INGLÉS III Tecnicatura y Licenciatura en Diseño Artístico Audiovisual

Mg. Carina Llosa

Inglés III - LDAU 1

Sede y localidad

Andina – El Bolsón

Carrera

Licenciatura en Diseño Artístico Audiovisual

Programa de la asignatura

Asignatura: Inglés III Año calendario: 2016

Cuatrimestre: 1°

Carga horaria semanal: 4 horas

Créditos:

Carga horaria total: 60 horas

Horas semanales de consulta: 2 Horas de estudio recomendadas (extra clase): 4

Profesor: Carina Llosa

Email: [email protected]

Programa Analítico de la asignatura Contenidos mínimos establecidos por Plan de Estudio: - Lectura de bibliografía en inglés, en especial referida a la tecnología básica para operar instrumentos y programas. - Comprensión de textos, redacción y conversación que les permita participar en ámbitos de discusión e intercambio internacional, ya sea en congresos presenciales o virtuales, foros de discusión, festivales o convenios de intercambio.

Objetivos de la asignatura: - Promover la competencia comunicativa y la creatividad en el uso del idioma inglés, tanto en forma oral como escrita.

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- Permitir el pensamiento crítico y la conciencia intercultural mediante el uso de materiales en idioma inglés. - Exponer al alumno a materiales en idioma inglés para mejorar la comunicación sin descuidar sus estructuras formales. - Exponer al alumno a material escrito y oral específico en terminología y contenido, y a situaciones donde deba aplicarlos.

Propuesta Metodológica de la asignatura: Adherimos a la teoría de Krashen: una lengua extranjera se adquiere (de forma subconsciente) y se aprende (de forma consciente). Ambos conocimientos interaccionan para que el alumno se comunique. Por un lado, la habilidad de producir frases en una lengua extranjera se debe a la competencia adquirida por el sistema de adquisición, el cual es el iniciador del enunciado. Por otro lado, el sistema de aprendizaje realiza el papel del monitor, corrigiendo y mejorando el mensaje. Por lo tanto, las clases tendrán momentos de exposición e interacción con el idioma, para que el alumno lo pueda adquirir, y momentos de sistematización del idioma, para que el alumno lo pueda aprender. El material de exposición al idioma deberá ser comprensible aunque un poco más difícil que lo que el alumno maneja. También es importante que el alumno se encuentre en una situación relajada, que fomente su motivación y auto-confianza, disminuyendo su ansiedad, ya que en caso contrario el alumno estará creando un filtro afectivo que disminuye su capacidad para adquirir el lenguaje. Por lo tanto, se priorizará la comunicación tanto oral como escrita sin descuidar sus estructuras formales, promoviendo variadas instancias de práctica, tanto en clase como a través de trabajos prácticos, necesarias para que el alumno adquiera e internalice las herramientas que le permitan comunicarse en inglés. Se enfatizará en integrar los conocimientos previos del campo audiovisual para poder expresarlos en inglés. También se impulsará a los alumnos a seguir aprendiendo en forma autónoma más allá del curso, haciendo uso de los materiales multimedia que los rodean. Forma de aprobación: No promocional

Unidad N°1: Introducción a la realización audiovisual Número de clase: 1, 2, 3, 4 y 5

Contenidos: - ¿Los cineastas nacen o se hacen? - Las cinco etapas de la realización audiovisual (y las tres etapas propuestas por Bordwell). - Tipos de documentales. - Utilizar el presente simple para hablar de situaciones habituales vs. presente continuo para hablar de situaciones que suceden en ese momento.

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-Expresar opiniones, acuerdos y desacuerdos. Bibliografía obligatoria de la Unidad:

 - Film School Online, (2012). Filmmaking 101: Ten Essential Lessons for the Noob Filmmaker. capítulos 10, 1 y 7.

Bibliografía complementaria de la Unidad:

- LEBEAU, Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Coursebook and CD-ROM. Harlow, Pearson-Longman, unidad 1. - LEBEAU Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Workbook with key and audio CD. Harlow, Pearson-Longman, unidad 1. -RAYMOND, Murphy (2007) Essential Grammar in Use, A self-study reference and practice book for elementary students of English. With answers, Cambridge, Cambridge University Press. - Artículos acerca de cómo filmar documentales: http://documentaries.about.com/od/introtodocumentaries/Documentary_Film_101.htm

Unidad N°2: Desarrollo Número de clase: 6, 7, 8, 9 y 10

Contenidos:

- Tipos de películas. - La historia, el argumento, el guion. - Planificar un programa de televisión (sugerir, llegar a un acuerdo). - Profesiones y áreas relacionadas con la realización de películas. - Uso del pronombre relativo. - Escribir la crítica de un audiovisual. Bibliografía obligatoria de la Unidad: - Film School Online, (2012). Filmmaking 101: Ten Essential Lessons for the Noob Filmmaker. Capítulo 2 y 3 - LEBEAU, Ian, KING, David y REES, Gareth (2009). Language Leader Pre-Intermediate. Coursebook and CD-ROM. Harlow, Pearson-Longman, unidad 3

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-OXENDEN, Clive. (2008). New English File Iintermediate Students’ book, Oxford, Oxford University Press. Unidad nº6. -OXENDEN, Clive y LATHAM-KOENIG, Christina (2000) English File Iintermediate Students’ book, Oxford, Oxford University Press. Unidad nº6 -EALES, Frances y OAKES, Steve (2011) Speak out elementary. Londres, Pearson. Unidad nº 8.3

Bibliografía complementaria de la Unidad:

- LEBEAU, Ian, KING, David y REES, Gareth (2009). Language Leader Pre-Intermediate. Coursebook and CD-ROM. Harlow, Pearson-Longman, unidad 2 - LEBEAU Ian, KING, David y REES, Gareth (2009). Language Leader Pre-Intermediate. Workbook with key and audio CD. Harlow, Pearson-Longman, unidad 2 - NAYLOR Helen y RAYMOND, Murphy (2007). Essential Grammar in Use Supplementary Exercises. With Answers. Cambridge, Cambridge University Press.

Unidad N°3: Pre-producción Número de clase: 11, 12, 13, 14 y 15

Contenidos:

- Casting. Describir y elegir actores.

- Directores. Relatar biografías usando el pasado continuo, el pasado simple y el presente perfecto.

Bibliografía obligatoria de la Unidad:

-EALES, Frances y OAKES, Steve (2011) Speak out elementary. Londres, Pearson. Unidad nº 8.2 OXENDEN, Clive, LATHAM-KOENIG, Christina y SELIGSON, Paul, (2005) New English File Pre-intermediate Students’ book, Oxford, Oxford University Press. Unidad nº7 - LEBEAU, Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Coursebook and CD-ROM. Harlow, Pearson-Longman, unidad 3. Bibliografía complementaria de la Unidad:

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-Blog de la cátedra con práctica de todos los temas vistos: http://visualelbolson.wordpress.com/ingles-iii/ - LEBEAU Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Workbook with key and audio CD. Harlow, Pearson-Longman, unidad 3.

Unidad N°4: Producción

Número de clase: 16, 17, 18, 19 y 20

Contenidos:

- Descripción y elección de fotografías. Revisión de comparativos y superlativos. - Uso expresivo de la óptica. - Dirección de fotografía. - El sonido en la filmación. - Redactar un ensayo que compare y analice la fotografía de 2 películas a elección. Bibliografía obligatoria de la Unidad:

 - LEBEAU, Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Coursebook and CD-ROM. Harlow, Pearson-Longman, unidad 5. - Film School Online, (2012). Filmmaking 101: Ten Essential Lessons for the Noob Filmmaker. Capítulo 4, 5 y 6

Bibliografía complementaria de la Unidad:

- LEBEAU Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Workbook with key and audio CD. Harlow, Pearson-Longman, unidad 5. - LEBEAU, Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Coursebook and CD-ROM. Harlow, Pearson-Longman, unidad 4 - LEBEAU Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Workbook with key and audio CD. Harlow, Pearson-Longman, unidad 4. - Práctica extra de los temas del libro “Language Leader”: http://www.pearsonlongman.com/languageleader/pre-int.html

Unidad N°5: Post-producción

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Número de clase: 21, 22 y 23

Contenidos:

-Cortes y transiciones. -Efectos de sonido. -ADR. -Escribir un artículo analizando el montaje en un audiovisual propio o que admiren. Bibliografía obligatoria de la Unidad:

-APPLE, Wendy (2004). The cutting edge. The magic of movie editing (98 min)

-Free Film School.Org. “The Complete Online Filmmaking Reference”. Disponible en

http://www.4filmmaking.com/onlinefilmschool.html Bibliografía complementaria de la Unidad:

- LEBEAU, Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Coursebook and CD-ROM. Harlow, Pearson-Longman, unidad 6. - LEBEAU Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Workbook with key and audio CD. Harlow, Pearson-Longman, unidad 6. Glosario de cinematografía: http://www.filmsite.org/filmterms1.html

Unidad N°6: Distribución

Número de clase: 24, 25, 26, 27 y 28

Contenidos:

- El financiamiento de películas. -Películas de bajo presupuesto. -Nuevas tendencias en la distribución. Expresar predicciones incluyendo diferentes grados de probabilidad. - Escribir un artículo acerca del futuro del cine.

Bibliografía obligatoria de la Unidad:

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- Film School Online, (2012). Filmmaking 101: Ten Essential Lessons for the Noob Filmmaker. Capítulos 8 y 9. - The future of indie films: direct distribution and keeping your rights. Disponible en: http://filmlifestyle.com/future-indie-films-direct-distribution/

Bibliografía complementaria de la Unidad:

- Práctica extra de vocabulario y gramática con ejercicios que se corrigen online: http://www.englishlearner.com/beginner/index.shtm l http://www.englishclub.com/ http://a4esl.org/ http://elt.oup.com/student/englishfile/preint3/?cc=ar&selLanguage=en

Evaluación del aprendizaje 

En la primera clase se hará una evaluación diagnóstica del grupo, para determinar si necesitan mayor andamiaje para lograr los aprendizajes propuestos en esta cátedra, o si por el contrario se pueden profundizar los contenidos.

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Habrá una evaluación continua de la producción oral del alumno en la clase, y de la escrita a través de los minitests y trabajos prácticos, para lograr un seguimiento de los alumnos que permita tomar decisiones a tiempo acerca de qué temas se deben reforzar.

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Habrá dos evaluaciones de corte (parciales) a mediados y fines del cuatrimestre para integrar los temas vistos. Estas tienen una instancia recuperatoria a fin del cuatrimestre.

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Habrá una evaluación oral final integradora. Si el alumno tiene un promedio menor a 7 (siete) en los parciales, también tendrá una evaluación final escrita.

Formas de acreditación Para regularizar la materia el alumno deberá cumplimentar:  70 % de asistencia a las clases 

Aprobación del 100% de los trabajos prácticos

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Aprobación del 100% de los minitests

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Aprobación de ambos parciales con una nota mínima de 6 (seis)

Criterios de evaluación Comunicación escrita y oral sin descuidar las formas Pronunciación y ortografía comprensibles Uso de vocabulario específico

Trabajos Prácticos Los trabajos prácticos son una herramienta esencial para que el alumno internalice y ponga en práctica los conocimientos vistos en la unidad. Se prevé la realización de 6 trabajos prácticos individuales, que podrán ser presentados en formato de boceto para que el docente pueda colaborar en el proceso de escritura antes de la presentación final. TP Nº 1: Una charla sobre un documental Elegir un documental de autoría propia o uno que admiren para explicar qué tipo de documental es, por qué, y dar detalles sobre su realización TP Nº 2: Una crítica de un programa de televisión

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Confeccionar la crítica de un programa de televisión (ejemplo: pág. 29 del Language Leader Preintermediate). Presentarla oralmente. TP Nº 3: Una biografía de un director de cine Redactar y presentar oralmente la biografía de un director de cine. Incluir ejemplos de su trabajo, estilo, anécdotas, etc. TP Nº 4: Un ensayo comparando dos películas Redactar un ensayo que compare y analice la fotografía y el papel que cumple en 2 películas. Incluir conectores de texto, estructuras comparativas y vocabulario específico. Presentar oralmente lo analizado con los fragmentos de las películas que eligieron. TP Nº 5: Un ensayo analizando el montaje de una película Redactar un ensayo que analice el montaje elegido en una película. Incluir conectores de texto, estructuras comparativas y vocabulario específico. Presentar oralmente lo analizado con los fragmentos la película que eligieron. TP Nº 6: Un artículo sobre el futuro del cine Escribir un artículo acerca de sus predicciones para el futuro en el mundo del cine. Presentar sus ideas oralmente.

Minitests Al terminar cada unidad, los alumnos harán un minitest escrito con los temas gramaticales y de vocabulario de esa unidad. El propósito de esta actividad es que el alumno pueda incorporar los conocimientos de manera gradual.

Parciales Los alumnos tendrán un parcial al finalizar la unidad 3 y uno al finalizar la unidad 6, con el propósito de integrar los temas vistos. Las evaluaciones serán escritas e incluirán la gramática y vocabulario de las unidades en ejercicios de lectura y escucha comprensiva, uso del lenguaje y escritura de un texto de tres párrafos.

Evaluación final El examen consistirá en la evaluación de las cuatro habilidades del idioma: Expresión escrita Escucha Lectura comprensiva Expresión oral También se evaluarán los contenidos gramaticales y temáticos y de vocabulario correspondientes al nivel. El examen consistirá en dos instancias, una escrita y una oral que se deberán aprobar con un mínimo de 60% y, de acuerdo a lo establecido en el artículo 33 del Reglamento de Estudios de Sede de la Universidad Nacional de Río Negro, la prueba escrita será previa y eliminatoria respecto de la prueba oral. El examen escrito consistirá en: Un texto para realizar lectura comprensiva (inglés general) Un texto para realizar lectura comprensiva (inglés específico) Ejercicios que evalúen la precisión gramatical Un texto oral para evaluar la escucha La redacción de un texto para evaluar la producción escrita. El examen oral consistirá en: Presentación de un tema general a elección: El alumno deberá elegir uno de los siguientes temas y desarrollarlo durante dos minutos: o La biografía de un director de cine. o La crítica de un programa de televisión. o El análisis detallado de una película. o La crítica de un programa de televisión. o Comparar dos películas. o El futuro de la cinematografía: tus predicciones. Presentación de un tema específico a elección: el alumno deberá elegir un tema del libro “Filmmaking” y deberá desarrollarlo en 2 minutos, utilizando vocabulario específico. El alumno deberá describir una imagen propuesta por la mesa, utilizando la técnica correspondiente (unidad 4) y el vocabulario adecuado. Interacción entre alumnos: los alumnos deberán interactuar a partir de una temática propuesta por la mesa examinadora, utilizando las expresiones adecuadas.

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Interacción con el profesor demostrando tener la habilidad de comunicarse oralmente en el idioma en el nivel correspondiente.

Asimismo, los alumnos (tanto regulares como libres) deberán presentar todos los trabajos prácticos de la materia. Promoción de la materia Los alumnos que hayan obtenido un promedio de 7 o más en los parciales de la cursada promocionarán la instancia escrita, teniendo sólo la oral.

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Unit 1: An filmmaking

introduction

to

Assignment n°1: A talk about a documentary

Class 1: Is film school necessary? Filmaking 101- Chapter 10: Is Film School necessary? 1. Read and complete this table: I agree with

I agree up to a point

I don´t agree with

2. Underline important vocabulary. Use it to write sentences about you.

Class 2: The five stages of filmmaking 1. What vocabulary do you remember from last class?

Filmmaking 101 - CHAPTER 1: THE PROCESS OF FILMMAKING

GUIDED SUMMARY This book is an ……………………………… of the filmmaking process. This process can be divided into ………………………(Nº) different ……………………… (steps) DEVELOPMENT The producer: a) b)

………………………………………………………… ………………………………………..……………..

The story must be very good. The producer can get the story by: a) Buying .…………………………………………… b) ……………………………………………………….. c) …………………………………………………………

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d) ……………………………………………………….. PRE- PRODUCTION This period takes place after / before making the film. The activities they do during this ………………………. are: a) b) c) d)

Hire………………………… ………………………………... ………………………………… Find ………………………….

PRODUCTION The leader in the stage is the : ……………………………………………………. He coordinates different craft departments, such as:   

…………………………………….: boss: …………………………………… …………………………………….: boss:……………………………………. …………………………………….: boss:…………………………………….

The director’s department is composed of: …………………………………………………………… …………………………………………………………………………………………………………………….. POST-PRODUCTION In this stage, the filmmakers …………………………………………………… The sound designers are responsible for …………………………………………………………… ………………………………………………………………………………………………………………… DISTRIBUTION When the film is finished, the film is distributed to different outlets for the public to see. Some of the considerations of this stage are: ……………………………………………………………….. ………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………… It is best to secure distribution ………………………………………………………………..(when) CONCLUSION It is essential to …………………………………………………………………………… to make a movie. ……………………………………………………………………………………………………………………… 2. Underline examples of present simple in the chapter you’ve read. Do you remember the rule? Do you remember the difference between present simple and present continuous?

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3. Present simple vs. Present continuous practice:

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Class 3: 5 stages revision and documentaries introduction 1. Memory game Filmmaking 101 Chapter 1 2. Think about the five stages of filmmaking when making documentaries 3. Listening: Types of Documentaries (taken from: https://www.youtube.com/watch?v=eEP_CugxZCI)

Class 4: types of documentaries Filmmaking 101 - CHAPTER 7: DOCUMENTARY FILMMAKING TRUE OR FALSE 1. 2. 3. 4. 5.

Documentaries are more popular than films. Cable TV is responsible for the popularity of documentaries. Films are more expensive than documentaries. There are three types of documentaries. Documentaries are easier to make than film.

MATCH THE DIFFERENT TYPES OF DOCUMENTARIES WITH THE DIFFERENT EXPLANATIONS DIRECT CINEMA 1. 2. 3. 4. 5. 6.

CINEMA VÉRITÉ

ESSAY FILM

These documentaries are not objective at all. It expresses the point of view of the filmmaker. These documentaries are objective but the filmmaker interferes with reality. These documentaries try to be absolutely objective. The filmmaker doesn’t want to interfere in the reality. The filmmaker may affect reality indirectly.

VOCABULARY WORK 1. Mention a landmark film: 2. Mention some members of a crew in the making of a film: 3. Explain the difference between network TV and cable TV

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4. Mention different genres of films. 5. What do you do first when making a film? Do you shoot or do you edit? 6. If you express your point of view, are you biased or unbiased? WRITE THE REVIEW OF A DOCUMENTARY IN THREE PARAGRAPHS 

1º paragraph: gral. ideal, what type of documentary it is

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2º paragraph: details, resources, account for what type of documentary it is

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3º paragraph: do you recommend it? Why?

Class 5: Revision and minitest 1. Brainstorming vocabulary chapter 1 and 7 Filmmaking 101 2. Grammar revision: present simple and continuous

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Unit 2: Development Assignment Nº 2: A review of a TV program

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Class 7: Screenwriting Filmmaking 101-CHAPTER 3: SCREENPLAY COMPREHENSION QUESTIONS 1.

What are the main elements of a screenplay?

……………………………………………………………………………………………………………………………. ……………………………………………………………………………………………………………………………. 2.

What balance should be achieved?

……………………………………………………………………………………………………………………………. 3.

How can the writer achieve this balance?

……………………………………………………………………………………………………………………………. ……………………………………………………………………………………………………………………………. 4.

What are the other two elements that cut the story through?

……………………………………………………………………………………………………………………………. ……………………………………………………………………………………………………………………………. 5.

Can you explain the difference between inner and outer motivation?

……………………………………………………………………………………………………………………………. ……………………………………………………………………………………………………………………………. 6.

What is the conflict in a story?

……………………………………………………………………………………………………………………………. 7.

What is the difference between the manifestation of conflict in both, the inner and outer stories?

……………………………………………………………………………………………………………………………. ……………………………………………………………………………………………………………………………. 8.

Why is it so important? Refer to the theme in a film.

……………………………………………………………………………………………………………………………. ……………………………………………………………………………………………………………………………. 9.

What (with reference to the theme) can turn the story vulgar?

……………………………………………………………………………………………………………………………

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Class 8: Planning a TV show

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Class 9: Filmmaking jobs and duties Filmmaking 101-CHAPTER 2: FILMMAKING JOBS AND DEPARTMENTS ANSWER THE FOLLOWING QUESTIONS: 1.

Why is filmmaking a collaborative process?

2.

Is it necessary for the filmmaker to know the essential elements of each area? Why?

3. How many areas are there? Which are they? 4.

What are the functions of an executive producer? Which are the vital two functions?

5. In what cases are assistants necessary? 6.

Why is screenwriting important?

7. What are the conventions that the screenwriter must master? 8. Who is the creative leader? What is his function? 9. What can give the director a poor reputation? 10. What’s the job of a cinematographer? 11. Why is production sound a critical area? 12. How does the sound mixer get good quality sound? 13. What’s the job of the editor? 14. SPECIFIC VOCABULARY: REMEMBER

BUDGET- FILMMAKER- EXECUTIVE PRODUCER- ASSOCIATE PRODUCER- LINE PRODUCER- TO RAISE FINANCING- SCREENWRITING- SCRIPT- SCREENPLAY- SCREEN -CHARACTER DEVELOMENT- CONFLICT- SET DESIGNER- SCENE- SET- CINEMATOGRAPHER- CAMERA OPERATOR- TO LIGHT THE IMAGE- SOUND MIXER- AUDIO FILTER- BOOM POLE- MIC/ MICROPHONE- EDITOR- EDITOR- PRINT- DISTRIBUTION- SHOT- SHOOTING- SOUND EFFECTMUSIC TRACK- TO RELEASE.

Game. Guess the job

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Grammar: Relative pronouns Who/that …………………………………………………………………………………… Which/that …………………………………………………………….……………………

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Class 10: Revision and minitest

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Unit 3: Pre-production Assignment Nº 3: A filmmaker’s biography

Class 11: Casting

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Class 12: Famous directors

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Class 13: Famous directors 2 What do you remember about:

Tarantino’s biography?

Hitchcock’s biography?

Sofia Coppola’s biography?

Grammar: Past simple vs. Past continuous. This is an extract from the TV programme about Sofia Coppola you listened to last class: “Sofia Coppola was born in New York in 1971 while his father was making the Godfather”. How do we form sentences in past simple? + ………………………………………………………………………………………………………………………………………… -………………………………………………………………………………………………………………………………………… ? ………………………………………………………………………………………………………………………………………… How do we form sentences in past continuous? + ………………………………………………………………………………………………………………………………………… -………………………………………………………………………………………………………………………………………… ? ………………………………………………………………………………………………………………………………………… When do we use past simple? ………………………………………………………………………………………………………………………………………… When do we use past continuous? ………………………………………………………………………………………………………………………………………… Write an example of your own using both tenses. …………………………………………………………………………………………………………………………………………

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Class 14: Revision and ministest

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Class 15: parcial Unit 4: Production Assignment Nº 4: An essay comparing two films

Class 16: Subject size Filmmaking101- CHAPTER 4: Subject Size

Read chapter four and complete the mindmap

TECHNICAL CONSIDERATIONS: It’s

DEPTH PERSPECTIVE

best to .…………………………….. …………………………………………… …………………………………………… ……………..

DEPTH OF FIELD

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Class 17: Describing images

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Clase 18: Cinematography Filmmaking 101- CHAPTER 5: CINEMATOGRAPHY COMPLETE THE FOLLOWING FORM: CINEMATOGRAPHY:……………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… CINEMATOGRAPHER: ……………………………………………………………………………................................. ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… DIFFERENCE WITH THE CAMERA OPERATOR: …………………………………………………………….. …………………………………………………………………………………………………………………… LIGHTING THE IMAGE: FUNCTION: ………………………………………………………………………………………………………………..…. …………………………………………………………………………………………………………………… IT INVOLVES: 

EQUIPMENT: ………………………………………………………………………..

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SETUP: …………………………………………………………………………………………………

POSSIBLE VARIABLES: ………………………………………………………………………………………. …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… CAPTURING THE IMAGE): ………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… DIFFERENCE BETWEEN: PAST AND PRESENT LIGHTING EQUIPMENT: …………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… PAST AND PRESENT CAMERAS: ………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… SPECIFIC VOCABULARY

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Class 19: Micing techniques Filmmaking 101- CHAPTER 6: MICING TECHNIQUES MAIN RULES ………………………………………………………………………………………… ………………………………………………………………………………………… ………………………………………………………………………………………… POSSIBLE PLACEMENTS IN ORDER OF CONVENIENCE: PLACEMENT

DESCRIPTION

ADVANTAGES

DRAWBACKS

ADVANTAGES

DRAWBACKS

OTHER POSSIBILITIES DESCRIPTION WIRELESS MICS MULTIPLE MICS

WHAT’S THE FIRST STEP TO TAKE WHEN MICING A SET? …………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………………………

SPECIFIC VOCABULARY

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Class 20: Revision and minitest

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What do you remember from… Subject Size

Cinematography

Micing techniques

Unit 5: Post-production Assignment Nº 5: An essay analizing the montage of a film

Class 21: Editing image and sound

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Class 22: Video session The cutting edge: The magic of movie editing

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Class 23: Revision and minitest Complete the mindmaps with the vocabulary you remember:

Editing image

Editing sound

ADR

Foley

The cutting edge

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Unit 6: Distribution Assignment Nº 6: An article about the future of distribution

Class 24: Film financing Filmmaking 101-CHAPTER 8: FILM FINANCING TYPICAL APPROACH: …………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… SUGGESTED APPROACH:……………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… METHOD OF WORK…………………………………………………………………………………………………….… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… DIFFERENT POSSIBILITIES OF THIS METHOD: the rights can be sold to: 

………………………………………



………………………………………



……………………………………….

REASONS FOR SECURING DISTRIBUTION BEFORE STARTING. ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ESSENTIAL ELEMENTS IN FINDING A DISTRIBUTOR : …………………………………………………,,,,,,,,,,,,,,,….. ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… …………….............................................................................................................................................. HOW CAN DISTRIBUTORS HELP IN THE MAKING OF A FILM: ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… IMPORTANT VOCABULARY: ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………

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Clase 25: Low budget films Filmmaking 101-CHAPTER 9: Low budget strategies 1.

What low budget films are mentioned? Have you seen them? What do you think of them? …………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………

2.

Do you know any other successful low budget film? Tell us the details. …………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………

3.

Summarise the factors mentioned in the chapter: 

Slant ……………………………………………………………………………………………………………

..……………………………………………………………………………………………………………………… 

Plot point………………………………………………………………………………………………………

……………………………………………………………………………………...………………………………… 

Characters ……………………………………………………………………………………………………

..……………………………………………………………………………………………………………………… 4.

Why does the actor say “story is king”? Do you agree? Why? Give examples of different films. …………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………

5.

What low budget tips do you know, or already use when making your films? …………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………

Listening: Low Budget Filmmaking Tips And Advice Taken from https://www.youtube.com/watch?v=73DvywKuYF0

Class 26: new trends in distribution

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

Read the article.



Underline the most important ideas



Highlight the new vocabulary



Circle the sentences that express future

THE FUTURE OF INDIE FILMS: DIRECT DISTRIBUTION AND KEEPING YOUR RIGHTS For today’s post, we have a special guest article from Katherine Lents of ShowUpMedia, a great new upvoted video content site that aims to put filmmakers front and center. Katherine approached me to do a guest post about indie filmmaking, film funding and distribution. She’s a great writer who really has her pulse on the indie film scene and I’m sure you’ll get a lot out of this article.

The typical independent film cycle goes something like this: project financing, creation, submission to film festivals, promotion by sales agents, pick up by distributors, further exhibitor/theatrical release, then DVD release and video on demand (VOD). For each step in the chain beyond creation, another hand reaches into the pile of revenue a film makes, leaving less money and fewer rights for the creators. This outmoded model is beginning to crumble under its own hulking financial weight. Even with festivals supposedly geared toward independent filmmaking, anything under 1 million dollars is still termed “low budget,” and under $500k is a “micro budget” according to Elliot Grove atRaindance. In what universe is $500,000 chump change? The answer is the universe that only major studios and the leviathans of cable television can afford to live in. Outlandish sums of money are thrown around and yet we still get a dozen versions of The Lone Ranger and Shiny Cars with Explosions 6. A MAJOR SHIFT IN FILM DISTRIBUTION Fortunately for us, a major shift in distribution began with the rise of YouTube in 2005 and Netflix Instant Streaming in 2008. YouTube made uploading video accessible, while Netflix had built up enough financial clout and legal support to make VOD viable to the heavy hitters of entertainment. Unfortunately, neither caters strongly to independent film. Netflix prefers not to interact with individuals, opting to make large contracts with distributors of films that have a proven theatrical release record and massive marketing campaigns. YouTube is, well, YouTube. You never know if you’ll get a screaming goat, a Russian dash cam, or your roommate’s secret fetish vlog. (That, and monetization only becomes viable for a rare few.)

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There was a great chasm between the cell phone videos and the blockbusters, and the last few years have seen an explosion in different iterations of VOD sites catering to everything in between. Billions of dollars are pouring in to distributors, platforms, aggregators, self hosting sites, and applications that are all jockeying for position in the race towards big returns. Some are transactional, some are free, and some are subscription, or a combination. The Film Collaborative gives a good overview of these terms. The choices may seem daunting, but the basics of making your endeavor successful are pretty simple. FIND YOUR AUDIENCE FIRST There is this pervasive notion that “if you build it, they will come.” Audiences who want to support your work do not materialize out of thin air. Unless you’re Radiohead or Louis CK, you need to have a specific audience in mind and advertise effectively to them if you plan on using your own VOD website or a platform like Vimeo. The likelihood a “Staff Pick” will launch you into fame and fortune is not good. Get people excited in a concise summation, trailer, or elevator pitch. It shouldn’t take a 20 minute in depth conversation for someone to “get” why your film should be made or watched. The reason distributors want to buy your rights forever-and-always-in-perpetuity is that they think they can sell your film to an appropriate audience better than you can. In many instances, they may be right. Even David Lynch’s Interview Project probably didn’t get the attention it deserved on his standalone website. But look at Justin Simien. He tested out the mere idea for his film Dear White People in a well-made trailer. This went viral, which drove massive support to hisIndieGoGo campaign later on. When it came to studios and distributors, he had his pick of the litter, and was able to choose a financier that let him keep the most creative control. MAKE AN EFFECTIVE CROWDFUDING CAMPAIGN If your project needs some help in pre, post, or marketing, and you want the funding to remain independent, crowdsourcing is a powerful tool. It can serve a dual purpose of raising money and getting the name of your project out there. That being said, your campaign video absolutely must be the best thing you can produce on the budget you already have. If you cannot be trusted with this, why would anyone give you money to make an even longer, more expensive video? As Emily Best says in her interview with Film Courage, it’s not the crowdfunding platform’s job to make your material popular. Even a spot on the front page or temporary bump in traffic does not guarantee you will get fully funded. You need to focus on making your video engaging instead of simply asking for money. Give people a tangible reason you need the money. Seed and Spark lets you specify items you need on the set, or services you need from professionals. In addition to funding you can market and distribute your movie.

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If crowdfunding is not what you’re aiming for, there are often local and international grants depending on your subject matter. Here’s an entire international list if you’re filming a documentary, and another for UK based films. FILM FESTIVALS STILL RULE Paying to submit to film festivals and having to keep your finished project invisible for the better part of a year may seem tough when you’re excited to share your work, but slapping those laurel shrouded titles onto your marketing materials proves you’ve been vetted by industry professionals. A screening also gives you a chance to pitch your film to a wider audience than your immediate friends and family. The biggest players like Sundance, Tribeca, SXSW, and Cannes aren’t likely to pick it up, but if they do, you have a much higher chance of a major distributor approaching you. So perhaps you should take a chance at one or two but not all. Depending on the project, it might be wise to aim for smaller, local film festivals, which have popped up in many major metropolitan cities. Part of what makes the independent film revolution so amazing is that living in New York or LA is no longer a requirement. Utilize what’snear you. Or perhaps even apply in another country; just make sure to read the stipulations for each one. Some require a theatrical release in the country where you screen or restrictions on your home country VOD release window. If you have a series, make a short that highlights the drama of your main characters, and investigate which festivals highlight shorts. LIFE AFTER THE FESTIVAL CIRCUIT This is often the most challenging stage for indie film. You’ve taken your shot at building an audience and winning awards, but the truth is your project is one of thousands completed every single month. The next step may be to join with an aggregator that is appropriate to your subject matter. You will have to keep a few things in mind. 1.) SECOND VERSE, SAME AS THE FIRST: KEEP SEEKING YOUR AUDIENCE Viewster is perfect for anime and non-English language films among others. Fandor can help with more art-house and experimental films, since they already have a subscriber base that appreciates the finer points of cinematic quality. If you have factual/educational material, you may be able to get on with Curiosity Stream. These sites already seek a specific type of audience, which you can use to your advantage. 2.) AD REVENUE AND COMPETITION If you don’t mind competing against Jimmy Fallon clips and Maroon 5 videos, AND you have some plans for marketing to a specific audience on your own, YouTube and its subsidiaries could possibly make you a small amount of money. This approach works best for series, or if you team up with other filmmakers in the same genre to create an engaging channel. Full Screen gives you access to monetizing many big label pop songs without worrying about copyright infringement. Vessel can give a YouTube channel an extra bump in revenue, since subscribers pay to see content before the drooling masses who just wait an extra 72 hours for it to be available. 3.) EXCLUSIVE OR NON-EXCLUSIVE?

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Whichever site you choose, you will be forced to confront whether you want to agree to use that service exclusively.  

How much faith do you have that they will successfully find a target audience for your piece? How many people go there for content?

The most flexible sites will offer you the opportunity to decide for yourself, so you can keep your video on Vimeo, or your own website. Some aggregators include distinct advantages. Indie Boogie helps you with your production timeline, uploading your script to create call sheets, and team management. IndieFlix organizes content by Festival if you have any awards you want to show off, and their content varies greatly in length. IndiePixUnlimited has the backing of the Los Angeles Times, which will get you some marketing tied into your submission. 4.) KEEP AN EYE OUT FOR NEW OPPORTUNITIES The landscape for direct distribution is changing daily. One newcomer to the scene is ShowUp. (Full disclosure, I founded ShowUp, so I think it’s the bees’ knees.) Currently being built, we are focusing on feature length films, short form projects, and webisode series to launch with. We’ve already had lots of interest, and your content will only be surrounded by other high caliber, independent flicks. We offer a non-excusive level of participation where you can receive ad revenue. Our site helps consumers specifically pick the genres they want to see via Tags, giving you a more tightly focused audience. The aim is not just to be an aggregator, but a community of people who love great entertainment in a sleek design. KEEP TRYING Your grandfather is still right: it takes dedication and time to ensure success. Even with a great idea, it’s not as simple as uploading it somewhere and watching money roll in. You’ll have to be persistent, and loud about your project. Go to local Meetup groups; find others with a passion for film. The best asset in the film industry is friends, and even better, friends with equipment and skills. In Austin, Texas there is an entire building full of professional gear and studio setups available with a low yearly membership at Channel Austin. Their only stipulation is that you submit content to the public access channels. You’ll see the best results if you can remain flexible. If you’ve had 20,000 views on your 15minute trailer, but nobody is buying, then perhaps you need to shorten it. Give people something that motivates them to share your story or your trailer beyond a pity share from your closest friends. That’s much easier said than done, but sometimes all it takes is finding that perfect, up-beat song to accompany your wide shot, or sharing some beautiful stills from your production. Now get out there, bust down the doors, and don’t ask people to care. MAKE them care.

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Good luck and I hope to see your work someday at ShowUp! Katherine Lents [email protected] twitter.com/ShowUpMedia facebook.com/WhatsOnShowup TAKEN FROM http://filmlifestyle.com/future-indie-films-direct-distribution/

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Class 27: Revision and minitest

What vocabulary do you remember from: Financing strategies? Low Budget strategies? New trends in distribution?

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Class 28: parcial Class 29: Revision for the final test