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Competition: The Long Take Challenge

Click on the link to find out about the INTO FILM summer filmmaking competition. This is the same competition that three of our students won last year, so there’s no reason why one of you couldn’t do it again. 

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BFI Future Film | Education events | BFI Southbank | BFI | British Film Institute

Look! Opportunities to make films! Do it! 

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THE WES ANDERSON COLLECTION CHAPTER 2: RUSHMORE

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The Substance of Style by Matt Zoller Seitz - Moving Image Source

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A Beginner's Guide to Wes Anderson Movies

We are studying Auteur theory with Wes Anderson as our prime example of a great auteur.

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kamera.co.uk - interview - A Quick Chat with Jan Svankmajer and Eva Svankmajerova by Jason Wood

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Jan Svankmajer - Alice (1988) - Legendado PT_BR

English Language version

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For Fight Club

Because you guys don’t like to take notes.

The middle section of the presentation deals with Freud’s identity model of the Id, Ego and Superego. 

Think of specific moments where Tyler Durden represents both Jack’s Id gone wild and his overdeveloped Superego. 

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Erik Satie/René Clair: Entr’Acte (1924) (by TheWelleszCompany)

In Still Moving: The Film and Media Collections of the Museum of Modern Art by Steven Higgins, New York: The Museum of Modern Art, 2006, p. 104

A classic of avant-garde cinema, Entr’acte was made as an intermission piece for the Ballets Suédois production ofRelâche, a Dada theater work that premiered in Paris in December of 1924. The ballet’s director, Francis Picabia, gave René Clair a short scenario around which to build the film, and Erik Satie composed an original score to accompany it, but the finished work is “pure” cinema—the individual shots and the connections between them resulting in what Clair described as “visual babblings.” Key figures of the contemporary Parisian art world appear in the film in absurd comic cameos, including Man Ray, Marcel Duchamp, Jean Borlin (director of the Ballets Suédois), Georges Auric, Picabia, and Clair himself. As Picabia declared, Entr’acte ”respects nothing except the right to roar with laughter.”

Circulating Film Library Catalogue, New York: The Museum of Modern Art, 1984, p. 167

Entr’acte is a veritable encyclopedia of the cinema of magic: the image plastic and kinetic, the sensibility comic, inventive, charming and absurd. Made as intermission entertainment for the Ballet Suédois, from an impromptu scenario by Francis Picabia and accompanied originally by an orchestral score by Erik Satie, the film stars a who’s who of the Dada movement of Paris at the time. The plot, a series of improbable adventures, is inconsequential except as an excuse for Clair to explore the limits of the medium: the camera is run forward and in reverse, tipped side to side and upside down; the film is single-framed, undercranked, and run at high speed; the resulting action is animated, sped up, slowed down; the visuals are superimposed and transformed through various matte frames; the viewer is caught up and assaulted by the frenetic pace of the recorded and edited image. The sum of these parts is a charming but challenging vision of Paris as a world of the imagination and the Dadaist intellectual conceit.

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futureoffilm:

How the Summer of 2013 Kicked Off the Post-Movie Star Era

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Invasion of the Body Snatchers: An American Commentary | The Artifice

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Thank you to 

Teacher at Thurston Community College 

for this amazing resource

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