Godard, Coutard in svojilni zaimki

diplomsko delo

Vida Habjanič (Author), Rado Likon (Mentor), Jasna Hribernik (Mentor)

Abstract

V diplomskem delu se posvečam načinu dela v manjših filmskih produkcijah. Osredotočam se na začetke dela Jean-Luc Godarda, enega najprepoznavnejših avtorjev Francoskega novega vala. Na začetku 60. let se je popolnoma spremenil odnos do filma, zaradi česar je prišlo do velikih sprememb v načinu dela. Skupina mladih filmskih kritikov, ki so se združili pod okriljem revije Cahiers du Cinéma, je naredila odločilen korak s tem, da so poleg pisanja kritik začeli snemati svoje filme in se označili za Avtorje. Družbene in politične okoliščine so jim pomagale, da so se z minimalnimi sredstvi lotili prvih celovečercev, ki so prav zaradi svoje drugačnosti prevzeli občinstvo tako doma kot v tujini. Novi val je tako ogromne, epske produkcije knjižnih adaptacij spremenil v majhna improvizirana snemanja po stanovanjih avtorjev in v lokalih, kjer so preživljali svoj čas. Tu začnem iskati podobnosti z lastno produkcijo praktičnega dela tega diplomskega dela. Skoraj 60 let kasneje, je filmska industrija popolnoma drugačna. Dandanašja filmska produkcija je preplavljena s posebnimi efekti zaradi česar med vsemi računalniškimi animacijami in virtualno resničnostjo na velikih platnih le redko vidimo "resnično življenje", za prikaz katerega so se tako zelo zavsemali takrat. Tudi ustvarjalcev je vedno več. V času, ko lahko vsak posameznik s telefonom posname, kar si zaželi, je težko izstopati. Kakor je bilo tresenje v rokah držane kamere 60 let nazaj revolucionarno, je sedaj nekaj vsakdanjega in velikokrat lahko izgleda amatersko. Kako lahko torej dandanašnji mali študentski projekt brez proračuna izstopi iz poplave amaterskih in polprofesionalnih izdelkov? Pri snovanju svojega filma sem se odločila, da stopim korak nazaj, se približam svoji inspiraciji, in uporabim 16 mm film. Skozi nalogo analiziram, kako ta odločitev vpliva na potek dela in končni izdelek, predvsem v danih pogojih majhne produkcije.

Keywords

diplomske naloge;filmska produkcija;francoski novi val;16mm filmi;Godard;Jean-Luc;1930-;

Data

Language:	Slovenian
Year of publishing:	2017
Typology:	2.11 - Undergraduate Thesis
Publisher:	[V. Habjanič]
UDC:	791.2
COBISS:	4985851
Views:	3854
Downloads:	61
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	English
Secondary title:	Godard, Coutard and Possessive pronouns
Secondary abstract:	The thesis is focusing on film production methodologies in smaller film productions. It concentrates on the beginnings of the work of Jean-Luc Godard, one of the most notable authors of the French new wave. In the early 60’s the attitude towards film has completely changed, thereby also the way of work. A group of young film critics, who joined under the auspices of magazine Cahiers du Cinéma, made a decisive step by having, in addition to writing critic, started shooting their own movies and tagged for Authors. Social and political circumstances assisted them to use minimal resources to make a feature film, which due to its diversity took the audience both at home and abroad. The new wave turned the huge, epic productions of literary adaptation into a small improvised recording, made in the flats of the authors themselves and pubs where they spent their time. The thesis analyses similarities with the candidate's own production of the practical part of this thesis. Almost 60 years later, the movie business is totally different. Due to the flooding of special effects, we rarely see "real life" on big screens, for which they took a stand for at that time. Also, more and more creators exist now. At a time, when every individual can record what he/she wants with his/her phone, it is hard to stand out. As was the shaking of hand-held camera in the 60’s revolutionary, it is now seen as amateur and "pointless". How could a today’s little student project, without a budget, stand out of all this flood of amateur and half-professional products? For this film, we therefore decided that instead of everyday digital techniques, we would take a step back, get close to our inspiration, and use the 16 mm film. We analyse how this decision affects the workflow, and the final product, especially in the given conditions of a small production.
Secondary keywords:	Jean-Luc Godard;Raoul Coutard;French New Wave;16mm film;Krasnogorsk 3;Possessive pronouns;
URN:	URN:SI:UNG
Type (COBISS):	Bachelor thesis/paper
Thesis comment:	Univ. v Novi Gorici, Akademija umetnosti
Pages:	55 str.
ID:	10897171