FAMU
Non-Fiction Film Workshop
Fall 2006
Instructor: Henry Hills
Contact: henry@henryhills.com, tel. 604997581
Class times: Wednesdays 9:50-13:05, room 7
Course description
Departing from FAMU InternationalÕs traditional emphasis on
making short narrative films in groups, this group will focus on making
NON-narrative films on their own as individual artists: actuality, structural,
material, experimental, poetic, abstract, documentary, etc. Shooting in 16mm and
editing work-print on the flatbed will be encouraged, alongside radical
explorations of emerging digital possibilities. After confirming or acquiring
necessary skills (shooting digital video, recording digital audio, editing in
Final Cut Pro and related programs, using a light meter, shooting 16mm on a
Bolex, making tape and cement splices, editing on a Steenbeck, etc.), students
will conceive, discuss, shoot, edit, and complete at least one significant film
before the break. Classes will be largely tailored to the students needs in
performing this task. Many exemplary films (and other art works) will be
examined.
Assignment: Shoot and edit a film on 16mm color negative.
Suggested topic: an emotional change. Students will be given 6 rolls of film
with processing and work-printing. This will be the primary focus in the first
semester, but as a secondary focus students are to also shoot a videotape. The film will be experimental in
nature, ideally exploring qualities unique to film. The video, as shooting can
be unlimited, should be more documentary in nature, focusing on ONE theme.
class 1 September 20 -- mutual introductions and viewing
each others work: we will discuss where we are coming from, where you want to
go, and how to get there. Since this is a small group, much of the course will
be structured to fulfill the particular requirements needed to expand your
horizons beyond the specific orientations of the individual talents whose
display led to your acceptance into this program. Also, critique ÒFascination
with PragueÓ exercises.
The next four classes (Sept 27, Oct 4, Oct 11, Oct 18) will be divided between
instruction in using programs & equipment (including the assignment of
shooting a Bolex camera roll: to have initial exposure to this learning machine
and/or to demonstrate your level of competence on it), and planning (on paper
and in classroom presentation and roundtable discussion) the nature of and
processes to accomplish your projects. Individual meetings possible by appointment.
As you proceed with your work (issues from which we will
discuss as they arise), we will explore the work of other artists, discussing
how and why they did what they did, as well as mining it for new ideas. The
last hour of each class will thus be devoted to screening and discussion of short
experimental films, to get a sense of the range of possibility.
class 5 October
25 -- Discussion of history of editing (Porter, Griffith, Eisenstein, Vertov).
Move to Klimenska for introduction to the machinery and techniques of flatbed
editing.
Oct 27 meet at Barrandov Laboratories for timing of
workprints of first roll and touring the facilities.
October 30 - Nov 2 Lighting workshop with Michael Gahut
November 3 - meet in Documentary Department to screen workprints
November 8 Barrandow
with Lighting exercise group
November 10 individual
meetings in Editing Room at Klimenska
class 8 November 15 By now shooting of 16mm projects should be well
underway. In the next week or so, 5 of the 6 rolls should have been shot of your
approved and discussed project. (Save the last roll until after you have at
least 3 editing sessions, so that your editing informs your shooting for
necessary fill-in shots).
class 9 Nov 22 introduction to Soundtrack program by Jan
Sacher. Screening of rushes in Documentary department.
next 2 classes--whatever it takes to prepare to screen projects!!!!
last class December 13 -- critique projects, plan next
semester
December 15 telecine of workprints at Barrandov
December 18 screening!!
Films to be viewed include: ÒDream of a Rare-bit FiendÓ by
Edwin S. Porter, ÒInterior New York SubwayÓ by Billy Bitzer, ÒOdessa StepsÓ by
Sergei Eisenstein, MAN WITH A MOVIE CAMERA by Dziga Vertov, ÒLe Retour a la
RaisonÓ by Man Ray, ÒBallet MŽcaniqueÓ by Fernand LŽger & Dudley Murphy,
ÒH2OÓ by Ralph Steiner, ÒMeshes of the AfternoonÓ & ÒChoreography for
CameraÓ by Maya Deren, ÒGo! Go!
Go!Ó by Marie Menken, ÒTowers Open FireÓ by William Burroughs, ÒReportÓ by
Bruce Conner, and various shorts by Len Lye, Robert Breer , Stan Brakhage, Ken
Jacobs, Kurt Kren, Henry Hills, Leslie Thornton, Abby Child and others. Musical
and graphic examples will also be analysed.