real rewriting and research of dramaturgy through images.
Post-production, music, titles and effects. The invisible importance of careful finalization.
January 13, 2023
Final reflections on the subjects proposed by the students and on the project sheet developed by each during the workshop, in preparation for the exercises to be carried out in
view of eligibility.
Core Documentation
1) Italo Calvino, Lezioni americane.2) Walter Murch, In un batter d'occhi. Una prospettiva sul montaggio cinematografico nell'era digitale.
3) Ivelise Perniola, L'era postdocumentaria.
Reference Bibliography
FILMOGRAPHY - Tutto su mia madre, Pedro Almodovar (1999) - El Sicario, Gianfranco Rosi (2010) - Selfie, Agostino Ferrente (2019) ANTONIETTA DE LILLO'S FILMOGRAPHY - La pazza della porta accanto (2013) - Let's Go (2014) - Metamorfosi napoletane (2018) - Fulci Talks (2021)Type of delivery of the course
There are 5 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, developing 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 realize.