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Topic: Film grammar

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	D. W. Griffith - Wikipedia, the free encyclopedia
		Griffith was particularly influential in popularizing "cross-cutting" in film editing to combine different locations in one scene and to build suspense.
		Popular at the time of its release, his film The Birth of a Nation (1915) was based on the novel The Clansman and is widely considered responsible for the resurgence of the Ku Klux Klan in the United States.
		The film was a flop, and the Triangle partnership was dissolved in 1917, so he went to Artcraft (part of Paramount), then to First National (1919-20).
	en.wikipedia.org /wiki/D._W._Griffith (529 words)

	Exploring Language: The "Grammar" of Film and Television [English Online]
		Grammar provides us with the knowledge and understanding to analyse and describe how both written and oral language work.
		Similarly, by knowing the "grammar" of film, we can explore, identify, learn about, describe, and use features of visual language that create particular meanings and effects in moving images in film and television.
		Film is not a language in exactly the same way that English is a language.
	english.unitecnology.ac.nz /resources/resources/exp_lang/grammar_film_tv.html (283 words)

	Random notes
		Films which permit unambiguous space-time constructions, without the synthetic element of their process of production being apparent in them at first glance, are felt to be particularly realistic.
		In film, whose capacities are by contrast towards the representation of simultaneity, the structures of the realistic novel were imitated, and the presentation of simultaneity was forced into the same temporally dimensional model that had been provided by literature with its limitation to the written word.
		Previous attempts to describe the grammar of narrative cinema always started from an analysis of the atmospheric cut, extrapolated from the works of Eisenstein and Pudovkin and assumed that modern narrative films were still constructed on their general principles.
	members.aol.com /Atypee/Vita/Aufsatz/narrat.html (8588 words)

	Film grammar - Wikipedia, the free encyclopedia
		In film, film grammar is defined as follows:
		The study of transitions between scenes is described in film punctuation.
		A sequence is a series of scenes which together tell a major part of an entire story, such as that contained in a complete movie.
	en.wikipedia.org /wiki/Film_grammar (97 words)

	Deconstructor \| Introduction
		Several basic elements common to all film shots, including compositional and kinetic ones, are set on what we’re calling a databoard, the place where each shot of a sequence is investigated.
		By assigning number values to certain film “traits” it is possible to graph these variables shot by shot to see something that is akin to a score of the scene.
		His approach to film grammar and syntax made sense to me and opened a way of seeing film that I hadn’t thought of before.
	www.ccnmtl.columbia.edu /projects/engel/deconstructor (478 words)

	Automated Film Rhythm Extraction for Scene Analysis
		This paper examines film rhythm, an important expressive element in motion pictures, based on our ongoing study to exploit film grammar as a broad computational framework for the task of automated film and video understanding.
		Another aspect of film that is present, albeit in a more elusive state, in film grammar, is that of film rhythm.
		Film, being both a construction, and firmly tied to a timetable in at least one sense (i.e.
	www.computing.edu.au /~adamsb/brett/adams_etal_icme2001.htm (3433 words)

	MovieMaker Magazine \| HOP Volume 1, Issue #8 \| Shooting for an Alternate Reality (Site not responding. Last check: 2007-10-21)
		For him, each film is a new adventure; another chance to play with the form.
		A painter in his off hours, Delhomme embraced the opportunity to shoot a film which demanded that he take his time with each camera set-up; that he use light to tell a parallel story, enhancing and underscoring the film´s minimalist narrative.
		He did one film, for example, using only a 10mm lens, but I don't tend to be so extreme.
	www.moviemaker.com /hop/08/cinema.html (1163 words)

	Film grammar -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-21)
		It is analogous to a (A string of words satisfying the grammatical rules of a language) sentence.
		The study of transitions between scenes is described in (Click link for more info and facts about film punctuation) film punctuation.
		It is analogous to a (One of several distinct subdivisions of a text intended to separate ideas; the beginning is usually marked by a new indented line) paragraph.
	www.absoluteastronomy.com /encyclopedia/f/fi/film_grammar.htm (176 words)

	The 'Grammar' of Film
		Film use certain common conventions often referred to as the 'grammar' of these audiovisual media.
		Such shots are often used in mystery and suspense films to create a sense of unease in the viewer.
		In zooming in the camera does not move; the lens is focused down from a long-shot to a close-up whilst the picture is still being shown.
	wwwfac.worcester.edu /communications/bullens/The%20film.htm (962 words)

	Hypertext Syntagmas, Miles, JoDI (Site not responding. Last check: 2007-10-21)
		That the cinema does not have a grammar, in the ordinarily conceived sense of the term, is today reasonably well established (as indeed Bordwell (1995) makes clear in his analysis of different narrative styles, see also Nichols, 1991), and the implications of this are yet to be fully developed.
		In other words the classical narrative film concentrates more on editing and montage than on a series of rules for what ought to be in the camera frame (that is, on the production of unified syntagmatic series).
		These rules generally involve and require the use of an establishing shot, point of view shots, and the maintenance of what is known as the 180 degree rule, but they also included rules about screen movement, cutting on action, and the movement of bodies across screen borders.
	hypertext.rmit.edu.au /essays/jodi/canon/traditio.html (722 words)

	[No title] (Site not responding. Last check: 2007-10-21)
		This thesis presents work aimed at exploiting the grammar of film for the purpose of automated film understanding, and addresses the semantic gap that exists between the simplicity of features that can be currently computed in automated content indexing systems and the richness of semantics in user queries posed for media search and retrieval.
		The identification of act boundaries in the narrative allows for structuralizing film at a level far higher than existing segmentation frameworks which include shot detection and scene identification, and provides a reliable basis for inferences about the semantic content of dramatic events in film.
		A novel act boundary posterior function for Act 1 and 2 is derived using a Bayesian formulation under guidance from film grammar, tested under many configurations, and the results are reported for experiments involving 25 full-length movies.
	www.computing.edu.au /~adamsb/brett/adams_2003.abstract (479 words)

	Oxford Advanced Studies Program (Site not responding. Last check: 2007-10-21)
		The aim of the course is to introduce students to several key aspects of film study.
		Study will be made of processes of film, in addition to an examination of the various alternative approaches to film making around the world.
		Study of film grammar - the ways that film makers communicate ideas by means of sound and vision.
	www.oasp.ac.uk /summer/subjects/2004/film.htm (273 words)

	Monica Gazzo - press release
		Tending Echo Park is an experimental diary film by Monica Gazzo on life in the Los Angeles community of Echo Park at the end of the XXth century.
		The film moves into many places, but is mostly a stylistic essay on cinematic écriture feminine and reinvents a film grammar based on gender and race.
		Her previous 16 mm film, A Florentine Diary (1988), color and fl and white, sound, 12 minutes, music by Joan La Barbara, was sponsored by Film Arts Foundation in San Francisco and opened at their 4th Annual Film Arts Festival at the Roxie Cinema and at University of California Theater in Berkeley.
	www.artawakening.com /monicagazzo/press.html (1216 words)

	Film Theory: Formalism, Realism, Structuralism, and Related Concepts
		Film Theory: Formalism, Semiotics, and The Language of Film
		For example, in film, the meaning of the establishing shot is determined by its position in relation to the other shots in the scene.
		In film, two juxtaposed shots in a montage could be said to have a metonymic relationship, especially if the meaning of one shot depends upon the presence of the subsequent shot.
	www.colorado.edu /FilmStudies/FILM4004/Spring2004/Formal.htm (729 words)

	Visual grammar in film and videography
		Film and video production uses variations of long, medium and closeup shots to communicate visually.
		Footage is shot and edited so viewers believe they are seeing a continuous, uninterrupted event in real time even though the screen time of the event may be longer or shorter than real time.
		Film and TV directors create the illusion of continuity by recording the entire scene or action from start to finish in a master shot (usually a LS).
	www.bctv.net /telcom/tel40text/2visualgrammar.html (4348 words)

	Enculturation: The Street Finds Its Own Use For Things: Hypertext, DJing, and the New Composition Studies Program
		Bordwell and Thompson teach a pedagogy of film analysis based on "[Kane's] characteristic and specific use of specific film techniques" (221).
		The authors, however, leave out the everyday grammar Kane himself creates out of objects in the film's subtext.
		Film Art's discussion of Citizen Kane is, after all, a discussion of film analysis, not film as a model for writing.
	enculturation.gmu.edu /4_2/rice/technology.html (312 words)

	Is Your Film Language Greek?
		Basically, the concert footage is alternated with photos and film footage of people in Greece, and these photo sequences are segued into the music with some very dramatic poetry readings, in an attempt to reach cathartic heights of emotion.
		One of the modes that the film utilises is that of the essay mode, with its Socratic-like questioning.
		Here is a film that is tragic, that is full of life, full of feeling, and yet it is also calm in the way it looks at all these things.
	www.sensesofcinema.com /contents/00/1/greek.html (2180 words)

	Buckland's Reply to Petric and Grodal
		George Lakoff and Mark Johnson's (L+J) cognitive semantic theory to film.
		film frame in terms of L+J's bodily-based container schema (44-51).
		Buckland, Warren, _The Cognitive Semiotics of Film_ (Cambridge: Cambridge
	www.film-philosophy.com /vol5-2001/n13buckland (1270 words)

	Keeping A Film Journal (Site not responding. Last check: 2007-10-21)
		Ultimately, film students need to go beyond the average entertainment and “read” films to know what they say.
		Taking notes while watching a film moves viewers from the passive experience of being entertained toward the active role of reading a film for meaning(s).
		Whether watching a favorite film with dialog you know by heart or checking out a film you've only heard about, use your developing knowledge of film as an active viewer.
	www.csusm.edu /profe/keeping.htm (469 words)

	Bekolo,Jean-Pierre (Site not responding. Last check: 2007-10-21)
		The film features four main characters--Essomba, "ET," the film maker; Cinema, the film watcher; the Police Sergeant; and the narrator, Jean-Pierre Bekolo (J-PB, I'll call him), who is duplicated inside the film by himself portraying a bartender, who himself is a film maker.
		Cinema, the film watcher, "bad guy," and "gangster," has watched 10,000 films, very few of them African--"because they are shit!" he asserts to ET, who replies, "If they are shit, then you are shit!" This exchange occurs during a framing scene, which opens the film and is replayed almost at the end.
		J-PB, the voice over narrator, speaking as the "real" film maker and a kind of chorus, stands apart and comments on the action, but he is obviously an integral part of the movie and not separate at all.
	athena.english.vt.edu /~carlisle/Postcolonial/African_Cinema/bekolo_jean_pierre.htm (2767 words)

	The Grammar of TV and Film
		Television and film use certain common conventions often referred to as the 'grammar' of these audiovisual media.
		This is the most frequent manipulation of time in films: it is achieved with cuts or dissolves.
		In dramatic films, it may be the voice of one of the characters, unheard by the others.
	www.aber.ac.uk /media/Documents/short/gramtv.html (4011 words)

	Video Systems: Reviews; Going To Film School, Interactively - Back (Site not responding. Last check: 2007-10-21)
		Your course begins with film grammar, the composition of the scene.
		After film grammar there is a great section on film festivals, with extensive resources of film and video festivals worldwide.
		By the way, the "film" was actually shot on video (Beta SP with a Steadicam), so this interactive film school is essentially centered on a video production.
	www.findarticles.com /p/articles/mi_m0HFE/is_1999_Jan/ai_54306985 (1230 words)

	CCSF Film Department - Film 18. Denise Bostrom
		An introductory course in film studies bringing Hollywood filmmaking into clear focus as an art form, as an economic force, and as a system of representation and communication.
		Assess the different genres, film grammar, and editing and lighting styles used in films and rate how successfully these techniques are employed.
		A student must submit a written reason why he or she missed a deadline by the day of the deadline.
	www.ccsf.edu /Departments/Film/courses/bostrom_18.htm (511 words)

	A Short Grammar of Film (Site not responding. Last check: 2007-10-21)
		Above anyone else, he is the one who has shown popular film makes (and popular film audiences) that it’s possible to edit across time, putting future events before past ones and trusting the audience to sort everything out.
		Film students have come up with an entire vocabulary to describe the ways a director can use the camera.
		Auteur is French for author.) The idea behind it is that there is a single person responsible for a film, and he or she is generally the director.
	www.kings.edu /jkraus/filmgram.htm (1530 words)

	Movies at Film-North
		Fortunately, there is still a large handful of truly worthwhile seeking films, which have been made in years past (most available on video), to make cinema a powerful tool for probing into the meaning of our existence.
		In the cinema of today, however, the general public is swept along into the most indolent mode of living: indulging their personal dreams, fantasies and wishes as a substitute for seeking out the true answers to the questions of life beyond the visible boundary.
		Film as media is perfect for recreating new mythology: action and open conflict.
	him.filmplus.org /~afronord/movies.html (1172 words)

	Film Grammar = Art & Music
		Film is an extreme art: patatheatre -- the teatricality of our rutine existance in postmodern conditions.
		We need language and it grammar to communicate with each other, but the language our reflects our communality of the experience.
		More on film grammar @ Film-North (I recommend to go to Theory and Semiotics).
	www.vtheatre.net /200/art/grammar.html (429 words)

	FilmSchools.com - Film School Directory - U.S. Film Schools
		Here you will be connected to 120+ film schools, film degree programs or workshops in the United States and abroad, valuable advice and some basic information that will help get you on your way toward a rewarding film education.
		According to the Bureau of Labor Statistics, the film industry has a projected growth of 17% over the next ten years.
		There are more than 75 jobs in the film industry - from high-profile roles like director, producer and actor to behind-the-scenes positions such as gaffer and key grip.
	FilmSchools.com (528 words)

	Amazon.com: Books: American Silent Film (Site not responding. Last check: 2007-10-21)
		This book, written by the late film expert William K. Everson, is one of the best that you will read on silent film.
		While the scope of the book is American films, he devotes time to the influence of European films and filmmakers on American films.
		This books is an excellent introduction to silent film, yet a person familiar with the topic will not be able to put it down either.
	www.amazon.com /exec/obidos/tg/detail/-/0306808765?v=glance (1257 words)

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