Through the analysis of excerpts taken in heritage cinema as in contemporary cinema, this course aims to dissect how issues of frames, issues of editing, issues of scenario or situations, match and fit together to give rise what is commonly called a "mise en scène". We also study how the forms used by filmmakers result from the transformation of other staging principles used before them, thus showing the importance of confronting each other's eyes to achieve even to do staging work.
Economics and functioning of film production
This course addresses the situation of French cinema from an economic point of view by presenting the main lines of its organization and operation. It sets the necessary benchmarks, from production to technology. It introduces the first notions of economy and organization of the cinematographic professions.
By following the main steps of the process of producing and producing a feature film, the course highlights the methodological rules, the legal and technical constraints, from the writing of a script to the diffusion of the film .
Methodology and aesthetics of the assembly
In the first quarter, presentation of training courses in cycle 1 and the bases of editing. Exploring the main principles: connections, rhythm and narration. First general presentation of Final Cut Pro editing software.
In the second quarter, a first approach to editing sound.
In the third quarter complement of aesthetic analysis applied in view of the end-of-year film: music and soundscape.
Technical analysis of sound and image
These courses, in connection with the first TP, explain on the basis of film extracts, how the technical means are implemented to achieve the result visible and audible on the screen.
Image: Analysis of the technical characteristics of the image (formats, camera, frame, basic notions of optics and applied optics, objectives, focal length, field strength, motions, sequence, plans, preparation and organization of filming ...)
Sound: History of sound techniques and evolution of theatrical diffusion, visual representation of sound, composition elements of a film soundtrack, sound physics, auditory perception, technical tools (recording, editing, mixing, and peripheral tools ) and their application.
Lighting: The light, the physical characteristics of the light, the sources of light (power, color temperature, colorimetry, direction, size), simple notions of photometry, the photographic image, the sensitometry ... The analysis of the devices of lighting, different types of lighting equipment ...Markus Spiske / Unsplash
The course provides the theoretical foundation for video: The principles of color image reproduction, TV and movie cameras, video and computer storage media, analog and digital video signals.
Perspectives of contemporary cinema
What are the main aesthetic trends, the recurrent motifs, the themes of today's cinema? What has been the influence of the political, economic, social, technological context of the past 15 years on production? What has become of classicism, modernity, post-modernity? Does the current cinema continue to reinvent itself? Is it still relevant today to talk about "auteur film" and "genre film"? Based on the analysis of sequences, we will try to answer these questions in order to establish a "state of play" of cinema since the year 2000.
Aesthetics and auteur cinema
If we want to talk about auteur cinema then we should say that there are as many cinemas as there are authors and talk about "cinemas of authors". One can then doubt the meaning to maintain this expression ... From this proposition, are analyzed the paradoxes of the policy of the authors.
When cinema derails
What happens when the cinema goes off the rails? If the cinema was based very early on the rules of dramaturgy very precise, it very quickly understood all the potential comic, spectacular, political or even anxiety to play with its own codes. Reel that does not turn round, rupture of fiction, addresses to the public, aberrations of the narrative, untimely parodies, all these "controlled slippages" demonstrate how the understanding of the position of the viewer and his gaze quickly became a given inherent in filmic creation. We will navigate the example of "derailments" as so many ways of thinking the art of staging as an art of connivance.
Filming Preparation Methodology
The preparation of a film shoot (as well as the shooting itself) implements a large number of professional procedures entrusted to a large number of collaborators. For the shooting of end of first year, the most important are here indexed and explained so that the students can apply them with all the professional rigor necessary during the preparation of their films.
Scenario and staging methodology
This program allows students to acquire and master methodological tools and a reflection on the staging and writing of the script. They are an opportunity to deepen practically the mastery of the cinematographic language, to concretize technically and aesthetically the creative expression. Research, analysis, observation, curiosity, comparison, as well as the rigor of a planned organization of work are, among other things, so many simple - but unavoidable - instruments that allow creation to take shape and to speak.
Production process of a short film
The short film is a must for both directors and technicians or novice actors. After a presentation of the situation and the functioning of the short film in France today, we study, from the viewing and the analysis of a film, the production process and the means implemented for the realization of a short film in professional conditions.
Panorama of French television
What are you looking at and why? The grids of the programs of the big French television channels speak to us of the delicate balance between production, programming and diffusion. But old-fashioned television is living its last hours. By comparing the major channels with those of TNT and cable, this course aims to study the changes in editorial policy, multimedia development strategies, programming choices. And to unveil the mechanisms that will preside over tomorrow's TV.
Documentary cinema, or cinema of the real, is a particular form of writing and cinematographic direction.
This narrative form exploits and traverses aesthetic, political and social fields. It differs from reporting in its reflection and writing.
This course introduces the great historical and contemporary forms of documentary.
Staging and digital cinema
To what extent has the advent of digital technology influenced the practice of staging? Whether it's the big Hollywood productions or small-camera hand-made films, digital technology has pushed the logic that technological developments, since the invention of cinema, have profoundly transformed not only the practice cinema but also the form of the films.
Practical works images and sounds and filming
Students produce and edit short subjects using means and ideas of staging, shooting and sound recording materials, lighting. The first level is an introduction to the school's professional materials in the context of technical shooting and post-production exercises, with a first approach to digital editing on the Final Cut Pro software. It's a question of knowing how to realize, then to mount, a few minutes of images and sounds in a professional way.
In addition, 6 shootings are organized in the year, inside and outside and with actors, according to a growing order of technical, practical and aesthetic difficulties.
These exercises cover two-thirds of the first year training and train to the know-how of the realization.
The end-of-the-year film closes this apprenticeship in technique and staging.
The completion of the cycle
This realization is the point towards which converge all the aesthetic, technical and practical lessons of cycle 1.
It's about making a team of 8 minutes. On an imposed theme, the teams work on the proposal and then on the design of a scenario. Then, the students develop a breakdown, organize their casting and prepare the technical pre-production. Finally, they turn their film, mount it, and make the premix.
All these steps are followed in advance for eight weeks by both the script and staging methodology teachers and the technical managers. The teachers are responsible for helping the students in their reflection, to accompany them in their thematic research, to develop their creativity, to develop with them the best possible scenario. The technical department is in charge of controlling the technical specifications and helping students to find the best answer to the organizational problems that such shooting implies.