Deleuze: Cinema 1

Notes from Deleuze's Cinema 1

P13 The frame therefore forms a sets which has a great number of parts, that is of elements, which themselves form subsets. It can be broken down.

Image [en image]

Elements are the data [données]

P14 The frame has always been geometrical or physical

The frame is therefore sometimes conceived of as a spatial composition of parallels and diagonals

The frame is conceived as a dynamic construction in act [en acte], which is closely linked to the scene, the image, the characters and the objects which fill it.

P15 physical or dynamic conception of the frame produces imprecise sets which are now only divided into zones or bands.

P16 The cinematographic image is always dividual. This is because, in the final analysis, the screen as the frame of frames, gives a common standard of measurement to things which do no not have one – long shots of countryside and close-ups of the face…-part which do not have the same denominator of distance, relief or light. In all these scenes the frame ensures a deterritorialisation of the image.

the frame is related to an angle of framing. This is because the closed set is itself an optical system which refers to a point of view on the set of parts.

p20 Cutting [decoupage] is the determination of the shot, and the shot, the determination of the movement which is established in the closed system, between elements or parts of the set.

it is the relationship between parts and it is the state [affection] of the whole.

From one point of view, it’s called relative; from the other , it’s called absolute.

P25 movement is therefore not for itself as remains attached to elements, characters and things which serve depth, such that the moving body goes through it in passing from one spatial shot/plane [plan] to another…

p26 define a primitive state of the camera where the image is in movement rather than being movement-image.

P27 multiple points of view.

Depth is no longer conceived

P29 False continuity is neither a connection of continuity, nor a rupture or a discontinuity in the connection.

Green Screen

History of Green Screen

Chroma key compositing (or chroma keying) is a technique for compositing two images or frames together in which a color (or a small color range) from one image is removed (or made transparent), revealing another image behind it. This technique is also referred to as color keying, colour-separation overlay (CSO; primarily by theBBC^[1]), greenscreen, and bluescreen. It is commonly used for weather forecast broadcasts, wherein the presenter appears to be standing in front of a large map, but in the studio it is actually a large blue or green background. The meteorologist stands in front of a bluescreen, and then different weather maps are added on those parts in the image where the color is blue. If the meteorologist wears blue clothes, his clothes will become replaced with the background video. This also works for greenscreens, since blue and green are considered the colors least like skin tone.^[2] This technique is also used in the entertainment industry, the iconic theatre shots in Mystery Science Theater 3000, for example.

My Green Screen

Green Screen at Uni was a slight different set up, using velcro sheets we transformed a seminar room into a green screen due to lighting control and spacial needs.

MUST HAVE:

Good natural lighting

Full body shots

Interaction and Singular Shots

Basic actions eg. Walking back and forth, standing, adjusting clothes

Director Notes

Asked Actors to act naturally, avoiding dramatic tendencies

Equal male female shots

Basic directions to avoid an un natural reaction

Easy Actions

Paris J'Taime

Paris J'Taime

Initially, twenty short films representing the twenty arrondissements of Paris were planned, but two of them (theXVe arrondissement, directed by Christoffer Boe, and the XIe arrondissement, by Raphaël Nadjari) were not included in the final film because they could not be properly integrated into it.^{[citation needed]} Each arrondissement is followed by a few images of Paris; these transition sequences were written by Emmanuel Benbihy and directed by Benbihy with Frédéric Auburtin. Including Benbihy, there were 22 directors involved in the finished film.

The 18 arrondissements are:

• Montmartre (XVIIIe arrondissement) — by French writer-director Bruno Podalydès. A man (played by Podalydès himself) parks his car on a Montmartre street and muses about how the women passing by his car all seem to be "taken". Then a woman passerby (Florence Muller) faints near his car, and he comes to her aid.

• Quais de Seine (Ve arrondissement) — made by the husband-and-wife team of Japanese-American screenwriter Paul Mayeda Berges and Indian-British director Gurinder Chadha. A young man (Cyril Descours), hanging out with two friends who taunt all women who walk by, strikes up a friendship with a young Muslim woman (Leïla Bekhti).

• Le Marais (IVe arrondissement) — by American writer-director Gus Van Sant. A young male customer (Gaspard Ulliel) finds himself attracted to a young printshop worker (Elias McConnell) and tries to explain that he believes the man to be his soulmate, not realizing that he speaks little French. Marianne Faithfull also appears briefly in the film.

• Tuileries (Ier arrondissement) — by American writer-directors Joel and Ethan Coen. A comic film in which an American tourist (Steve Buscemi) waiting at the Tuileries station becomes involved in the conflict between a young couple (Axel Kiener and Julie Bataille) after he breaks the cardinal rule of avoiding eye contact with people on the Paris Metro.

• Loin du 16e (XVIe arrondissement; literally: "far from the 16th") — by Brazilian writer-directors Walter Sallesand Daniela Thomas. A young woman (Catalina Sandino Moreno) sings a Spanish lullaby ("Qué Linda Manito") to her baby before leaving it in a daycare. She then takes an extremely long commute to the home of her wealthy employer (whose face is not seen), where she sings the same lullaby to her employer's baby.

• Porte de Choisy (XIIIe arrondissement) — directed by Australian director Christopher Doyle and written by Doyle with Gabrielle Keng and Kathy Li. A comic film in which a beauty products salesman (Barbet Schroeder) makes a call on a Chinatown salon run by a woman (Li Xin) who proves to be a tough customer.

• Bastille (XIIe arrondissement) — by Spanish writer-director Isabel Coixet. Prepared to leave his marriage for a much younger lover, Marie Christine (Leonor Watling), a man, Sergio (Sergio Castellitto) instead decides to stay with his wife (Miranda Richardson) after she reveals a terminal illness - and he rediscovers the love he once felt for her.

• Place des Victoires (IIe arrondissement) — by Japanese writer-director Nobuhiro Suwa. A mother (Juliette Binoche), grieving over the death of her little boy (Martin Combes), is comforted by a magical cowboy (Willem Dafoe).

• Tour Eiffel (VIIe arrondissement) — written and directed by French animator Sylvain Chomet. A boy tells how his parents, both mime artists (Paul Putnerand Yolande Moreau), meet in prison and fall in love.

• Parc Monceau (XVIIe arrondissement) — by Mexican writer-director Alfonso Cuarón. An older man (Nick Nolte) and younger woman (Ludivine Sagnier) meet for an arrangement that a third person ('Gaspard'), who is close to the woman, may not approve of. It is eventually revealed that the young woman is his daughter, and Gaspard is her baby. The film was shot in a single continuous shot. When the characters walk by a video store, several posters of movies by the other directors of Paris, je t'aime are visible in the window.

• Quartier des Enfants Rouges (IIIe arrondissement) — by French writer-director Olivier Assayas. An American actress (Maggie Gyllenhaal) procures some exceptionally strong hashish from a dealer (Lionel Dray) whom she gets a crush on.

• Place des fêtes (XIXe arrondissement) — by South African writer-director Oliver Schmitz. A Nigerian man (Seydou Boro), dying from a stab wound in the Place des fêtes asks a woman paramedic (Aïssa Maïga) for a cup of coffee. It is then revealed that he had fallen in love at first sight with her some time previously. By the time she remembers him, and has received the coffee, he has died.

• Pigalle (IXe arrondissement) — by American writer-director Richard LaGravenese. An aging couple (Bob Hoskins and Fanny Ardant) act out a fantasy argument for a prostitute in order to keep the spark in their relationship.

• Quartier de la Madeleine (VIIIe arrondissement) — by Canadian writer-director Vincenzo Natali. A young backpacker tourist (Elijah Wood) falls in love with a vampiress (Olga Kurylenko).

• Père-Lachaise (XXe arrondissement) — by American writer-director Wes Craven. While visiting Père Lachaise Cemetery, a young woman (Emily Mortimer) breaks up with her fiancé (Rufus Sewell), who then redeems himself with the aid of advice from the ghost of Oscar Wilde (Alexander Payne).

• Faubourg Saint-Denis (Xe arrondissement) — by German writer-director Tom Tykwer. After mistakenly believing that his girlfriend, a struggling actress (Natalie Portman), has broken up with him, a young blind man (Melchior Beslon) reflects on the growth and seeming decline of their relationship.

• Quartier Latin (VIe arrondissement) — written by American actress Gena Rowlands, directed by French actor Gérard Depardieu and French director Frédéric Auburtin. A separated couple (Ben Gazzara and Rowlands) meet at a bar (run by Depardieu) for one last drink before the two officially divorce.

• 14e arrondissement (XIVe arrondissement) — written and directed by Alexander Payne. Carol (Margo Martindale), a letter carrier from Denver, Colorado on her first European holiday, recites in rough French what she loves about Paris.

22 different Directors

22 different stories of love.