1 50 8 https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/05aade71cad4cca20be4582485f1c85d.pdf?Expires=1790208000&Signature=RlE99zQhvd6frPgAT6Ft4T4NveKo4hcJcAUDcnUsjajfNih%7ESwPAB06ujezHyk14PHABgyulJhz9JGqy58uBKdIW4HwEshd947kpHacy2rka0jMwJI%7Ei1BkvyeeAryC25MpTahgdBdLVOyJbqoeWiWoAGGXo7rvZP7aCUnR2iCcFiX3glFk5fBC-JbFUaJ-vRJZGUvZufjXly5lW145MenV4UyjUDfL-UtY9nLvVxvkEE-NqVnNzI1U4BMqMa5RRLWOgl7CJaw9qoQmBxqw2gNfWqGWlpYbK5vNTwvLwE3WqDyv2tlLuDsAU5VLWzl0yRVoP8UXotITHYW38ZmknIA__&Key-Pair-Id=K6UGZS9ZTDSZM 1c7771cffc5572a995af6cdacbca1df9 PDF Text Text Contributed by Michelle Leigh Farrell, Fairfield University SP 271: Hispanic Film Fairfield University Michelle Leigh Farrell, PhD INSTRUCTOR INFORMATION ---------------------------------------------------------------Professor: Dr. Michelle Leigh Farrell Email: mfarrell3@fairfield.edu I. Video Essay Assignment: In order to recognize the importance of audiovisual language and cinematography to our exploration of Hispanic Cinema throughout the semester, students will work in groups of two to create a two-four minute video essay focused on one or two specific cinematography term(s) from the glossary of Cinegogía that we have explored this semester. Using iMovie, screen shots, and voice over narration, coupled with sound, or music, students will narrate the use of the cinematographic term either back lighting, close-ups, panning, filming from below, etc. The students will use a range of examples from various films that exemplify the term for example the use of close ups (with screen shots from Pelo Malo, and Ixcanul), or may choose to closely explore two terms and their use in one film-to explain the use of the term to their audience, and how it becomes a tool in the language of cinema, as well as how it works in the particular film(s) that the student chooses to explore. 1. You will work in pairs 2. You will choose at least two terms to analyze from the terms that we have explored throughout SP 271 each week from the Cineglos glossary. The cinematography terms that we have studied this semester are listed below. 3. For help on the use of iMovie visit Lynda.com Cinematography terms from SP 271 Spring 2018 1. Road movie 2. Toma de ángulo ancho 3. Iluminación 4. Primerísimo plano 5. Plano general 6. Panorámica (pan) 7. Montaje 8. Narrador 9. Fundir en negro 10. Mise-en-scene 11. Vestuario 12. Ángulo contrapicado 13. Ángulo picado 14. Banda sonora 15. Atrezo 16. Secuencia 17. La Escena 18. Efectos sonoros 19. Encuadre 20. Cenital 21. Puesta en escena 22. Vestuario 23. Contraluz 24. Zoom �4. You will explain using voice over (equal participation of each person in pair) sharing the frames (tomas) the use of this cinematographic term in general and in particular in the films that you have chosen, how it adds to the film, how it focuses the eye of the audience, etc. 5. These video essays may be used on the Cinegogía website for future students to use to understand the use of the video essay. Please make sure you sign a release form upon turning in your essay. 6. Turn in your video essay on the course organization platform: Blackboard under the Discussion Board tab. Please do not attempt to send the video essays via email. Sample video essays to begin to inspire you: https://vimeo.com/199577445 https://vimeo.com/35870502 https://vimeo.com/89302848 https://www.youtube.com/watch?v=DTk_gXYIrd4 https://www.youtube.com/watch?v=u5FtRwjTxAo Breakdown of the grade: • • • • • • • • • • Submit name of partner, terms you will focus on, and films you will analyze (credit or no credit) Submit abstract of your video essay-you need to have an argument and state it in the first ten seconds of the video essay (graded writing rubric) In class: Workshop storyboards in class with other groups (using white boards and markers, etc.) in class (participation) Turn in a storyboard of the scenes/frames you will use (this can be drawn) with an outline of points the voice over will make. (graded writing rubric) Incorporate professor feedback on abstract, storyboard, outline-submit second version of abstract, storyboard, and outline (participation) In-class second storyboard to further refine your argument (participation) Create video essay-using screen shots, screen grabs, iMovie, music, sound, voice over, and inter-titles (remaining points for Video Essay project) Before completing the video - each essay needs to include a works-cited or referenced bibliographical page, or shot. This shot will not count as time towards your two-four minutes of your essay. Continue to edit your digital essay Viewing party-share your digital essays in the final classroom session with peers You will be assessed on meeting the steps delineated above, the content of your presentation, the creativity of the video essay, your language grammar/presentational skills, and how engaging the presentation is. This is an important opportunity to showcase your analytical skills, and ability to put in practice the close viewing that we have practiced throughout the semester. To assess this presentation, I will use the “Rubric for Oral Presentations” available on Blackboard under the ‘information’ tab for the course. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Video Essay Materials Video Essay Materials Handouts and other materials relevant to creating video essays Title Video Essay Assignment Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. In order to recognize the importance of audiovisual language and cinematography to our exploration of Hispanic Cinema throughout the semester, students will work in groups of two to create a two-four minute video essay focused on one or two specific cinematography term(s) from the glossary of Cinegogía that we have explored this semester. Using iMovie, screen shots, and voice-over narration, coupled with sound, or music, students will narrate the use of the cinematographic term either back lighting, close-ups, panning, filming from below, etc. The students will use a range of examples from various films that exemplify the term: for example, the use of close-ups (with screen shots from Pelo Malo, and Ixcanul); or may choose to closely explore two terms and their use in one film - to explain the use of the term to their audience, and how it becomes a tool in the language of cinema, as well as how it works in the particular film(s) that the student chooses to explore. Related Syllabus Add any syllabus directly related to this course material. Make sure the name of the syllabus is also a hyperlink to the unique Omeka item webpage. <a href="https://cinegogia.omeka.net/items/show/313">Hispanic Film</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Michelle Leigh Farrell, Fairfield University Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Examples / Ejemplos Add links to any examples from this course assignment. <a href="https://cinegogia.omeka.net/items/show/312">Neocolonialismo en También la lluvia</a> <a href="https://cinegogia.omeka.net/items/show/315">El vestuario en Central do Brasil</a> Title / Título (Original) A name given to the resources. El nombre original del recurso. Video Essay Assignment Related Course Materials / Materiales relacionados Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live. <a href="https://cinegogia.omeka.net/items/show/312">Neocolonialismo en También la lluvia</a> <a href="https://cinegogia.omeka.net/items/show/315">El vestuario en Central do Brasil</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Video Essay Assignment Description An account of the resource In order to recognize the importance of audiovisual language and cinematography to our exploration of Hispanic Cinema throughout the semester, students will work in groups of two to create a two-four minute video essay focused on one or two specific cinematography term(s) from the glossary of Cinegogía that we have explored this semester. Using iMovie, screen shots, and voice-over narration, coupled with sound, or music, students will narrate the use of the cinematographic term either back lighting, close-ups, panning, filming from below, etc. The students will use a range of examples from various films that exemplify the term: for example, the use of close-ups (with screen shots from Pelo malo, and Ixcanul); or may choose to closely explore two terms and their use in one film - to explain the use of the term to their audience, and how it becomes a tool in the language of cinema, as well as how it works in the particular film(s) that the student chooses to explore. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/55b01815ef0d4eb718693347227569bd.pdf?Expires=1790208000&Signature=lXCn5Ioi5fafE2vZIIYBUt8o88aChLp0durt4zD9J82RVkISL9qoQVEK%7Eo9GC5ySUps3nvh9rZi1RsNR84IBdXBcfloATot6TSw-Hk%7EjxIYIbWDlIjrZvramfhaRcK-kskMnAr0yZGWdOPSm39Kwvxr1u981lZd5k9emnNRkiPcEduCmoXCcLHgWdsY9Y8BE-SJItL3Ku0l9aprS6Z18qVlnkQcvKVbSM12-pZ7QywERVjCbhA1p8bzIcEOvU381X8veLeR64sQHCI88vJHSfr97e7HnWzBVeJjp92JfbV5Bj2-ofWUpn90bUsLznNUDonR6ZpeKnk8CsSv-nIQodQ__&Key-Pair-Id=K6UGZS9ZTDSZM e07c12f73de37100c61cd6d3ef32d6fc PDF Text Text 2019/03/12 CAMTASIA 3 (SMudd 115-Computers 2 to 5) NOTE: We have limited licenses available for Camtasia. Please only use Camtasia for capturing the video and audio, so other students have access to the program. PROCEDURE: 1) For Web browsers, launch Firefox or Chrome to playback the film clip from YouTube or Moodle, etc. a) Navigate to roughly 10 seconds before the scene and PAUSE the playback. OR 1) For DVD playback, borrow a Mac “Superdrive” from Smudd 115 (you’ll need your ID). a) Insert the DVD (Blu-ray won’t work). i) Use VLC (NOT Quicktime) as the media player. ii) Navigate to roughly 10 seconds before the scene and PAUSE the playback. 2) Launch CAMTASIA 3 a) Click “New Recording” b) Select “iMac” and “System Audio” c) De-select “Built-in Microphone” d) Click “Start Recording” 3) Use COMMAND-TAB to switch back to the source video, and click the FULL SCREEN icon. a) Play the video. b) Wait for 5 or 10-seconds at the end. c) Stop playback and then ESC. d) STOP the recording by clicking at the top of the screen. e) In the drop down menu: i) click SHARE → LOCAL FILE... → (1) Export as: “film_EXCERPT NAME.mp4” (a) Example: los olvidados_DREAM SEQUENCE.mp4 (b) NOTE: .mov works as well (2) Where: Desktop ii) EXPORT EDITING: Launch Google Drive, Dropbox or an external drive and save the file, so you can use another computer to edit. 1 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Video Essay Materials Video Essay Materials Handouts and other materials relevant to creating video essays Title / Título (Original) A name given to the resources. El nombre original del recurso. Camtasia Video Capture Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Paul Schroeder Rodríguez, Amherst College Related Syllabus Add any syllabus directly related to this course material. Make sure the name of the syllabus is also a hyperlink to the unique Omeka item webpage. <a href="https://cinegogia.omeka.net/items/show/291">Latin American Cinema</a> Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Instructions for using the licensed program Camtasia to capture video and audio from films for use in video essays Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Camtasia Video Capture Description An account of the resource Instructions for using the licensed program Camtasia to capture video and audio from films for use in video essays https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/c47df3a38411fe13bbcf27113d72ee48.pdf?Expires=1790208000&Signature=KIPQj1%7E8i2C%7E7z3jKIlAeQrF6Zq2U1ZdVdKoldm9gnZ%7EJfGSlx8yqsld5Yu-ca%7E9G2S3dtEtIb6TdwXAldV9avGoOmbAiXV2vVJU0CPlqgX1CQUUNJhZx4X8fuGTJzzHWpOCgGhMcUtCOEPxhOtfujuQr0uKDkK7Wf8dKl0JNcb0nvt61eXMbLT3HHvmtuPz71xDxexmHbpgU6Qk7r-kq1wtZYgBUxdMMMcn70FV6ikly86IffuJSKwvWgvP3zHf1K-2AZunp0Sb6JyQZa3W1rDI3XXUluMNB729xwDrAJ7SUlWh2BcCSXqajCyb-TeJnNGAv2u9F-nfJtniJTmAuQ__&Key-Pair-Id=K6UGZS9ZTDSZM 4a86a036437a76a91253fd000889a274 PDF Text Text 02/11/2019 FINAL CUT PRO X FCPX Version 10.4 / OS 10.12.6 BASIC LAYOUT--for reference 1) LIBRARY-Refers to all of the projects and footage on your harddrive or computer. You can OPEN and CLOSE different “libraries” in this window. Use the FILE drop down menu to do this. Each Library may contain several “events” Each EVENT may contain several “Projects” and “clips” A PROJECT is the story that you are editing = video CLIP = audio CLIP 2) EVENT BROWSER-Provides information and allows the clips to be organized. Preview the footage by clicking on a clip to show it in the VIEWER window. 3) TIMELINE-Drag and drop footage from the EVENT BROWSER into the TIMELINE. Perform all of your edits here, and see your results in the VIEWER window. 4) VIEWER-View footage from either the EVENT BROWSER or the TIMELINE. 5) INSPECTOR-Displays effects settings and metadata. Launch the window by clicking: 6) AUDIO METER-Keep the peak audio between -12 to -6. Launch the window by clicking: 1 �02/11/2019 GETTING STARTED MEDIA MANAGEMENT On the desktop or an external harddrive, create a folder labeled: “raw MEDIA” (or something to that effect). Download all of the video needed for this project and place into this folder. Launch Final Cut Pro X CREATING A LIBRARY File→ New→ Library… “Save As:” library SPAN_238 “Where:” <desktop or external harddrive> → SAVE EVENTS FCP automatically creates an event and names it with the current date. Change the name, Example: “event SPAN_238 <lastname>” IMPORTING Right-click on the new event (event SPAN_238 sample) → IMPORT MEDIA… Check the settings on the top right of the import window to make sure the videos are going to the correct event. Also select “Copy to Library” Note the import icon shows a progress wheel, and will pause when the mouse is moved. NAVIGATION Select CLIP APPEARANCE to change the viewing options in the EVENT BROWSER Keyboard commands SPACE bar to play/pause a clip. Right & Left ARROW KEYS to move one frame forward and backward respectively. J = reverse, K = stop, L = forward. e.g. Tap “L” once, and it will play the footage at 1 times the speed, tap it twice, it will be 2x, etc. 2 �02/11/2019 BASIC EDITING CREATING A PROJECT Click the NEW PROJECT icon Project Name: “project SPAN_238 <lastname>” In Event: “event SPAN_238 <lastname>” → OK This launches the TIMELINE window EDIT OPTIONS Drag and drop clips from the EVENT BROWSER to the TIMELINE OR Click on a clip and click the INSERT or OVERWRITE icon. Depending on where the PLAYHEAD is positioned, the footage will drop at that exact point. Highlight another clip and click the APPEND icon. The footage will be placed at the end of the timeline. EXERCISE #2: Do a ROUGH(!) edit to play around with footage, to get an understanding of the different edit options. TOOL BOX--Located just above the TIMELINE Commonly used tools are... SELECT: you probably already know what this is for POSITION: specifically place where you want a clip to go BLADE: cuts the footage at a specific frame ZOOM: zoom into the footage wherever the PLAYHEAD is positioned. Hold the OPTION key down to ZOOM OUT. Use the BLADE tool to cut the footage. Use the SELECT tool to highlight the footage, and then… Choose DELETE (not DELETE ⌦): the footage deletes, and adjusts automatically. Type COMMAND-Z to UNDO the delete. Take a section of footage that you’d like to use later in the timeline, and place it roughly in place with the POSITION tool. OR Use the SELECT tool, place the playhead where you would like the footage to stop and grab the right or left side of the footage and drag to the playhead. 3 �02/11/2019 TITLING Position the PLAYHEAD in the TIMELINE Select the TITLES GENERATOR window (just above the Library window) Select TITLES-->BUMPER/OPENER Click on Basic Title Double-click to put it into the TIMELINE or drag and drop it into place. In the VIEWER window double-click where it says “Title” and make the changes needed. Use the INSPECTOR window to change font style, color, etc. ● ● Each line of text can have different font sizes, click on the TEXT INSPECTOR to rewrite text and to select a specific line. For titles superimposed over an image, add an OUTLINE or DROP SHADOW to make the text more legible. TIP: To save a lot of time, perfect the first title, and use that title as a template for the remaining titles. To duplicate the first title, use OPTION-CLICK and then drag the new title to a different location. Simply change the name and description for the other subjects. Opening: Superimposed: 4 Closing: �02/11/2019 SHARING A FEW OPTIONS Find the “Share” icon on the top right or go to the FILE drop down menu 1) Choose “YouTube...” or “Vimeo” → SETTINGS Suggested settings…(if the file size is extremely large, then you’ll have to change the resolution) OR → NEXT... → Log in and upload NOTE: Depending on the length, this could take some time to process. Typically, YouTube doesn’t accept programs longer than 15-minutes and Vimeo is limited to a 500MB weekly limit (unless you pay for the PRO versions). 2) If you want to save a high quality version of your project, choose “Master File (default)...” “H.264” is one of the smaller file settings, and “Apple ProRes” settings are extremely large and may take hours to create. Choose NEXT… KEYBOARD COMMANDS--Helps to improve efficiency and speed J-K-L: Rewind, Stop, Fast forward. The more you press J or L, the faster the image will move SPACE BAR: Start or Pause your project HOME: Takes you to the first frame of the timeline END: Takes you to the last frame of the timeline SHIFT-Z: Shows your whole project in the timeline M: Sets a marker. Hit it again to change the info for the marker CONTROL-; Go to the previous marker CONTROL-’ Go to the next marker OPTION-click: To set keyframes OPTION-; Go to the previous keyframe OPTION-’ Go to the next keyframe F: favorite For more HELP: Choose the “Final Cut Pro X help” option in the HELP drop down menu. Lynda.com: Search for Final Cut Pro X Call (413) 542-5069 Stop by Seeley Mudd 110 5 �03/19/2019 FINAL CUT PRO X_span 238 (part 2) FCPX Version 10.4 / OS 10.12.6 NOTE: Before starting, download any audio and video you may be using for this project, and place in a folder on the desktop. ORGANIZING LAUNCH FINAL CUT PRO and right-click the “Span 238 Event” (or whatever you named it) Select “New Project” and rename the project Example: Again, right-click on the “span 238 event” and “Import Media…” For now, select just one video clip to import. KEYWORDS--a tool for quickly finding certain types of shots, images or sounds. Highlight the video clip you selected Select the KEYWORDS (cmd-k) icon Type in “film excerpts” in the top text box. NOTE: Final cut generates a keyboard shortcut to use for other similar clips. The keyworded clips appear under your event EXERCISE #1: Import more film excerpts into FCP and apply the same keyword. Try using the keyword shortcut to speed up the process. RATINGS--quickly mark footage as FAVORITES or REJECTED in the EVENT BROWSER Favorites Select one of the “film excerpts” clips under your event. Review the footage. Find the beginning of a camera movement or image you like in one of the excerpts Set an IN-POINT by clicking “i” Find the end of the movement or image Set an OUT-POINT by clicking “o” Click “f” to mark this section as a “favorite” Rejected--this is not a crucial step, so no need to spend a lot of time on this Set in- and out-points of unwanted footage. Click the “delete” key to “reject” To change the rating, either UNDO EDIT (cmd-z) or select that same region again, and click “u” TIP: To view the timecode in the browser window, select VIEW→ BROWSER→ SKIMMER INFO (ctrl-y) EXERCISE #2: Mark some favorites and rejects for at least one of the excerpts. You can have multiple favorites in one clip. EXERCISE #3: Create new Keywords for some of your favorites. 1 �03/19/2019 SPLIT-SCREEN Using an example of comparing dolly shots. 1. Place one clip onto the PRIMARY STORYLINE (use shift-Z to expand the clip to fill the timeline) 2. Place a second clip on top of the primary storyline. a. This clip is now connected to the “primary storyline” i. If the “Frida” clip is deleted, it will delete any connected clip. TRANSFORM Select the top clip (in this example “excerpt LOS OLVIDADOS”) In the bottom-left of the VIEWER window, click the TRANSFORM icon Click and hold one of the corners and drag to shrink the image. The clip beneath will appear. NOTE: If you can’t see a corner, change the screen size in the TOP-RIGHT of the viewer window Re-position the image to the left side of the screen by clicking and dragging the icon in the center of the image CROP The aspect ratio of these films are 4:3, so there will be black bars on the sides of the image. To remove them for this example, use the crop tool. Click the arrow next to the TRANSFORM icon and select CROP. Drag the edges until the black bars disappear. Reposition with TRANSFORM. TIP: If you’re looking for accuracy, click on the SETTINGS icon in the top-right corner of FCP. PASTE ATTRIBUTES Since the other films are the same aspect ratio, we can apply the same attributes to all of these clips 1. 2. Highlight the “Los Olvidados” clip and copy (cmd-c). Then highlight the “Frida” clip and in the EDIT drop down menu, select PASTE ATTRIBUTES and then PASTE a. This will paste of the transform and crop characteristics. b. With the “Frida” clip still highlighted and in the transform feature, drag the image to the right side of the screen. EXERCISE #4: On the timeline, place “excerpt DEUS E O DIABO” (from 00:00:01:05 to 00:00:10:11) after “los Olvidados”, and apply the same attributes from “los Olvidados”. 2 �03/19/2019 AUDIO EDITING SET-UP In the top right of the TIMELINE, click on the “clip appearance” icon. Zooming in is helpful to fine-tune edit. Use “z” to zoom-in and “option-z” to zoom out. Adjust the “clip height” as desired. Put a section of B-roll OVER your PRIMARY STORYLINE (use the CONNECT icon). Take a listen to that section. If the B-roll audio is too loud, lower it by clicking on the thin black line in the clip and drag down. AUDIO METER To make sure you have good audio levels, activate the audio meter window by clicking on the audio meter next to the timecode display. The ideal audio levels should be from -12 to -6. Never go above zero (into the red) or you will have distortion. WORKING WITH SEPARATE AUDIO FILES Audio files can be keyworded, rated and edited the same as a video file. When bringing a VOICEOVER (VO) into the project, drag and drop into place on the track BELOW the PRIMARY STORYLINE. The Primary Storyline is indicated by the dark black section of the timeline. Adjust the audio levels as needed. The waveform should look something like this: If the overall volume is too quiet, raise the adjustment volume bar to boost up the sound. The light green waveform will turn yellow at the top, but be careful of the red, since the volume may be too loud and become distorted. If you only need to adjust a small section of audio, you should use keyframes... 3 �03/19/2019 KEYFRAMES AND MARKERS KEYFRAMES indicate a change in the parameters of either video or sound. To set a keyframe on the audio, place your mouse over the thin audio line and OPTION-CLICK to place a keyframe marker. Move forward a few frames and place a second keyframe. Now move one of the keyframes up and down to see how it affects the audio. TIP: Use the LEFT or RIGHT arrow keys to move forward or backward frame-by-frame. The UP arrow goes to the PREVIOUS edit and the DOWN arrow goes to the NEXT edit. MARKERS flag a specific location in a clip as reminders for the editor to perform an action or to line up images or audio at that point. To add a marker, highlight the video or audio and hit ‘m’ Marker navigation: ● To go to PREVIOUS marker: cntrl-; ● To go to NEXT marker: cntrl-’ TIP: Use the RANGE tool to quickly create keyframes. In the TIMELINE, click and drag the area that you wish to raise and lower the audio, then pull the volume line to adjust. This creates 4 keyframes that can also be adjusted later. EXERCISE #5: ❏ Bring a voiceover clip into the timeline. ❏ Place a keyframe at the beginning, and place another keyframe 1-second into the audio clip ❏ NOTE: Use SHIFT and → or ← to advance 10 frames forward or backward. ❏ Drag the first keyframe down and see what happens. ❏ Now place a marker somewhere in the timeline to flag a section you would like to go back and work on. KEYBOARD COMMANDS--Helps to improve efficiency and speed j-k-l: Rewind, Stop, Fast forward. The more you press J or L, the faster the image will move SPACE BAR: Start or Pause your project HOME: Takes you to the first frame of the timeline END: Takes you to the last frame of the timeline SHIFT-z: Shows your whole project in the timeline m: Sets a marker. Hit it again to change the info for the marker CONTROL-; Go to the previous marker CONTROL-’ Go to the next marker CONTROL-y Skimmer info displays in the BROWSER window i: to set an in-point o: to set an out-point f: favorite OPTION-click: To set keyframes OPTION-; Go to the previous keyframe OPTION-’ Go to the next keyframe For more HELP: Choose the “Final Cut Pro X help” option in the HELP drop down menu. Lynda.com: Search for Final Cut Pro X Call (413) 542-5069 Stop by Seeley Mudd 110 4 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Video Essay Materials Video Essay Materials Handouts and other materials relevant to creating video essays Title / Título (Original) A name given to the resources. El nombre original del recurso. Final Cut ProX Workshop Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Detailed instructions (in a 2-part workshop) for using the editing program Final Cut ProX to create a video essay sequence Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Paul A. Schroeder Rodríguez, Amherst College Related Syllabus Add any syllabus directly related to this course material. Make sure the name of the syllabus is also a hyperlink to the unique Omeka item webpage. <a href="https://cinegogia.omeka.net/items/show/291">Latin American Cinema</a> Related Course Materials / Materiales relacionados Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live. Student Video Essay <a href="https://cinegogia.omeka.net/items/show/318">Power and Perspective: An Analysis of the Male Gaze in Aventurera</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Final Cut ProX Workshop Description An account of the resource Detailed instructions for using the editing program Final Cut ProX to create a video essay sequence https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/ddb01e0bc2d45e01591c0549a2051931.pdf?Expires=1790208000&Signature=XXw55rRgLNM-9CdZ1Nvk8zo%7ESyRR1mDi%7EVmq%7ECN6jTRZrZ1TYMgAXEhuBW8PWm5vh33FU84S1gq1ez4k0S3%7E-PIHV3ZF0wP%7E01k8fuSMGaHXtxwFgYlTEWStYx8s4RvY-5GR6zSFxjiKb3Zf3XoPF6eYbv0buYvh1RLUYVyW7oPNqXFSE3d8lHcRJuJnDABdAb9yL4lqEeqlcPkApDbR7HYBa29NyzP2QA%7EtAzTs0W7jfeVhntLmWs6QCURn6WVbmZdIwTaTIKVl9XqaXTRrN-GlKdrdxcDZAxpnEv5NeU%7ERo9EDFqnxu74J-5RUP6l9t%7EGND8oqNTICapyLLcpVtg__&Key-Pair-Id=K6UGZS9ZTDSZM 4395a7593636a5c1301f6602194b3198 PDF Text Text The Contemporary World Cinema Project, Middents, Editing Day #1, page 1 AGENDA 1. 2. 3. 4. 5. Getting to know the Premiere Pro Workspace Importing your material into the workspace Cutting up your material Putting it back together Exporting your material Note: These materials are adapted from original handout crafted by Christina Arrellano at Montgomery College. Getting Started in Adobe Premiere Pro 1. Starting a New Project Locate and click on the Adobe Premiere Pro icon in the dock to launch the program. 2. If prompted, select “New Project” on the left, and the New Project window will appear. 3. In the text field at the top, type in a name for your project. 4. Directly beneath this text field, designate a location to save your project to by clicking on “Browse”. 5. In this new window, navigate to the desired drive and project folder, then click “Choose”. 6. Upon returning to the New Project window, skip the other settings listed and click “OK” at the bottom. Setting up the Workspace For this class, we will always use the “Editing” workspace. The computers in this lab are shared with other students who may change these settings. You can easily change them back: Top Menu >> Window >> Workspace >> Editing Fyi—the workspace can be customized to your preferences. See the link posted on the Blackboard site for more information about rearranging the workspace. � � The Tools Panel and Audio Meters panel should also be displayed. A selected panel is indicated by the BLUE outline. Importing Assets In the Project Panel, double-click on the empty space and a new window will appear. Navigate to the files you want to import, select the file(s) or folder(s) then click: Import You can also use the shortcut: (CMD) + (I) “I” for “Import” ❖ *Remember: The files that are imported to your project, are linked to the original source path. Do not delete your source files! And avoid changing the source path. Once you’ve imported the desired files, create and label Bins to keep your project organized. ✓ To create a new Bin, click the New Bin button at the bottom of the Project Panel. �The Contemporary World Cinema Project, Middents, Editing Day #1, page 2 Overview of the Editing Workspace: The 4 Main Panels 1. Project Panel • • • • • Where you import all assets: video, still images, music, graphics, etc. Note the different icons for each. Find assets easily using various functions: Sort by Name, Search, List View vs. Icon View The Effects Tab is where you can select apply various Video/Audio effects and Transitions Create New Item button located at the bottom- New Sequence, Color Matte, etc. Create New Bin button located at the bottom – create separate bins/folder and keep project assets organized! 2. Timeline Panel • • • • Where you build your sequence. Most of your work will be done here. Video tracks appear at the top. Audio tracks appear at the bottom. Multiple video and audio tracks allow for layering. You can have multiple sequences open in the Timeline Panel. They will appear as separate Tabs at the top of the Timeline Panel. 3. Program Monitor • • • Allows you to view your sequence. Directly related to your Timeline. The time displayed in the Program monitor is the total duration of the sequence. The Program monitor displays where the Playhead is placed in the Timeline. 4. Source Monitor • • • Allows you to view individual clips and designate IN/OUT Points before adding to your sequence. The Effects Controls Tab allows you to change parameters such as Position, Scale and Rotation. Any Effects applied to a clip are controlled inside the Effects Control Tab. Tip: To expand any panel to full screen, hover the cursor over that panel and press the tilde key (~) �The Contemporary World Cinema Project, Middents, Editing Day #1, page 3 Creating a New Sequence There are many ways to create a new sequence. Here are the 2 best options: Option 1 In the Project Panel, select one of your *main video clips, then drag and drop them into the Timeline. Option 2 In the Project Panel, select one of your *main video clips, then drag and drop them onto the New Item button at the bottom of the Project Panel. Use this option when a sequence is already open in the Timeline. The new sequence will appear in the Timeline panel and is automatically named the same as the clip. Notice the new sequence also appears in the Project panel. Note the sequence icon. To change the name of the sequence In the Project Panel, click on the current sequence name to activate the text field. Type in the desired name and press Return. Adding Clips from the Project Panel to the Timeline Select the clip(s) from the Project Panel, then drag and drop into the Timeline. Trim Clips in the Timeline Option 1: In the Timeline, hover the selection tool near the front or end of the clip till it changes to the Trim icon. With the Trim icon, click, hold, and drag to the left or right and note the duration indicator changes as you drag. Release once the desired edit is made. Option 2: Select the Cut tool (Razor blade icon) from the Tools panel. In the Timeline, position the Cut tool over the desired clip, then click to make a cut in the clip. Select the portion of the clip you wish to delete, then press the Delete key. �The Contemporary World Cinema Project, Middents, Editing Day #1, page 4 Navigating the Timeline and Using Shortcuts The Current Time Display is the time displayed in Blue in the upper Left corner of the Timeline Panel. It shows the current time where the Playhead is positioned. The Sequence Duration is the time displayed in White at the bottom Right corner of the Program Monitor. Time is displayed as 00:00:00;00 Hours: Minutes: Seconds: Frames - Example: 01:23:16;10 represents 1 Hour, 23 Minutes, 16 Seconds, 10 Frames Command + To adjust the track height to the preferred “thumbnail” view of clips Left/Right Arrow Keys – move forward or back in time frame by frame • You can also navigate quickly forward and back by using the J and L keys (with K to stop). (-) or (=) Zoom In or Out of the Timeline (V) To return to the default/selection tool (S) Turn Snap feature ON • As you drag in the Timeline, it's easy to place items imprecisely. To make dragging more accurate, use snapping. When the Snap feature is turned on, items will snap directly to the Playhead, an edit point, markers, keyframes, or In and Out points. (M) Places a mark at the playhead location – useful when you are trying to snap to a particular position To Position the Playhead (aka Current Time Indicator) Option 1: In the Timeline Panel or Source Panel, drag the Playhead left or right to “scrub” through the Timeline. Option 2: Click on the Time Ruler and the Playhead will jump to that position. Option 3: Enter a specific time or timecode in the Current Time Display to automatically position the Playhead. For Example: • To move the Playhead to the exact timecode of 00:03:30;00, enter: 00:03:30;00 • To move the Playhead forward :04 seconds from its current position, enter: +400 • To move the Playhead backward :04 seconds from its current position, enter: -400 Option 4: HOME Key – Moves your Playhead to the beginning of the sequence END Key – Moves your Playhead to the end of the sequence �The Contemporary World Cinema Project, Middents, Editing Day #1, page 5 Frequently Used Mac Keyboard Shortcuts to Know: (CMD) + (S) to SAVE your project (CMD) + (Z) UNDO (CMD) + (X) Cut (CMD) + (C) Copy (CMD) + (V) Paste Adding Clips from the Source Monitor You can select a portion of a clip to add to the Timeline by using the Source Monitor. Set IN and OUT Points • Open the desired clip in the Source Monitor. • Position the Playhead where you want your selection to start. Press the (i) key to mark this as the IN Point. • Move the Playhead to the position where you want your selection to end. Press the (O) key to mark this as the OUT Point. Hover the selection tool near the IN or OUT Point and it changes to the Trim icon. Use the Trim icon to make adjustments as necessary. Add the clip selection from the Source Monitor to the Timeline Option 1: Drag and Drop Options • To add both video and audio from the clip, drag from the center of the monitor to the Timeline. • To add only video, drag from the Video icon to the Timeline. • To add only audio, drag from the Audio icon to the Timeline. Option 2: Insert Button An Insert Edit will insert the clip wherever the Playhead is currently positioned in the Timeline. All clips will be “pushed” or shifted forward in time, to accommodate the new clip. Option 3: Overwrite Button An Overwrite Edit will replace any clips where the Playhead is currently positioned in the Timeline. A Drag and drop edit, by default, is an Overwrite edit. For both Insert and Overwrite Edits, the source track indicator will determine which source tracks will be placed and where each track will be placed. �The Contemporary World Cinema Project, Middents, Editing Day #2, page 1 AGENDA 1. Checking out the PechaKuchas 2. Crafting and importing audio 3. Manipulating audio Note: These materials are adapted from original handouts crafted by Christina Arrellano at Montgomery College. Basic Audio and Intro to Keyframing The Audio levels of a clip or sequence can be monitored through the Audio Meters Panel or VU Meter. (If it is not already open, from the top/main menu, select: Window > Audio Meters) • • The number of channels displayed depends on the sequence Multichannel is typical for broadcast output (multiple languages, separate music, etc.) Timeline Display Settings (Wrench Icon) Make sure both of these are checked:  Show Audio Waveforms  Show Audio Keyframes Audio Normalizing • Primary audio should peak between -12dB and -6dB (dB =Decibels) • Secondary or background audio should average approximately* -22dB to -18dB For example, a voice over or interview sound bite would be the Primary audio. A music track or sound effect would be considered Secondary audio. A1 Voiceover and/or interview soundbite A2 Nat sound A3 Music and/or sound effects Use the Mute (M) and/or Solo (S) toggle buttons for each Audio track to isolate track monitoring. By default, all video clips are synched or locked to their audio. To Unlink a clip’s video track from its audio track: • • • Option 1: Right-click the selected clip and select “Unlink.” Option 2: Select the clip and use the shortcut: Command-L Option 3: (Best for isolating an entire track of a sequence) Lock the track by clicking the Lock icon on the track you wish to keep, use the shortcut: Command-A to “Select All”, then press the Delete key. �The Contemporary World Cinema Project, Middents, Editing Day #2, page 2 To Apply Keyframes to an Audio Clip in the Timeline 1. In the Timeline, expand the audio track containing the audio clip you wish to keyframe. Note: Timeline Display Settings should be set to: “Show Audio Waveforms and Keyframes” (See page 1) 2. Once the waveform of the desired audio clip is displayed, select the Pen Tool from the Tools Panel or use the shortcut: (P) to activate the Pen Tool. 3. Determine where in the sequence you want to place the audio keyframes. Then, with the Pen Tool, click on the audio waveform to create a keyframe. You need at least 2 keyframes placed (A start and end keyframe). 4. Switch back to the Selection Tool by using the shortcut (V) (this is the default tool). 5. Hover the mouse on the volume control line and note the cursor changes to an up/down arrow. 6. Click and drag the volume control line up to increase, or down, to decrease the volume. The Audio Clip Mixer & The Essential Sound Panel To open the Audio Clip Mixer: From the Main Menu at the top, select: Window > Audio Clip Mixer When building a sequence, it’s best to separate audio types to separate tracks. For example: Audio Track 1: Dialogue (only) Audio Track 2: SFX (only) Audio Track 3: Music (only) Labeling Audio Tracks Option 1: At the bottom of the Audio Clip Mixer, you can enter a name for each audio track. Option 2: In the Timeline, expand the Audio track to reveal the track name. Right-click the name and select: Rename Track. Enter the desired name in the text box, then press the Return key. To open the Essential Sound Panel: From the Main Menu at the top, select: Window > Essential Sound Select the audio clip you wish to edit. 2. Assign an Audio Type to the selected clip from the following options: Dialogue, Music, SFX, or Ambience 3. Once an Audio Type is selected, a unique selection of controls and effects are available for each Audio Type. 1. �The Contemporary World Cinema Project, Middents, Editing Day #3, page 1 AGENDA • • • Transitions, graphics, more keyframing Doling out the obstructions Checking out some stories told Note: These materials are adapted from original handouts crafted by Christina Arrellano at Montgomery College. step 6: craft an alternative trailer… with a twist. After learning more about keyframing and transitions, the final editing exercise asks you to craft a one-to-two-minute trailer for your film. (Clearly, it should not mimic the actual trailers for these films. Your trailers, however, have a few more constraints on them: • • • • All trailers should feature 3-4 on-screen titles (no more, no less), consisting of no more than five words each. All trailers should feature at least two transitions that are not cuts. All trailers should show at least one use of keyframing. Each person will also be randomly assigned an additional “twist” from the following list: o All images must be of characters in motion. o There can be no close-ups of people, only objects. o No shots can show the camera in motion. o Shots can include no more than one person at a time. Applying Effects To apply an effect to a clip: 1. 2. 3. In the Timeline, double-click the desired clip to open it in the Source Monitor. In the Project Panel, in the Effects Tab, double-click the effect you wish to apply. In the Source Monitor, make adjustments to the applied effect in the Effects Controls Tab. • • • Any values that appear in BLUE can be changed. Any values with the stopwatch icon can be keyframed. A creative combination of effects and keyframing can result in interesting results! To Turn an Effect On or Off, click the fx next to the Effect listed in the Effect Controls Tab. To Delete an Effect, select the Effect listed in the Effect Controls Tab then press the Delete key. Copy & Paste Clip Properties The properties and/or applied effects of one clip can be copied to another clip or multiple clips. 1. In the Timeline, first select the clip with the desired properties or effects. 2. Right-click on the clip and select “Copy” from the drop-down menu or, use the shortcut Command-C. 3. 4. Select the clip (s) which you want to apply the desired property value or effects to. Tip: To select multiple clips, hold (Shift) then click. Once the clip(s) are selected, Right-click on any of the selected clips, and select: Paste Attributes 5. A new window will appear. Select which attributes you want to apply to the clip, then click OK. To Duplicate a Clip Option 1: Select the clip in the Timeline then use the shortcut Command-C. Select the desired track by clicking the Track Targets to toggle them On or Off. Place the Playhead at the desired location in the Timeline, then use the shortcut Command-V to Paste. Option 2: Hold the Option key then click and drag up or to the side of the clip �The Contemporary World Cinema Project, Middents, Editing Day #3, page 2 Adjusting Clip Properties The Effects Controls Tab is located in the Source Monitor. From here, you can adjust the various properties of the clip as well as adjust properties of effects that are applied to the clip. Clip Properties 1. In the Timeline, select the clip to view it in the Source Monitor. 2. Select the Effects Controls Tab and notice the various properties listed: Position, Scale, Rotation, Opacity… 3. Any property values colored in BLUE are values that can be changed. Hover the mouse over the value and notice the cursor changes to a pointed hand. Drag left or right to increase or decrease the value. 4. Alternatively, you can click on the value to activate the text field then enter the desired value and press Return. Using the Transform icon In the Source Monitor, in the Effects Controls Tab, next to the Motion Effects, is the Transform icon Click the Transform icon and notice the handles and clip anchor point appear in the Program Monitor. � In the Program Monitor, to adjust the position, drag from the center. � To adjust the rotation, rotate from any of the corner anchor points. � To adjust the scale, drag from any corner anchor point. If necessary, change the Zoom level of the Program Monitor by selecting from the drop-down menu located on the bottom left corner of the Program Monitor. Reset Zoom level to “Fit” when done editing! Applying Transitions All transitions available can be found in the Project Panel in the Effects Tab. To apply a Cross Dissolve: Option 1: Select the cut in the Timeline and use shortcut: Command-D Option 2: Drag and drop the transition from the Effects Tab to the cut in the Timeline. For Audio: Select the cut, Right-click > Add Default Transition To apply any other transition listed in the Effects Tab: 1. From the Effects Tab, select the desired transition. 2. Drag and drop to the desired cut in the Timeline. 3. Adjust the duration using the Trim tool or double-click the transition and enter the desired duration. Some transitions have additional properties that can be adjusted 1. Select the transition in the Timeline. 2. In the Source Monitor, additional properties of the selected transition will be displayed in the Effects Controls Tab. �The Contemporary World Cinema Project, Middents, Editing Day #3, page 3 Keyframing Clip Properties Keyframing allows you to change a value or property of a clip over a designated time. There must be a minimum of 2 keyframes in order to apply a change in property of a clip. (A start keyframe and an end keyframe) Each keyframe represents 2 things: 1. What property are you changing? (Position, scale, rotation, volume etc.) 2. When do you want the property to change? (Time start/end) A.Turn Keyframes ON/OFF B. Add/Remove Keyframes Left Arrow = Go to Previous Keyframe Right Arrow = Go to Next Keyframe To Apply Keyframes to a Video Clip: 1. In the Timeline, double-click the clip you wish to animate to open it in the Source Monitor. 2. In the Source Monitor, select the Effects Controls Tab. Notice the Source Timeline on the right side of the panel. 3. Locate the property you wish keyframe. If necessary, click the arrow next to the effect (For example: Motion, or Opacity) to display the property controls. 4. Position the Playhead in the Source Timeline to where you want to add a keyframe. 5. Turn on keyframes for the desired property/effect by clicking on the Stopwatch icon (item “A” in the diagram above.) Notice the first keyframe automatically appears at the current placement of the Playhead. 6. Adjust the property value of this first keyframe. (For example, this could be your “start keyframe”) 7. Move the Playhead in the Source Timeline to the time where you want to add the next keyframe. 8. To add a second keyframe, click on the Add/Remove keyframe button (item “B” in the diagram above.) 9. Adjust the value of this second keyframe. (For example, this could be your “end keyframe”) Add Keyframes Using the Transform icon 1. In the Source Timeline position the Playhead at the time where you want to add the first keyframe. 2. Locate the property you wish to keyframe and click the Stopwatch icon to Turn ON Keyframes. Notice the first keyframe appears where the Playhead is currently placed. 3. Click the Transform icon and notice the handles and clip anchor point appear in the Program Monitor. If necessary, change the Zoom level of the Program Monitor by selecting from the drop-down menu located on the bottom left corner of the Program Monitor. 4. In the Program Monitor, to adjust the position, drag from the center. To adjust the rotation, rotate from any of the corner anchor points. To adjust the scale, drag from any corner anchor point. 5. In the Source Timeline, move the Playhead to the time where you want to place the second keyframe. 6. In the Program Monitor, repeat step 4 till the desired property is adjusted. Keyframing continued on next page �The Contemporary World Cinema Project, Middents, Editing Day #3, page 4 To Change the Property Value of a Keyframe 1. First and foremost, the Playhead MUST be placed directly on that keyframe. Use the arrow buttons on either side of the Add/Remove keyframe button to move the Playhead in the Source Timeline to the Previous or Next keyframe. (See the Left/Right arrows next to item “B” in the diagram on page 3) 2. Once the Playhead is placed exactly on the desired keyframe, adjust the value property. Option 1: Position the mouse over the property value till it changes to a pointing hand. Click and drag to the left to decrease the value, or to the right to increase the value. Option 2: Click the property value to activate the text field and enter the desired value. To Change the Time of a Keyframe In the Source Timeline, click and drag the keyframe to reposition it to a new point in the Source Timeline. *Keep in mind, a keyframe’s placement in the timeline can always be changed later after initial placement. To Delete a Keyframe Select the keyframe and press the delete key. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Video Essay Materials Video Essay Materials Handouts and other materials relevant to creating video essays Title / Título (Original) A name given to the resources. El nombre original del recurso. Adobe Premiere Pro Workshop Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Detailed instructions (in a 3-part workshop) for using the editing program Adobe Premiere Pro to create a video essay Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Jeffrey Middents, American University Related Syllabus Add any syllabus directly related to this course material. Make sure the name of the syllabus is also a hyperlink to the unique Omeka item webpage. <a href="https://cinegogia.omeka.net/items/show/317">The Contemporary World Cinema Project</a> Related Course Materials / Materiales relacionados Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live. See examples of the Contemporary World Cinema Project at: <a href="https://edspace.american.edu/worldcinema/" target="_blank" rel="noreferrer noopener">https://edspace.american.edu/worldcinema/</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Adobe Premiere Pro Workshop Description An account of the resource Detailed instructions (in a 3-part workshop) for using the editing program Adobe Premiere Pro to create a video essay sequence https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/2346720a1b61adb77b6657d6d6796900.pdf?Expires=1790208000&Signature=hWM%7Eg9xTPQM6vPfYC3TfZNjXYKdXyNAGfEYwMabKHtj%7E32WqhIuWCxrJp36ypZp19ADqoUDXuN-vqfv--c1Xqoa0AikKU4ubSXjpP5bwFEChMqCNaibLD5MsIFlX5xAfFtERxf5dlAd9qhT6qSrGXtmBGqHkJSre1zfyAzW8sNPeNrW-XJ88Q3IDe8ACb9IFU%7EzMcdTJw7RQCCeFULnI4YmwK7wEZN7R8uu4xyOtpt%7EFoI64OEvFpNReuFf%7EuzlbBAX3oTplh051RJmHyVSSdFpIE8zQZzLqGhjVDy47auP1VaHgqXq9OpQouqARTxBV6P-TI7yO1o%7EmjnFV9nVspg__&Key-Pair-Id=K6UGZS9ZTDSZM 4f5814b82534afece22ec65dc6ba625e PDF Text Text Contributed by Jeffrey Middents, American University Like many of your future college courses, this class will require you to craft an essay that critically analyzes a topic of your choice – in this case, an examination of a single film a representative of a particular country. Unlike many of your future college courses, this class will ask you to present that analysis as a short audiovisual essay – and, moreover, all of the course essays will be gathered in a single location for public viewing on the internet (meaning that the potential audience for your product is not just your professor or even your peers, but potentially anyone with an internet connection). I cannot assume that everyone has the same background with either editing skills or research methodology and, as such, the progression throughout this research project consists of a number of smaller assignments that will ensure that your essay will bring together quality investigation as well as a creative touch. Part of this progression will involve crafting somewhat personal responses while learning how to edit in Adobe Premiere Pro (a side benefit of this particular course!); part of this progression ensures that you do the proper research to ensure that your analysis is properly grounded. due dates Su 8/26 F 9/7 F 9/14 W 9/19 W 9/26 W 10/3 F 10/26 Th 11/8 W 11/21 W 11/28 Step 1: Country Choices Due via e-mail by classtime Step 2: Film Possibilities Due via Blackboard Dropbox by 11:59PM Step 3: Preliminary Bibliography and Cultural Historiography Due via Blackboard Dropbox by 11:59PM Step 4: Videographic Pecha-Kucka due to Vimeo; send link and password via Blackboard Dropbox by 11:59PM Step 5: Tell A Story due to Vimeo; send link and password via Blackboard Dropbox by 11:59PM Step 6: Alternative Trailer (with a Twist) due to Vimeo; send link and password via Blackboard Dropbox by 11:59PM Step 7: Storyboard due via Blackboard Dropbox by 11:59PM. Step 8: Rough Edit Due – Bring to class for Rough Edit Workshop Step 9: Video Essay due to Vimeo; send link and password via Blackboard Dropbox by 11:59PM Step 10: Curatorial Statement due to Blackboard Dropbox by 11:59PM �step 1: choose your country. The first step is to pick a country. Each person in the class has to pick a unique country and we need some geographical breadth as a whole. As such, you should submit a list of five possible countries whose cinema you might want to explore. The five countries should be ranked from 1-5, and should feature countries from at least three of the six major continents. (While virtually every country imaginable has claims to their own cinema, Antarctica is not one of them.) We will need at least some representation from Europe, Latin America, the Middle East, Asia and Africa, so think about that as you choose your countries. I will do my best to accommodate your top choices, in the order in which you submit them – thus, it behooves you to get your choices in as early as possible. For each country, list a one-sentence reason why you want to investigate that country. You can choose from any number of countries, any number of different kinds of films. A look at the most recent set of films submitted for the nomination for this year’s Best Foreign Film Academy Award shows 92 different countries – and yet even this list doesn’t include any of the genre films associated with Nigeria, Ghana or India. Look deep and broad and don’t be afraid of countries with smaller output, or countries with genre films. Submit this first assignment by 11:59PM on Sunday, August 26th (i.e. the day before the first day of class) via email. I will inform you on the first day of class of the country that you have been assigned. (In most cases, I hope to offer your first choice. You will earn a very easy 2% toward your grade for completing this assignment on time; you will earn only half-credit without the sentences. step 2: choose your films. Now that you have picked a country, it’s time to pick a film from that country. Your final product will be about a single film – but this preliminary list should contain three films. You are free to choose any film from your country made after the year 2000, but be careful of your choices as they will become your primary source for both your editing assignments and your video essay. (You may switch films after the first and the second editing assignments – but your choice for the Alternative Trailer locks you into that film for the rest of the semester.) Do your research before you make your choices. What kinds of films have been made in your country over the last 20 years? Have things changed from an earlier period? Is there a film that seems particularly representative from your country – or something that seems very much out of the ordinary? (How do you determine this?) Investigate various films and watch a few before submitting your choice. (You will be working intimately with these films – so you want to have watched them before you commit to them.) Once you select three films, simply email me the titles, and a single paragraph (for each film) indicating why you chose by Friday, September 7th via Blackboard Dropbox at 11:59PM. You will earn 3% toward your grade for completing this assignment on time; you will earn only one point if you forget the explanatory paragraph. The Contemporary World Cinema Project Syllabus – 13 �step 3: contextualize your country and its cinema. To start getting a feel for the country you have selected, this first set of research assignments are meant to contextualize some elements before you start research more earnestly. They are meant to be done in a very quick and dirty fashion – but take some care with the second part in particular, as it will affect other parts of the course as well… a. The Cultural Historiography The first part of this assignment is to complete a table indicating concurrent historical/political, cultural, and cinematic occurrences. This should be presented as quickly and as dirty as possible; bullet points are OK, and (FOR THIS ASSIGNMENT ONLY) material may be cut-and-pasted from other resources (you should indicate where the information is coming from; Wikipedia is OK for this assignment ONLY); you, however, must organize the chronology in an easily understood manner. The easiest way to organize elements might be by decade, but particular historical or cinematic events may offer up a different division. For example, the Peruvian cinematic tradition is greatly affected by a coup d’etat in 1968, followed by a film law being established in 1972; therefore, arbitrarily dividing this history at 1970 would not make sense. For ease of reading, you may want to adjust page layout to “landscape” for this. Not all sections will be equally filled for a particular year or period; some significant historical/political events may require a great amount of space to consider, and yet cinematic elements may be underdeveloped for the same period. Use the following table headings (cut and paste this, if you want): Dates Historical/Political elements Cultural elements Selfexplanatory • • Major historical events (changes in governments, wars, natural disasters, etc.) Cinematic elements Significant cultural • markers: major books/songs/art/TV completed; note cinematic elements are not included here • Major films released (also: foreign movies made in the country might be included here; e.g. US film Treasure of the Sierra Madre made in Mexico) Other cinematic ventures: studios founded, film festivals begin, laws established, etc. Your historical and cultural overview can be any length (my guess is that this will be at least five pages long) and go back at least to 1980; if your research uncovers elements that occur earlier that might affect your film, go back to include as much as you need. (For example, the Peruvian film law mentioned above affects production in the country as late as 2003, and thus would be worth mentioning here despite its occurrence before 1980.) The Contemporary World Cinema Project Syllabus – 14 �DO NOT COVER EVERY HISTORICAL OR CULTURAL OCCURRENCE: pick and choose to determine the major events, and the elements that might influence cinematic development. For example, the high period of mural painting by Orozco and Siquieros might be a very significant element to put it “cultural elements” for Mexico, while the advent of television variety show Sabado Gigante would not necessarily be considered for Chile. b. The Preliminary Bibliography In order to do more in-depth research, you need to know what is already out there: how have people already discoursed on cinema from your country, and your film in particular? You therefore need to submit a preliminary bibliography of at least 10 sources. Of these 10 sources: • At least 7 of these sources should be scholarly in nature. The majority of these will be books or articles from scholarly journals (either in print or online). Pay attention when Derrick Jefferson comes to class: there is more to research than Google and JSTOR. I will expect you to have gone further. • At least 3 of these sources should be in audiovisual format. These may come in the form of video essays, DVD extras, interviews, podcasts, etc. • At least 1 of the sources must satisfy both of these requirements: i.e. must be scholarly and in audiovisual format. Exceptions to the above requirements might be made for more obscure/smaller cinematic traditions; please see me more for information about this. Arrange the entries alphabetically by author’s last name, as you would for a regular bibliography. For full credit, these entries should be submitted in MLA style. (Not sure how to properly cite it? Check out Purdue University OWL’s handy online resource!) Also note that neither Wikipedia nor IMDB are ever a proper source (outside of what I indicated above). In addition, based on this preliminary research, please write 1-2 sentences maximum concerning the information you expect to find in each source. Note that you do not have to have read, nor have access yet to these sources to guess why they might be useful. (Please do not include sources that you cannot figure out why they will be useful.) One added caveat here: you may have noticed that the second half of the course is a little lacking in the readings department. This is why you may want to be a little careful: I will pick a single reading from everyone’s preliminary bibliography for the whole class to read. In this way, we may all have a taste of what the others are researching. So choose wisely, as your material might be read by everyone! These should be two separate documents. Submit both documents to the Blackboard Dropbox by Friday, September 14th by 11:59PM. step 4: craft a videographic pecha-kucha. This is the first of your creative assignments, geared to both get you to start interacting with your film and using some of the editing skills you will need to craft your final essay. This particular assignment – along with the other two short editing assignments in this course – are taken and modified from Christian Keathley and The Contemporary World Cinema Project Syllabus – 15 �Jason Mittel’s The Videographic Essay: Criticism in Sound and Image (Montreal: Caboose Books, 2016), which was something that came out of workshops they organized at Middlebury College. The Pecha-Kucha is a unique form of presentation that takes a strict approach to using Powerpoint: there are 20 slides, each slide stays on screen for 20 seconds and automatically advances; therefore, each presentation is exactly 6 minutes and 40 seconds long. Invented in Japan (pecha-kucha means “chatter” in Japanese), the presentation form has become extremely popular for (strangely enough) the freedom that comes from creating meaning when given very strict parameters. As such, the Videographic Pecha-Kucha aims for similar goals: you must craft a one-minute film, using exactly 10 clips from your film of 6 seconds each in duration, accompanied by a one-minute uninterrupted piece of audio from the film. Our first editing lessons will involve getting familiar with the Premiere Pro Workspace, making clips and exporting your material, so this will be an ideal assignment to play with the workspace. When you complete your Pecha-Kucha, upload it to your Vimeo account by Wednesday, September 19th at 11:59PM – and then link it to our Vimeo Group in the appropriate Album. From there, go to the Assignment Dropbox within Blackboard and submit the link to your video. And after everyone has submitted them – check out some of your peers’ work and leave a comment! step 5: tell a story. Our second editing class will bring together some Keyframing to add some effects – but we will also explore a little bit about adding audio, and specifically addressing the voice-over. Many video essays employ some of critical voice-over, and as such you should learn how to record and manipulate your own voice. (Most of my essays, as it happens, do not necessarily employ voice-over, although I often manipulate sound in other ways.) Keathley and Mittel discuss why we actually need to practice for voice-overs, as opposed to necessarily for a live presentation: In such live contexts, we seek to ‘hear past’ the vocal delivery in favour of what is being said, and unless the delivery is truly atrocious, we manage to do that without much effort. But in a videographic essay which disembodies the speaker, the quality of the vocal delivery is immediately conspicuous, and whether a viewer keeps watching depends in large part on whether they want to keep listening. (12) To practice this, your second creative assignment is literally to tell a story, using voice-over, to accompany an unedited portion (no longer than three minutes) from your film. What kind of story should it be? Personal? Fictional? About the people on screen? About what happened at TDR this morning? That’s up to you – but the one thing it should not be is an analysis or “director’s commentary” of the sequence. You should incorporate some element of the audio from the sequence in your final mix, allowing it to interplay with your voice-over. (Please note that your voice-over does not need to continue uninterrupted over the clip.) Once again, when you complete your storytelling, upload it to your Vimeo account by Wednesday, September 26th at 11:59PM – and then link it to our Vimeo Group in the appropriate Album. From there, go to the Assignment Dropbox within Blackboard and submit the link to your video. And again, check out some of your peers’ work and leave a comment The Contemporary World Cinema Project Syllabus – 16 �step 6: craft an alternative trailer… with a twist. After learning more about keyframing and transitions, the final editing exercise asks you to craft a one-totwo-minute trailer for your film. (Clearly, it should not mimic the actual trailers for these films. Your trailers, however, have a few more constraints on them: • • • • All trailers should feature 3-4 on-screen titles (no more, no less), consisting of no more than five words each. All trailers should feature at least two transitions that are not cuts. All trailers should show at least one use of keyframing. Each person will also be randomly assigned an additional “twist” from the following list: o All images must be of characters in motion. o There can be no close-ups of people, only objects. o No shots can show the camera in motion. o Shots can include no more than one person at a time. One more time, when you complete your trailer, upload it to your Vimeo account by Wednesday, October 3rd at 11:59PM – and then link it to our Vimeo Group in the appropriate Album. From there, go to the Assignment Dropbox within Blackboard and submit the link to your video. And again, check out some of your peers’ work and leave a comment step 7: draft a storyboard of your video essay and curatorial statement. By Friday October 26th, you should at least have a rough idea of what you are doing for your project – and, indeed, you might be starting to put ideas together. At this point, I would like to see evidence of that – still in its unedited form. What should do you think you should be using? Why? Will you have narration? How much are you planning to speak? What are the main points you trying to communicate? One way to draft out these possibilities is a storyboard. Also used for films in general, this can allow you to lay out the shape of your argument along with the visuals. In this form, you can sketch what visuals from your film you might use (and even provide screen grabs from your film) as they correspond to parts of your argument that you are developing. Do you think you’ll need voiceover, or do you want the dialogue to shine through? How do you want to develop this argument? Read Arola, Sheppard and Ball’s Chapter 6 “Designing Your Project” to get some ideas on how to do this. Compile this information in some format – PDF file is likely easiest – so that I may evaluate it accordingly and offer some advice before you head into the final thrust of the course. Show as best as you can HOW you will accomplish what you will try to accomplish. The Contemporary World Cinema Project Syllabus – 17 �step 8: craft a rough edit of (and workshop) your video essay and curatorial statement. Before you get to this step: Read Arola, Sheppard and Ball’s Chapter 7 “Drafting and Revising Your Project” for suggestions on putting together a rough cut and how to get and give feedback on it. By Thursday, November 8th, you should have a rough cut of your video essay. (You do not have to upload it yet onto Vimeo; in fact, in its rough form, you will want to be able to tweak things from your workspace.) On this day, we will divide into smaller groups to workshop your essays directly: in groups of three, you will view provide constructive commentary for the video essays and offer suggestions for what material might be needed in the curatorial statements to help the viewer understand what is going on. Amanda and I will be walking around to offer our own suggestions. You might then choose to tweak your essays over the weekend…since on Monday, November 12th, you will do the same thing, only now with a new group of three. With two more sets of eyes, you should receive some significant peer feedback to really fine-tune your piece. By Thursday, November 15th, you will be doing the same with the written portions. Having seen your video essays, now the feedback will turn to crafting a good curatorial statement, one that is written well and communicates what you want to say. I will provide guidance for how to manage these workshops, which are very much designed to be working classes. step 9: upload your video essay! By this point, it almost seems unnecessary to say this: when you complete your video essay, upload it to your Vimeo account by Wednesday, November 21st at 11:59PM. From there, go to the Assignment Dropbox within Blackboard and submit the link to your video. (This time, be sure that you have no password on the video, so that it may be linked out to the general page.) And then – enjoy Thanksgiving! step 10: submit your curatorial statement. You have a little more time to iron out the kinks of the written portion of the main exercise. The curatorial statement – which should complement your video essay, but not be an exact rehash of your essay’s ideas and themes – should be between 500-1000 words in length. It should also provide a proper bibliography, and formatted in MLA style. Submit this as a Word document, or as a PDF by Wednesday, November 28th at 11:59PM. step 11: revel in your awesomeness. Because you will have crafted something really impressive – and we will gather them all together to show our work to the world! The Contemporary World Cinema Project Syllabus – 18 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Video Essay Materials Video Essay Materials Handouts and other materials relevant to creating video essays Title / Título (Original) A name given to the resources. El nombre original del recurso. Video Essay Project Progression Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Detailed instructions for guiding students through the creation of an 8-10 minute video essay project from start to finish Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Jeffrey Middents, American University Related Syllabus Add any syllabus directly related to this course material. Make sure the name of the syllabus is also a hyperlink to the unique Omeka item webpage. <a href="https://cinegogia.omeka.net/items/show/317">The Contemporary World Cinema Project</a> Related Course Materials / Materiales relacionados Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live. <a href="https://cinegogia.omeka.net/items/show/321">Adobe Premiere Pro Workshop</a> Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Video Essay Project Progression Description An account of the resource Detailed instructions for guiding students through the creation of an 8-10 minute video essay project from start to finish https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/146f43206763a0213b8b78aaf0b55300.pdf?Expires=1790208000&Signature=Y08unq4bMlUCNlxUMZaiSmadCmmo3mQSo4FjTwBJAhmEF4-quaYuLSVoq1JoC67zlF8R8oLrcY6Oa8ddBIAgKroZP45W84OZGhoOw0b8b0r67TUH%7Edh8OkO-RxK14dliXsmW8anHwZCiNv-vt%7EGwVne5zZ4kT-kA7riu8EaT-o5DJZqZQ4aGZ4lyRF2PhAoJBafcgO7moP47KrTOYMoSGxRNvCMFyiYdSLK5ELx7w6Tu-pDYeJzu0NOqJ3u1Udlz2DUXmORGVGVYslNehkDyo4iWnzzR-M8iF2NaUPR-5Spi8gQh5nIFLFY6vG6DeGZb6Kbse0-vw-XBk0jxchdBPw__&Key-Pair-Id=K6UGZS9ZTDSZM 1901b8910d3d7e52b0b062ee8bc5c2ba PDF Text Text Contributed by Nicolas Poppe, Middlebury College Trabajo videográfico 1: Mosaico Descripción. La crítica videográfica está emergiendo como un nuevo modo de investigación cinematográfica. No sólo nos ofrece la oportunidad de escribir sobre el cine, sino la crítica videográfica también nos da la oportunidad de escribir con los materiales cinematográficos, con los mismos imágenes y sonidos de la película. Igualmente, nos dan nuevas posibilidades expresivas. Siguiendo el modelo de [in]Transition, la primera revista evaluada por pares dedicada a este formato, el primer trabajo videográfico es binario: un mosaico videográfico y un texto crítico. El mosaico tiene una duración de un minuto, y reúne fragmentos (de forma creativa) de Relatos salvajes (dir. Szifrón, 2014) de 2, 2, 3, 5, 6, 7, 10, 10 y 15 segundos para expresar algo sobre la película de antología o uno de los relatos. También del film, la banda sonora debería durar 60 segundos. El uso de transiciones audio-visuales es opcional, pero recomendado. El texto crítico (500 palabras como máximo) pone en contexto el mosaico y describe el proceso de armar el video. Calificación. Consulta la rúbrica en Canvas. Mosaico (60%) y ensayo breve (40%). Trabajo videográfico 2: El análisis cinematográfico Descripción. La meta del mosaico fue romper y reconstruir diferentes aspectos de Relatos salvajes en el montaje. En la deconstrucción y la reconstrucción de la significación cinematográfica, nos hemos aproximado al cine de una forma videográfica. En el segundo trabajo videográfico, nos acercamos al cine en otra manera: el análisis cinematográfico. Dándonos otra oportunidad de escribir con los mismísimos materiales cinematográficos, con las imágenes en movimiento y el sonido (digitalizados), en el análisis se debe usar la voz en off para examinar el genero cinematográfico en uno de los siguientes films: 7 cajas (dir. Maneglia y Schémbori, 2012), Dispuesto a todo (dir. Winograd, 2015) y Sólo con tu pareja (dir. Cuarón, 1991). El análisis debe prestar atención al empleo de una técnica cinematográfica especifica, y su duración mínima es de dos minutos. El uso de transiciones audio-visuales es opcional, pero recomendado. En el texto critico (500 palabras como máximo), se debe reflexionar no sólo de cómo se armó el análisis, sino también cuál fue la metodología critica que fue utilizada (y por qué). Calificación. Consulta la rubrica en Canvas. Análisis de escena (60%) y ensayo breve (40%). �Trabajo videográfico 3: El epígrafe videográfico “No sé quién soy ni para dónde voy” — Adrián Caetano Descripción. La crítica videográfica está emergiendo como un nuevo modo de investigación cinematográfica. Nos ofrece más que la oportunidad de escribir sobre el cine, podemos componer ideas con los mismísimos materiales cinematográficos. Formas expresivas novedosas posibilitadas por la crítica videográfica están generando nuevas prácticas, nuevos géneros. Uno de estos géneros es el epígrafe videográfico. Surgiendo de los videos de Catherine Grant, entre otros practicantes, el epígrafe videográfico es una suerte de unión del texto cinematográfico y texto escrito (académico, filosófico, etc.). En este trabajo videográfico (de un minuto a tres), se debe alterar las imágenes en movimiento, alterar o reemplazar la banda sonora e incluir una cita de una obra de crítica cinematográfica o teoría crítica. El texto crítico (300 palabras como máximo) es una explicación concisa del montaje de los distintos elementos videográficos. Textos. La película (Los Olvidados, La hora de los hornos, Now, LBJ, The Great Mojado Invasion o Museo) y el texto (abierto). Ejemplos (con links). Grant, Patrick Keating, Nicolás Poppe y Michael Talbott. Calificación. Epígrafe (70%) y ensayo breve (30%). � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Video Essay Materials Video Essay Materials Handouts and other materials relevant to creating video essays Title / Título (Original) A name given to the resources. El nombre original del recurso. Trabajos videográficos Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Instrucciones para tres distintos tipos de trabajo videográfico, organizados de forma consecutiva y progresiva. Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Nicolas Poppe, Middlebury College Related Course Materials / Materiales relacionados Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live. <a href="https://cinegogia.omeka.net/items/show/329" class="permalink">El vidrio en Relatos salvajes</a> (mosaico) <a href="https://cinegogia.omeka.net/items/show/328" class="permalink">Los gags en ¡Bienvenido Mister Marshall!</a> (análisis cinematográfico) <a href="https://cinegogia.omeka.net/items/show/327" class="permalink">El primer plano y el plano medio corto en Sólo con tu pareja</a> (análisis cinematográfico) <a href="https://cinegogia.omeka.net/items/show/326">The Final Frontier</a> (epígrafe videográfico) <a href="https://cinegogia.omeka.net/items/show/325">A Litany for Survival</a> (epígrafe videográfico) Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Trabajos videográficos Description An account of the resource Instrucciones para tres distintos tipos de trabajo videográfico, organizados de forma consecutiva y progresiva. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/0037851f0dcf39ee4f040de06687b1cf.pdf?Expires=1790208000&Signature=kOK9Brxk-i27vHycFoMf3xTDDxo0X9qK8lAdqoRZbwD1kkdm-45aEihfgUp1F94jXdn6a-0kMv%7Eg6OLQihMbk0uDz2ZUYnJNt2CegcAOZsqYV3jcgNHCFELlhS3k3b-Kz98LqTcjiIp6QuoEQj6cJaNcRrd0S2PS5Cl9mZo3vgPUyPUTJq8xrhMzu9ZYNey-SsZ6DQ35IILulvldTmIrRpAG9i1TxwCScXzAactwjFomeDNUtmcQW0LTDMskylCbCHMaWmi5YZTbg-MHKWUlVmrSU-7yejeQ4C1TlCwGoYHULv1CWV4Ft3QoErcQa1nVhr2j01DHGMxk85vnKAx18g__&Key-Pair-Id=K6UGZS9ZTDSZM 5c4e54ec3db143ae67da0dd4ad7bd408 PDF Text Text Contributed by María Mercedes Vázquez Vázquez, The University of Hong Kong EUST 2015 FROM CINEMA TO SOCIETY: UNDERSTANDING EUROPE THROUGH FILM AUDIOVISUAL ESSAY: TASK DESCRIPTION This assignment aims at developing your audiovisual analytical skills following an undergraduate research method. Your essay can be produced in two media: written or audiovisual. The written version follows the conventions of a written academic article at undergraduate level and you need to submit it through Turnitin. The second version—the essay produced as an audiovisual product—follows recent developments in film scholarship towards videocriticism (an audiovisual form of film scholarship) and you need to upload it to a designated folder in the course’s google drive or provide a URL. You only produce one essay in one medium. In any of these versions of the essay, you need to choose a topic, familiarize yourself with publications on your topic and similar films/scenes, and develop a sustained argument about one or two films adopting a relevant approach for this course (see bibliography on how to write about cinema in our elearning platform). Your work should offer some original insight on a topic and should engage with previous scholarship and film history. The audiovisual essay is accompanied by a process journal. Please find some bibliographic references below. Procedure There are two folders in the google drive: one for written essays and another one for audiovisual essays. Upload your abstract to the correct folder. Audiovisual essay: Choose one of the themes studied in this course or another one that is relevant for this course. Select one of the approaches explained in the bibliography on how to write about film and familiarize yourself with films that are similar or contain similar scenes, approaches, cinematography, etc. Select one or two films for study. The films chosen can be part of the course syllabus or not. Upload an abstract of the audiovisual essay to the designated folder in the course’s drive by the date specified in the syllabus. After reading your abstract, the teacher will provide feedback. Important: wait for the teacher’s feedback before editing your essay and follow this advice or propose alternatives. Assessment Both the print and audiovisual essays are individual works worth 40% of your final grade. Please find the assessment rubrics below. The essays will be assessed by the course Coordinator. Length The duration of the audiovisual essay is 4-5 minutes. 1 �Document formats and document name For those of you who produce an audiovisual essay, the film that you upload to Moodle must be in mp4 format. Alternatively, you can provide a URL (VIMEO, for instance) and a password, if necessary. All audiovisual essays must be accompanied by a process journal including a description of the video of about 600 words. The name of your documents should be your full name starting with your surname, the type of document and the year, for instance ‘Audiovisual essay: Leung_Juana Shuk Ming_audiovisual essay_2020’. Technical Assistance and Equipment Check with ITHelp. Bibliography for Audiovisual Essays (the bibliography for written essays is in your e-learning platform) 1. Catherine Grant: https://catherinegrant.org/publications-on-videographic-criticism-and-the-audiovisual-essay/; https://catherinegrant.org/ 2. Keathley, Christian, Jason Mittell, Catherine Grant, Eric Faden, and Kevin B. Lee. The Videographic Essay : Criticism in Sound & Image. Second Revised and Expanded ed. Kino-agora. Montréal: Caboose, 2019. 3. Tecmerin. Journal of Audiovisual Essays https://tecmerin.uc3m.es/en/cfp/ Assessment Rubrics Below 2 �EUST 2015 FROM CINEMA TO SOCIETY: UNDERSTANDING EUROPE THROUGH FILM AUDIOVISUAL ESSAY ASSESSMENT RUBRICS Learning methods and communication with supervisor Quality of research A Independent learning: Student exhibits independent learning attitude towards finding diverse sources of information and filming/editing techniques Communication: Student able to communicate effectively and promptly Method: Student very systematic and prepared in advance Critical thinking: Student proposes informed alternatives to suggestions made by supervisor B Independent learning: Student does not exhibit independent learning skills systematically Communication: Student able to communicate effectively and promptly Method: Follows basic requirements set out in research schedule Critical thinking: Generally does not question suggestions made by supervisor, or adds to what has been suggested C Independent learning: Student does not even consider independent learning Communication: Student slow in responding to emails and does not show signs of making use of relevant resources recommended by supervisor Method: Student follows basic requirements regarding research and writing methods Critical thinking: Not clearly shown by student D Independent learning: Student does not even consider independent learning, even when guided Communication: Student very slow in responding to emails and does not show signs of making use of relevant resources Method: Does not follow systematic research and filming/editing methods Critical thinking: Not demonstrated by student F Independent learning: Student relies solely on supervisor’s guidance Communication: Fails because the student does not attend lessons, does not respond most emails, and does not hand in work by deadlines Method: Does not show awareness of need to follow a method Critical thinking: Not demonstrated by student Field(s) of research clear Topic and objectives delineated with the precision that an audiovisual product allows Clearly articulated thesis (viewers can perceive it in the audiovisual product, not just the accompanying text) Clear definition of main concepts (at least in the accompanying text) Relevant and up-to-date theoretical framework Sufficient information provided to support argument Audiovisual essay reveals new insights Field(s) of research not clearly specified Quite clear topic and thesis (the latter may be suggested in the audiovisual product but clear in the accompanying text) Definition of main concepts (at least in the accompanying text) Research of sufficient depth Sufficient information provided, most of which is relevant to support an argument Theories not necessarily up-todate Field(s) of research not specified No clear thesis, audiovisual essay mainly descriptive Not very clear topic or main concepts, even in the accompanying text Little information provided and theories not necessarily updated Field(s) of research not specified and there is no awareness of different disciplines to approach a given subject Images and associated ideas presented in a somewhat organized fashion Mainly descriptive audiovisual product; No attempt to build a sustained argument Field(s) of research not specified and there is no awareness of different disciplines to approach a given subject Combination of loosely related images presented in a fashion that indicates that the objectives of the audiovisual research are not clear and topic not clearly defined 3 �Content Use of sources Use of audiovisual language and style A Topic chosen for audiovisual research highly appropriate for this course Topic has potential to produce original results Student involved with subject Relative in-depth approach for an undergraduate research project The audiovisual essay is cohesive Structure: Content presented in an organized and persuasive manner; transitions between different parts/scenes/images clear Student shows awareness of film history and selections of intertextual references are relevant for comparison or argumentation Viewers are guided to perceive these references Audiovisual essay establishes a dialogue with current film/cultural discussions B Topic selected somewhat broad or narrow for the length of the paper Topic has questionable potential to produce original results Support for thesis is sufficient, but lacking in depth or complexity Audiovisual essay has some cohesiveness Structure: Content presented in an organized manner but not necessarily engaging and persuasive; transitions between parts/scenes/images clear C Topic somewhat broad or narrow for the length of the paper The topic has questionable potential to produce original results The study lacks depth or complexity The audiovisual essay has some lack of cohesiveness Structure: Content is presented in a seemingly organized manner but lacking sufficient guide to transitions between different parts/scenes/images D Topic too broad or narrow Topic for research and objectives not clear The information provided does not lead to a thesis Not well structured Lack of cohesiveness; combination of information without clear link between different parts/images shown F Topic for research and objectives not well defined or defined at all Information provided lacks cohesiveness Not enough information No clear structure Student shows some awareness of film history and selections of intertextual references are somewhat relevant for comparison or argumentation Informed viewers do not necessarily perceive these references clearly Student shows little awareness of film history and selections of intertextual references are not clearly relevant for comparison or argumentation Informed viewers find difficulties to perceive these references clearly Student shows no awareness of film history and selections of intertextual references are not relevant for comparison or argumentation Student presents audiovisual essay as a unique film with no connection to film history Lack of awareness of current film and cultural studies discussions on developments in European film, history and society Student masters the audiovisual language and produces a film that is engaging and beautiful, well edited and finalized Student expresses himself/herself well in audiovisual language and produces a film that is well edited Student exhibits some knowledge of audiovisual language but the audiovisual essay is not professionally edited and is a work in progress Student exhibits little knowledge of audiovisual language and the audiovisual essay is still in the early stages of production Student exhibits no or little knowledge of audiovisual language and the audiovisual essay is still in the very early stages of production 4 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Video Essay Materials Video Essay Materials Handouts and other materials relevant to creating video essays Title / Título (Original) A name given to the resources. El nombre original del recurso. Audiovisual Essay Assessment Rubric Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Assessment rubric used for evaluating audiovisual essays produced by students in the course "From Cinema to Society: Understanding Europe through Film" (Fall 2019). Assignment Prompt: This assignment aims at developing your audiovisual analytical skills following an undergraduate research method. Your essay can be produced in two media: written or audiovisual. The written version follows the conventions of a written academic article at undergraduate level and you need to submit it through Turnitin. The second version—the essay produced as an audiovisual product—follows recent developments in film scholarship towards videocriticism (an audiovisual form of film scholarship) and you need to upload it to a designated folder in the course’s google drive or provide a URL. You only produce one essay in one medium. In any of these versions of the essay, you need to choose a topic, familiarize yourself with publications on your topic and similar films/scenes, and develop a sustained argument about one or two films adopting a relevant approach for this course (see bibliography on how to write about cinema in our e-learning platform). Your work should offer some original insight on a topic and should engage with previous scholarship and film history. The audiovisual essay is accompanied by a process journal. Please find some bibliographic references below. Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. María Mercedes Vázquez Vázquez, The University of Hong Kong Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial - NonDerivs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Audiovisual Essay Assessment Rubric Description An account of the resource Assessment rubric used for evaluating audiovisual essays produced by students in the course "From Cinema to Society: Understanding Europe through Film" (Fall 2019). Assignment Prompt: This assignment aims at developing your audiovisual analytical skills following an undergraduate research method. Your essay can be produced in two media: written or audiovisual. The written version follows the conventions of a written academic article at undergraduate level and you need to submit it through Turnitin. The second version—the essay produced as an audiovisual product—follows recent developments in film scholarship towards videocriticism (an audiovisual form of film scholarship) and you need to upload it to a designated folder in the course’s google drive or provide a URL. You only produce one essay in one medium. In any of these versions of the essay, you need to choose a topic, familiarize yourself with publications on your topic and similar films/scenes, and develop a sustained argument about one or two films adopting a relevant approach for this course (see bibliography on how to write about cinema in our e-learning platform). Your work should offer some original insight on a topic and should engage with previous scholarship and film history. The audiovisual essay is accompanied by a process journal. Please find some bibliographic references below. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/60a214259d6eb1ebe5721365102a872a.pdf?Expires=1790208000&Signature=OcR8X2dwWHV2i76Z-Ttf3F1Vs3DZmmVopSyXuNHKvM1NUkhQu1WACb5ZpmFnIp0%7EXiHFcaYKO9gnD66YQEVoX-8g59GBBUPe%7EA9TSjQ0l3co9TeuNPttTe-lIuWjqMIGBWEL0YlmTWrtpVzLAexrbHVUeei0vF1hZmuWaPCQN8B6kuB5bw6pkXJSdYEZgseqfDNRipESMxJYvVqw44yKHlatr2rhy-748J5qiuBEm7bPmvSQuxxKfc6-EMgM1g0n-yxKHiCqyYnKptOSqoSdlFJDNiTQdXhOljm9A-vN%7E6LkKihP6vE4Mo7vpLZEAq52PxejUHK%7E0tF9EYjqwICCRg__&Key-Pair-Id=K6UGZS9ZTDSZM cd83ca450309721f2a2605a0c0852d89 PDF Text Text Contributed by Bridget Franco, College of the Holy Cross VIDEO ENSAYO1 SPAN 420: Latin American cinema What exactly is a video essay? As part of our seminar, you will craft an essay that critically analyzes 1-2 films related to our seminar topics – indigenous and Afro-descendant representation in contemporary cinema from Latin America. Unlike the traditional writing assignments in other courses, you will present this analysis as a short audiovisual essay. Video essays, also referred to as videographic criticism, have emerged in the past decade as a new form of Film Studies research. The video essay format allows us to write about and analyze movies using the very same audiovisual medium of film! Not only can we use the images and sounds from the films in question, the video essay also opens up new possibilities of expression for our analysis. What is the process of creating a video essay like? I cannot assume that everyone has the same background in either digital editing or research methodology. Furthermore, writing, research and video editing all benefit from collaboration, peer-review, and multiple drafts before the final product is complete. For these reasons, our course has been designed with low-stakes learn-by-doing activities (individual and in pairs/small groups), peer-review exercises, and scaffolded assignments that will build towards the final video essay. You are encouraged (and in some cases will be required) to brainstorm ideas with one another and the professor, to workshop your writing, to problem solve technical glitches, and to share practical advice for cutting and editing. During the month of April, there will be dedicated time during class to workshop and develop your video essay. Who will see my video essay? In addition to submitting the video essay to me and sharing the final result with your peers, students may have the opportunity to publish their work for public viewing (meaning that the potential audience for your research project is not just your professor and your peers, but anyone with internet access who is interested in Latin American Film Studies). You, of course, will have 100% control regarding publication of the video essay on a public forum; and you do not need to make that decision until the semester is over. I don’t really understand what a video essay is… Can you show me some examples? Spoken like a true film critic! To see and hear is to understand. Here are some examples of video essays created by students and scholars in Latin American Film Studies. Please remember that the length, narration, and other requirements for our video essay may be different from these specific examples. • • • • • • • 1 We ALL Can: Perennial themes in Szifrón’s Wild Tale Panóptico en Diarios de motocicleta The Underrepresentation of U.S. Latina Directors “C/Leo” – On Auteurism and Roma La doble repetición en Memorias del subdesarrollo Santa y Teresa: A Walking Dialogue between two Cuban Characters El embrujo de La mujer sin cabeza Video Essay assignment adapted from course materials created by Jeffrey Middents, American University and Michelle Farrell, Fairfield University �VIDEO ENSAYO SPAN 420 As part of our seminar, you will craft an essay that critically analyzes 1-2 films related to one of our seminar topics – indigenous or Afro-descendant representation in contemporary cinema from Latin America. Unlike the traditional writing assignments in other courses, you will present this analysis as an audiovisual essay, also known as video ensayo. The video essay format allows us to write about and analyze movies using the very same audiovisual medium of film to not only say or write what we think but to show our analysis visually. By working with the very images and sounds from the films in question, the video essay opens up new possibilities of expression for our analysis. This is a guide with detailed instructions and guidelines for creating your video essay. The video essay will include a variety of scaffolded components designed to help you complete the project and reflect critically throughout the process about your understanding of Latin American cinema, from both a personal standpoint and within a broader academic framework. All of these components together will count for 35% of your final grade. DUE DATES, STEPS & POINTS 16 abril 1) Selección de película y tema para el video ensayo 10 pts 21 abril 2) Contexto y bibliografía preliminar 30 pts 23 abril 3) Bibliografía anotada 40 pts 28 abril 4) Pecha-Kucha videográfica 40 pts 30 abril 5) Guión gráfico 50 pts 7 mayo 6) Video Essay 100 pts 12 mayo 7) Texto de autor y reflexión PASO 1) SELECCIÓN DE PELÍCULA Y TEMAS 30 pts viernes, 16 abril @ 1:15pm Revisa tus dos reseñas, tus apuntes del curso, tus materiales para la película que moderaste, y tus respuestas en los foros de discusión. Luego escribe 2-3 ideas preliminares que te gustaría explorar para tu proyecto final del video ensayo. También identifica la(s) película(s) que te interesan trabajar más a fondo. Sube tus ideas preliminares al foro de discusión en Canvas antes de que empiece la clase. �PASO 2) CONTEXTO Y BIBLIOGRAFÍA PRELIMINAR miércoles, 21 abril Para poder hablar con autoridad de la(s) película(s) que escogiste, tienes que entender el contexto histórico, político y cultural del momento retratado en la película y el contexto cinematográfico de la producción. También tienes que estar familiarizado con el trabajo académico ya publicado sobre la película y el/la director/a, para poder dialogar con otros expertos en el campo y desarrollar un análisis original sobre la(s) película(s). En preparación para este componente de tu investigación, debes completar la siguiente tabla con los datos relevantes, y también buscar y reunir las publicaciones académicas que formarán parte de tu bibliografía anotada. A) Contexto (2 páginas; cambia la orientación de la página a “landscape”) NO tienes que incluir CADA SUCESO HISTÓRICO Y CULTURAL del país o región relacionado a tu película. Más bien, tu trabajo es investigar y elegir los eventos, elementos y contexto que pueden ayudarte a entender y analizar más detalladamente la película en cuestión. Aquí hay una muestra (incompleta) para darte una idea del tipo de información que debes incluir. Título y estreno de la película: El techo (2016) Fechas Contexto histórico, político Elementos culturales Contexto de la producción cinematográfica Día/mes/año Eventos históricos (cambios de gobierno, leyes importantes, conflictos, acontecimientos globales, intervenciones extranjeras, etc.) Contexto cultural significante (autores, cantantes, artistas, canciones específicas, ideología, movimientos culturales, etc.) Otras películas estrenadas, festivales de cine, leyes de cine, modelo de financiamiento, públicos, críticas, premios, etc. 1800-1839 Free and enslaved blacks and mulatos, comprised majorities in Brazil, Venezuela, Cuba, Puerto Rico, the Dominican Republic, and Panama around 1800 Novela Cecilia Valdés, n/a escrita por Cirilo Villaverde; legado de la esclavitud en Cuba, y jerarquías raciales (describirlas) 1953-1959 Revolución cubana, Fidel Castro (detallar los objetivos, consecuencias) Ideología comunista (incluir ICAIC (Instituto Cubano características) del Arte e Industria Cinematográficos), establecido 1959 1980-2000 Guerra Fría, disolución de la Unión Soviética (1989); Período Especial en Cuba (década de los 90), crisis económica en la isla (falta de recursos básicos, medicina, comida, gasolina) El colorismo: término atribuido a autora y activista Alice Walker (In Search of our Mothers’ Gardens, 1983); censura cultural Nuevos realizadores (post 2000) �B) Bibliografía preliminar Para poder añadir una perspectiva nueva sobre tu película, tendrás que saber lo que han dicho otras personas sobre el tema. Como este proyecto es un trabajo académico, nos concentraremos principalmente en publicaciones académicas, incluyendo artículos, libros, capítulos de libros, y entrevistas o reseñas publicadas en revistas profesionales. Utilizando CrossSearch, el buscador del catálogo de la biblioteca de Holy Cross (https://www.holycross.edu/support-and-resources/holy-cross-libraries), reúne 8-10 fuentes secundarias sobre tu película, director, y/o el tema que te interesa explorar en tu video ensayo. Puedes incluir lecturas relevantes de nuestro curso también. Recuerden que Wikipedia y IMDb no se consideran fuentes académicas. Alista tus referencias en orden alfabético según el apellido del autor principal. Para recibir el crédito completo, debes poner las entradas en formato MLA. ¿No sabes cómo organizar tus fuentes secundarias? Visita el sitio web de OWL (Purdue University): https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_ guide/mla_formatting_and_style_guide.html EJEMPLO Davis, Darién J. "Fading In: Race and the Representation of Peoples of African Descent in Latin American Cinema.” Beyond Slavery: The Multilayered Legacy of Africans in Latin America and the Caribbean, edited by Darién J. Davis, Rowman and Littlefield, 2006, pp. 249-65. Farrell, Michelle L. “Cuba.” Women Screenwriters: An International Guide, edited by Jill Nelmes and Jule Selbo, Palgrave Macmillan, 2015, pp. 693-99. Ramos Hernández, Patricia. "Conversando con Patricia Ramos en tiempos de pandemia." Entrevista con Maybel Mesa Morales. InterPress Service en Cuba, 6 noviembre 2020, https://www.ipscuba.net/sin-categoria/conversando-conpatricia-ramos-en-tiempos-de-pandemia. �PASO 3) BIBLIOGRAFÍA ANOTADA viernes, 23 abril @ 1:15pm Utilizando las fuentes secundarias que ya reuniste para la bibliografía preliminar, ahora desarrollarás una bibliografía anotada que indicará cómo planeas usar esta investigación con respecto a tu propio análisis de la película. La bibliografía anotada debe incluir una cita bibliográfica, en formato MLA, para los recursos (artículo, libro, capítulo, entrevista, película, reseña, etc.) que has consultado o que planeas usar como parte de tu análisis. Debes producir anotaciones para 5-7 fuentes secundarias. Cada entrada en la bibliografía anotada también debe cubrir lo siguiente: Identifica la tesis central de la fuente (¿cuál es el argumento central del autor?) y el tipo de publicación (¿libro? ¿capítulo? ¿artículo? ¿reseña? entrevista?) Si hay alguna cita significativo o relevante, puedes mencionar esto también Resume la contribución del trabajo a tu propio argumento y/o video ensayo, es decir, ¿cómo piensas usar este recurso o dialogar con las ideas expuestas? Por ejemplo: o ¿el libro presenta un argumento o concepto importante para tu análisis? o ¿el artículo provee el contexto histórico relacionado a tu película? o ¿la entrevista revela una perspectiva interesante del director? o ¿la reseña presenta información sobre la recepción de la película? o ¿el capítulo analiza un aspecto de la película que no te interesa? Estas anotaciones breves (3-5 oraciones para cada recurso individual) están diseñadas para ponerte en diálogo con la investigación que ya se ha hecho, pero también para ayudarte a articular cuál es tu contribución original al tema. La bibliografía anotada debe demostrar que has investigado cuidadosamente tu película y el tema que quieres explorar en tu video ensayo. EJEMPLO DE UNA ENTRADA & ANOTACIÓN Ramos Hernández, Patricia. "Conversando con Patricia Ramos en tiempos de pandemia." Entrevista con Maybel Mesa Morales. InterPress Service en Cuba, 6 noviembre 2020, https://www.ipscuba.net/sin-categoria/conversando-conpatricia-ramos-en-tiempos-de-pandemia. En esta entrevista con profesora Mesa Morales, la directora cubana Patricia Ramos Hernández habla sobre sus proyectos fílmicos, incluyendo dos cortometrajes que hizo antes de El techo. La conversación informal cubre temas como su preparación profesional y sus influencias como directora, la migración, los aspectos feministas de sus obras, y la discriminación que experimenta por ser directora mujer en Cuba. Con respecto a El techo (que es la película que forma el eje central de mi video ensayo), Ramos solo habla de su uso de los espacios exteriores, pero no toca el tema del colorismo que pienso analizar en mi investigación. Quizás podría usar la cita “Hasta ahora ninguna mujer en Cuba ha filmado un segundo largometraje de ficción” para enfatizar la importancia de Ramos como directora contemporáneo en Cuba. �PASO 4) PECHA-KUCHA VIDEOGRÁFICA miércoles, 28 abril @ 1:15pm La Pecha-Kucha, inventada en Japón, es un tipo de presentación de PowerPoint que consiste en 20 diapositivas que duran exactamente 20 segundos cada una. La presentación avanza las diapositivas automáticamente creando un patrón rítmico rígido que le permite al creador la libertad de expresar sus ideas sin preocuparse por la estructura formal de la presentación. Para la Pecha-Kucha videográfica, también te adherirás a unos parámetros formales que te ayudarán a enfocarte en la película que vas a analizar para tu video ensayo, y pensar en la relación entre las imágenes y la narración acompañante. • • • • Elige 10 clips de tu película Edita cada clip para que dure exactamente 6 segundos Organiza los 10 clips en iMovie o tu programa de edición Elimina el sonido original y añade 1 minuto de sonido distinto para acompañar la secuencia de los 10 clips (el sonido que acompaña la secuencia puede ser una narración analítica tuya, fragmentos de diálogo extraídos de otra parte de la película, una cita directa de alguna lectura de tu bibliografía, etc.). Tu objetivo es crear un diálogo entre las imágenes y el sonido editado. Objetivos de la Pecha-Kucha videográfica 1. Seguir practicando y puliendo tus habilidades técnicas de edición 2. Descubrir nuevos matices de la(s) película(s) que vas a analizar mientras buscas escenas y momentos significantes para tu secuencia 3. Encontrar distintas posibilidades de interpretación a través de la yuxtaposición de imagen y sonido Ejemplos profesionales de Pecha-Kucha videográfica Vampire Diaries / Imitation of Life, Kristen Warner http://videographicessay.org/works/videographic-essay/vampire-diaries--imitation-of-lifepechakucha By marrying images from The Vampire Diaries (The CW, 2009) with dialogue from Imitation of Life (Douglas Sirk, U.S.A., 1959), Warner draws historical connections between issues of racial representation found in the recent television program with those in Sirk’s classic melodrama. The Big Sleep PechaKucha, Nat Deyo http://videographicessay.org/works/videographic-essay/the-big-sleep-pechakucha-1 Nat Deyo's PechaKucha arranges repeated instances of Bogart walking through a door in The Big Sleep (Howard Hawks, U.S.A., 1946) juxtaposed against that film’s famous dialogue between Bogart and Bacall in which they discuss horses, the racetrack, and maybe something else. �PASO #5) GUIÓN GRÁFICO viernes, 30 abril @ 1:15pm A estas alturas, tendrás una idea más sólida de lo que vas a hacer para el proyecto final. También debes haber seleccionado la mayoría de las escenas e imágenes que quieres incorporar en tu video ensayo. Antes de seguir con la edición, organizarás tus ideas y las imágenes en un documento conocido como “guión gráfico” (storyboard). El guión gráfico es un documento en el cual muestras el bosquejo de tu argumento junto con los elementos visuales. Es un mecanismo para articular lo que quieres lograr con tu video ensayo y compartir el desarrollo de tus ideas conmigo. El guión gráfico es un mapa que te guiará en el proceso de editar el video ensayo. Estos son los elementos que tienes que incluir en el guión gráfico, mínimamente. Puede ser tan detallado como quieras – entre más detalles, más fácil te resultará a la hora de editar el video ensayo. • • • • • • • ¿Cuáles son los puntos centrales que quieres comunicar? ¿Qué es tu tesis? ¿Qué evidencia fílmica vas a incluir para apoyar tus observaciones? (incluye capturas de pantalla que corresponden a las distintas partes de tu argumento) ¿Incluirás tu propia narración? ¿Cuánta? ¿Qué dirás? ¿A qué textos secundarios citarás? ¿Cuáles citas exactas vas a incorporar? ¿Qué escenas/imágenes quieres yuxtaponer? ¿Por qué? ¿De qué quieres que el espectador se dé cuenta? (da un ejemplo, utilizando capturas de pantalla) Además de las imágenes de la película, ¿qué otros elementos visuales necesitas crear o encontrar? (por ejemplo, intertítulos con texto añadido, clips de otras películas, planos de introducción, los créditos) ¿Otras ideas? Puedes crear y compilar esta información en el programa que prefieras (Word, PowerPoint, Google Slides, Adobe, a mano) pero debes exportar el guión gráfico resultante a formato PDF para compartirlo conmigo en Canvas. Muéstrame cómo vas a lograr lo que quieres lograr. Me basaré en tu guión gráfico para ofrecer algunos consejos antes de que tengas que entregar el video ensayo final. �PASO #6) VIDEO ENSAYO viernes, 7 mayo @ 1:15pm El video ensayo debe tener una duración mínima de 6 minutos, máxima 8 minutos. Cuando termines tu video ensayo, exporta el video en formato .mp4 o .mov y guarda el archivo en tu Google Drive. El proceso de exportación y procesamiento tarda bastante en iMovie y en Google Drive, así que deja suficiente tiempo para estos pasos. Luego comparte el enlace del Google Drive conmigo (con permiso de “editar” para que yo pueda descargar el video). Si tienes tu propia página de Vimeo o YouTube, también puedes publicarlo allí y enviarme el enlace directo a través de Canvas. El archivo será demasiado grande para subir a Canvas. ¡Y finalmente EXHALA! ¡LO LOGRASTE! PASO #7) TEXTO DE AUTOR & REFLEXIÓN viernes, 14 mayo @ 1:15pm Los video ensayos académicos se publican acompañados de un texto de autor, o declaración curatorial. Este texto complementa el video ensayo pero no es una transcripción ni tampoco un ensayo escrito. Puedes reflexionar sobre el proceso de crear tu video ensayo, lo que has aprendido en el proceso, cómo ha cambiado o evolucionado tu entendimiento del cine latinoamericano contemporáneo, qué nuevas perspectivas has adquirido, y cómo ha influido este trabajo en tus propias suposiciones culturales acerca de Latinoamérica. Este texto debe ser entre 500-1000 palabras, con una bibliografía formal (formato MLA) de las fuentes que usaste en tu investigación (la bibliografía no cuenta hacia el conteo de palabras). EJEMPLOS DE VIDEO ENSAYOS Y TEXTOS DE AUTOR https://edspace.american.edu/worldcinema/2018-collection/argentina-wild-tales2014/ https://edspace.american.edu/worldcinema/2019-collection/brazil-the-way-helooks-hoje-eu-quero-voltar-sozinho-2014/ https://edspace.american.edu/worldcinema/2018-collection/peru-the-badintentions-las-malas-intenciones-2011/ https://edspace.american.edu/worldcinema/2018-collection/honduras-a-few-withcourage-unos-pocos-con-valor-2010/ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Video Essay Materials Video Essay Materials Handouts and other materials relevant to creating video essays Title / Título (Original) A name given to the resources. El nombre original del recurso. Proyecto de video ensayo Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. As part of our seminar, you will craft an essay that critically analyzes 1-2 films related to one of our seminar topics – indigenous or Afro-descendant representation in contemporary cinema from Latin America. Unlike the traditional writing assignments in other courses, you will present this analysis as an audiovisual essay, also known as video ensayo. The video essay format allows us to write about and analyze movies using the very same audiovisual medium of film to not only say or write what we think but to show our analysis visually. By working with the very images and sounds from the films in question, the video essay opens up new possibilities of expression for our analysis. This is a guide with detailed instructions and guidelines for creating your video essay. The video essay will include a variety of scaffolded components designed to help you complete the project and reflect critically throughout the process about your under- standing of Latin American cinema, from both a personal standpoint and within a broader academic framework. Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Bridget V. Franco, College of the Holy Cross Related Syllabus Add any syllabus directly related to this course material. Make sure the name of the syllabus is also a hyperlink to the unique Omeka item webpage. <div id="syllabus-item-type-metadata-title--ttulo-original" class="element"> <div class="element-text"><a href="https://cinegogia.omeka.net/items/show/674">Indigenous & Afro-descendant Representation in Contemporary Latin American Film</a></div> </div> Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Proyecto de video ensayo Description An account of the resource As part of our seminar, you will craft an essay that critically analyzes 1-2 films related to one of our seminar topics – indigenous or Afro-descendant representation in contemporary cinema from Latin America. Unlike the traditional writing assignments in other courses, you will present this analysis as an audiovisual essay, also known as video ensayo. The video essay format allows us to write about and analyze movies using the very same audiovisual medium of film to not only say or write what we think but to show our analysis visually. By working with the very images and sounds from the films in question, the video essay opens up new possibilities of expression for our analysis. This is a guide with detailed instructions and guidelines for creating your video essay. The video essay will include a variety of scaffolded components designed to help you complete the project and reflect critically throughout the process about your under- standing of Latin American cinema, from both a personal standpoint and within a broader academic framework.