The Need For An Entertainment Lawyer In Film Production
Just what exactly would you do when you have non-professional actors and no budget? You embrace the docudrama/neo-realist film making philosophy. Whenever you cannot afford special effects and fancy cameras, that you do not strain your budget. You make minimalism your effect and you blur the lines between fiction and reality. For a church film, I indicate a mission's docudrama in black and white. We've seen the docudrama's success in films (Blair Witch Project), Sit-Coms (The Office) and Reality TV (Jersey Shore). This paper will explore the philosophy behind producing this hybrid genre.
Pre-Production and Neo-Realism
Rossellini, the father of the Italian Neo-Realist movement, had no intentions of creating a movement. He essentially said this all came about from devoid of enough money to accomplish anything else. This makes pre-production less complicated for independent filmmakers. Behind all of the rhetorical tropes, neo-realism amounts to shooting on location, and re-writing the script to match the true people/ non-commercial actors which are available. In many ways the script is 50% staged and 50% improvisation, this culminates with a really intense sense of reality on the screen.
When Roberto Rossellini released his early film Open City, everyone was saying how realistic it looked; hence the word Neo-Realism Film. Andre Bazin, film theorist, was a massive fan of neo-realism and Rossellini in particular. The target, in accordance with Bazin, is to reach the totality of life by taking a look at its simplicity.
Rossellini surely could bring reality back to the entertainment world at any given time where the films were getting bigger and more fantastic. Instead of escaping reality, Rossellini made us face it. In place of flooding us with stunning set designs and special effects, they gave us "fragments of reality" and invited us to take part in piecing this is together.
During the time of the war, Rossellini believed there clearly was an eager desire for truth in film. This is why he attributed a moral position to his filmmaking. No body was reporting what was really happening during the war and he wanted people to know. He used film narrative to expose this truth. There have been dramatic stories really happening all around him and he wanted to recapture them. It's arguable that The Hurt Locker and Precious could fit inside a neo-realist hybrid.
Bazin campaigned for true continuity: deep focus, wide shots and too little montage. This may leave the interpretation of a scene to the audience member. The present-day neo-realist does not necessarily uphold to many of these somewhat obsolete standards of objectivity, but the existing docudrama approach does strongly encourage a similar interpretation on the behalf of the spectator.
One of the greatest areas of Richard Linklater's film Waking Life is when the key character is watching a film where filmmaker Caveh Zahedi and poet David Jewell discuss Bazin's theory on realism. They highlight Bazin's Christian belief that every shot is just a representation of God manifesting creation. So we're essentially watching a video in just a movie that is referring to film theory. What's much more eye opening is if they employ his aforementioned theories, saying "let's have a Holy Moment." What follows is just a very creative pursuit of an elusive filmic aspiration to fully capture the truth.
Production - Successful Examples
Some argue that fiction cinema has embraced, significantly more than ever, non-fiction aesthetics. Several filmmakers are simplifying there film language.
Blair Witch Project
Myrick and Sanchez's Blair Witch Project, released in 1999, is one of the very most popular hybrid successes. It artificially vacillates between art and life. One of many techniques that I would employ into our film could be using the properties of something such as a Hi8 (shaky cam). This technique, like the first neo-realists, creates fragments of reality and invites the audience to peace them together. Like: shaky cam jerks the subjects in and from the frames, shifts focus in and out, and uses long continuous handheld shots. This style relies heavily on immediacy and intimacy.
In This World
Michael Winterbottom made a picture on an immigrant's road trip called In This World (2002). They took one camera, using portability and the journey setting. Although 1 / 2 of the film was staged, the road scenes, crowds and marketplaces weren't staged. The visual aftereffects of the real helped to draw us in to the scripted journey and human drama that has been in the centre of the film. After that it reverts to documentary mode at the conclusion by utilizing title cards.
Five
Kiarostami, director of Five, takes five long takes to make his film. This film makes use of the long takes that Bazin identified within the neo-realist movement. There have been several "holy moments" where director Kiarostami captures fifteen minutes approximately of the ocean or the moon in a pond. Kiarostami continues to avoid complicated plot structure and unnecessary artifices in the film Ten.
Pre-Production and Neo-Realism
Rossellini, the father of the Italian Neo-Realist movement, had no intentions of creating a movement. He essentially said this all came about from devoid of enough money to accomplish anything else. This makes pre-production less complicated for independent filmmakers. Behind all of the rhetorical tropes, neo-realism amounts to shooting on location, and re-writing the script to match the true people/ non-commercial actors which are available. In many ways the script is 50% staged and 50% improvisation, this culminates with a really intense sense of reality on the screen.
When Roberto Rossellini released his early film Open City, everyone was saying how realistic it looked; hence the word Neo-Realism Film. Andre Bazin, film theorist, was a massive fan of neo-realism and Rossellini in particular. The target, in accordance with Bazin, is to reach the totality of life by taking a look at its simplicity.
Rossellini surely could bring reality back to the entertainment world at any given time where the films were getting bigger and more fantastic. Instead of escaping reality, Rossellini made us face it. In place of flooding us with stunning set designs and special effects, they gave us "fragments of reality" and invited us to take part in piecing this is together.
During the time of the war, Rossellini believed there clearly was an eager desire for truth in film. This is why he attributed a moral position to his filmmaking. No body was reporting what was really happening during the war and he wanted people to know. He used film narrative to expose this truth. There have been dramatic stories really happening all around him and he wanted to recapture them. It's arguable that The Hurt Locker and Precious could fit inside a neo-realist hybrid.
Bazin campaigned for true continuity: deep focus, wide shots and too little montage. This may leave the interpretation of a scene to the audience member. The present-day neo-realist does not necessarily uphold to many of these somewhat obsolete standards of objectivity, but the existing docudrama approach does strongly encourage a similar interpretation on the behalf of the spectator.
One of the greatest areas of Richard Linklater's film Waking Life is when the key character is watching a film where filmmaker Caveh Zahedi and poet David Jewell discuss Bazin's theory on realism. They highlight Bazin's Christian belief that every shot is just a representation of God manifesting creation. So we're essentially watching a video in just a movie that is referring to film theory. What's much more eye opening is if they employ his aforementioned theories, saying "let's have a Holy Moment." What follows is just a very creative pursuit of an elusive filmic aspiration to fully capture the truth.
Production - Successful Examples
Some argue that fiction cinema has embraced, significantly more than ever, non-fiction aesthetics. Several filmmakers are simplifying there film language.
Blair Witch Project
Myrick and Sanchez's Blair Witch Project, released in 1999, is one of the very most popular hybrid successes. It artificially vacillates between art and life. One of many techniques that I would employ into our film could be using the properties of something such as a Hi8 (shaky cam). This technique, like the first neo-realists, creates fragments of reality and invites the audience to peace them together. Like: shaky cam jerks the subjects in and from the frames, shifts focus in and out, and uses long continuous handheld shots. This style relies heavily on immediacy and intimacy.
In This World
Michael Winterbottom made a picture on an immigrant's road trip called In This World (2002). They took one camera, using portability and the journey setting. Although 1 / 2 of the film was staged, the road scenes, crowds and marketplaces weren't staged. The visual aftereffects of the real helped to draw us in to the scripted journey and human drama that has been in the centre of the film. After that it reverts to documentary mode at the conclusion by utilizing title cards.
Five
Kiarostami, director of Five, takes five long takes to make his film. This film makes use of the long takes that Bazin identified within the neo-realist movement. There have been several "holy moments" where director Kiarostami captures fifteen minutes approximately of the ocean or the moon in a pond. Kiarostami continues to avoid complicated plot structure and unnecessary artifices in the film Ten.
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