Experimental Films Blog

Criticisms - A Film By Tom, Solo and James - Film Link https://www.youtube.com/watch?v=ljFvvbDBXJs 

Module Evaluation  Tom Wilson Our finished film differed significantly to our initial treatment, however maintained the same themes we had discussed and explored in our two-minute film. For example, there was to be far more violence in our original concept, including the death of our main character, and the fight scene we ended up filming was to be a chase scene. However, we had to adapt and change these as they did not fit within our tight filming schedule. Instead, we changed it so that there was no violence; this led to a more emotionally striking ending than the bombastic one we had planned. Furthermore, the complex chase scene we had developed was changed to a fight scene. Our main strength when it came to filming was our ability to adapt and change. The changes we made were for the better, and evolved into creating a more humorous and emotional piece, adding to our absurdist themes we already developed in our two-minute film. It also allowed ourselves to follow th...

A Discussion of the Formalist Theory in Film Tom Wilson The Formalist theory (in regard to film) is the study of the multiple components of a film's production, for example it's style, lighting, editing, cinematography etc, and the synthesis of those elements and the emotional effects they create. The most commonly used example is the continuity editing in Hollywood cinema, that creates a feeling of comfort as it helps lead the audience through a coherently edited narrative. This is juxtaposed to the jump cut editing of the French New Wave, and the stylistic editing styles of modern day art house cinema such as that in  21 Grams (Alejandro Gonzalez Inarritu, 2003) or Lost Highway (David Lynch, 1997). The Formalist theory focuses on the production of various forms of film, and often films that follow the theory will comment on the production of film within them, such as films by Michael Haneke or David Lynch. Both of these directors use the theory to see to what emotions...

PRODUCTION FOLDER FOR TWO AND FIVE-TO-TEN MINUTE FILMS Tom Wilson TWO-MINUTE FILM The following images were taken during the shooting of our two-minute short film Criticisms of Cinema: For this film we used the following equipment: A track Canon 550d Huawei p8 lite Canon XF100 Canon 70d Tripod 2x Dedo Lights 1x Felloni Panel Lights FIVE-TO-TEN-MINUTE FILM The following images were taken during the shooting of our five-to-ten-minute short film Criticisms: For this film we used the following equipment: Nikon D3100 Tripod 2x Dedo Lights 1x Felloni Panel Lights POST-PRODUCTION As editor I used the following pieces of software: Avid Media Composer Audacity  Here are screen grabs from both of those pieces of software during the editing of our two-minute film: Audio Editing in Audacity General Editing of Sequence Effects Editing (Fades, Timewarp) Here are screen grabs from Avid Media Co...

An in depth analysis of Peter Greenaway's Intervals . Tom Wilson Peter Greenaway’s film Intervals (1969) cleverly creates meaning without the use of a narrative. His use of imagery is sublime in this film, capturing both the beautiful and decrepit Venice, which creates a sense of normality through repetition. Peter Greenaway compliments the vast array of imagery with a series of everyday sounds and music by Vivaldi (Four Seasons, Winter) which create a contrast between the normal and the cinematic. I intend to discuss the style, structure and form behind Intervals , and refer to the links between his film and our project. The film is separated into three segments brought together through repetition and sound. These segments are distinguishable by their use of unique sound. For example, in the first segment the sound is that of a metronome, whereas in the second it is a man reading out the alphabet, and in the third it is the man reading out various words and the int...