PPT introducing time in cinema, the 2020/21 theme for Cinema Cent Ans De Jeunesse

1. Time in Cinema
Cinema Cent Ans de Jeunesse 2020/21
My list of clips: https://vimeo.com/channels/1654007
Bergala’s bigger list of clips; https://cloud.cfav.fr/index.php/s/PjDWTzycqkyRot6?path=%2F

2. Time in Film and in
Print: differences and
similarities?

3. Time in
Cinema:
some key
concepts
Film is a time-based medium first and foremost;
before the image and sound there is time
Film is structured around duration
Film-makers often use temporal markers to
structure their stories
Time is imprinted on film, in movement, for
example
The temporal rhythms of film are created
through editing and shot length

4. Early film: what they
discovered about film time
• Lumière Bros: Arrival of a Train;
Washerwomen on the Seine; A Tour of
the Grand Canal; Exiting the Factory
Gates:
• Lumières’ first fiction: the Sprinkler
Sprinkled
• Alice Guy Blaché: Serpentine Dance
• https://vimeo.com/channels/1654007

5. DURATION
• The first discovery of time in cinema:
‘the moment in time lived for real’.
• And the second discovery: that the ‘time
of the tale’ isn’t the same as the ‘time it
takes to tell.’
• Sometimes we can find different time-
frames in the same shot

6. DURATION
https://vimeo.com/channels/1654007
A Sunday Morning, Damien Manivel, 2012
Nostalgia, Andrei Tarkovsky, , 1983

7. Temporal markers
how many can you name?

8. Temporal
markers
The Green Ray, Eric Rohmer, 1986
Madame de…, Max Ophuls 1953
El Sur, Victor Erice, 1983

9. Five
types of
film time

10. Five types
of film
time
Scene

11. Simultaneous
time

12. The long take:
two types

13. Rules of the Game
Exercise 1
Following the suggestions below, make three shots exploring the notion of time in terms of how long the
shot runs, each film being up to a maximum of two minutes in length.
Shot 1: A record of time, recording the continuity of an action or the visible ‘imprint of time’.
Shot 2: A recording which captures dynamic tension linked to the duration of the shot. (eg, filming
something over which the filmmaker has no control, and which creates a tension against another action:
‘countdown’ shots are perhaps the most obvious example of this, where a character is put under time
pressure)
Shot 3: Capture a physical transformation or change, which takes place over the duration of the shot.
Each of these exercises can be done individually (outside of class) or in a group during the workshop.
Ideally, Shot 1 will be the work of the participants on their own, and the other exercises performed in
groups.

14. Rules of the Game
Exercise 2
Film the same action / situation in 2 different ways:
One: A single long take, where the action is not cut at all, everything is captured in one continuous take
which lasts the length of the action.
Two: Film the action / situation through a number of shots and then cut and edit them together.
Sound must be a vital component of this exercise.
The location, movement and any dialogue must be remain the same between the two variations, only the
actors can be different. It’s important to see this as film of an action or actions, rather than a ‘long take’ of a
scene or setting in which there is no story action.
Maximum 3 minutes of length for each version.

15. Rules of the Game
Final Film
Make a film that mixes ‘showing’ and ‘telling ’.
Particular attention will be paid to the rhythm of the film, which must
include one or more changes of pace.
Sometimes the scenario of the film will be set aside so that the
character (or the viewer) experiences the sensation of time passing.
10 mins maximum excluding credits.