Dear Students: I hope your blog address to add them to the list of colleagues. Ysabel
Wednesday, April 29, 2009
Dishwasher Installation Tall Tub
blog address
Dear Students: I hope your blog address to add them to the list of colleagues. Ysabel
Dear Students: I hope your blog address to add them to the list of colleagues. Ysabel
Friday, April 24, 2009
Buy Gir Sweater Invader Zim
To think No. 1.
We feel uncomfortable among disciplines rigid corsets and exclusive and exclusionary, preached an evolutionary epistemology and trans. We avoid the Cartesian scientific prisons and our choral work revolves around a meeting place: communication.
is a discursive form of ontological and epistemological choices. The narrative is not a neutral medium where it represents the events, rather it is the essential input for a mythical conception of reality "content" concept which gives individuals an illusory coherence. We have to raise the question of the nature of the narrative is for the discussion of the nature of culture.
All creation has a political value and political content. The problem is how bad this is akin to the circuits information and communication preset and therefore degenerate in advance.
All forms of creation in these circuits have a common enemy. Remains a matter of brain, the brain is the hidden face of all the circuits: can succeed conditioned reflexes and rudimentary, as well as more creative movements, those with connections less likely. The brain is a temporary space and volume for the art to draw in new ways to update it. 
We feel uncomfortable among disciplines rigid corsets and exclusive and exclusionary, preached an evolutionary epistemology and trans. We avoid the Cartesian scientific prisons and our choral work revolves around a meeting place: communication.
is a discursive form of ontological and epistemological choices. The narrative is not a neutral medium where it represents the events, rather it is the essential input for a mythical conception of reality "content" concept which gives individuals an illusory coherence. We have to raise the question of the nature of the narrative is for the discussion of the nature of culture.
All creation has a political value and political content. The problem is how bad this is akin to the circuits information and communication preset and therefore degenerate in advance.
All forms of creation in these circuits have a common enemy. Remains a matter of brain, the brain is the hidden face of all the circuits: can succeed conditioned reflexes and rudimentary, as well as more creative movements, those with connections less likely. The brain is a temporary space and volume for the art to draw in new ways to update it.
Saturday, April 18, 2009
Apap Butalbital Caffeine Tatev
To think our work in the media.
"Reflection on the audiovisual industry must start from the ability to establish relationships between representation and represented the universe, revealing the strategies design discourse. This can only be achieved from the very assumption of a role of active viewers attentive to the forms and themes with which audiovisual products are built. Similarly, it is necessary to educate both look to acquire a visual culture from a focus on the connections it establishes with our contemporary audiovisual. "
Jaques Aumont 
"Reflection on the audiovisual industry must start from the ability to establish relationships between representation and represented the universe, revealing the strategies design discourse. This can only be achieved from the very assumption of a role of active viewers attentive to the forms and themes with which audiovisual products are built. Similarly, it is necessary to educate both look to acquire a visual culture from a focus on the connections it establishes with our contemporary audiovisual. "
Jaques Aumont
Monday, April 6, 2009
How To Connect My Three Dongle To My Ipod
CLASS STRUCTURE AND TYPES OF SCRIPT
THESE SUMMARIES ARE TWO KINDS OF MOST IMPORTANT ELEMENTS OF THE NARRATIVE STRUCTURE OF CLASSICAL AND NON-CLASSICAL TYPES OF STRUCTURE. SEMINAR IN PERFORMANCE DELIVERED BY MARIAN ROSE IN 2001 Class
What is the purpose of film? Permanent exposition
We surrounded this issue until now.
We have defined the tools that allowed the film: the camera, the editor and sound recorder.
We defined the classification for which the action figure or any movement that occurs within the frame.
We have analyzed the frame. The motion picture and some of its expressive possibilities: it can behave like the music can be composed like a painting and gradually transform the composition. We talked about the mounting
; of action reaction to, what we meet in understanding how the film says something. Not language: there is no possibility of the trope in cinema.
What is it that the film captures so inascible? Catch moments in the life of human beings and organized in a realtà or narration.
all recognize what a story, a narrative which not only read, for example, in a story, when we are doing we also recognize a narrative story, and when we told a friend a ride, sometimes also narrate . But what mainly distinguishes a narrative spoken or written (two forms of narration in words) of cinematic storytelling is that what we are action movies. Emotion, printing, shock is in the viewer, not the film script. It is useless to write in a script: When John saw that Sophie was standing on the shore of the lake, he felt the sadness unleashed.
That sentence can not shoot.
Yes you can shoot the following: Juan threatens to return by the way in which wine, but momentarily stops and looks at Sofia, which has reached the edge of the lake. John takes his hand to his neck that reveals the thread on which hangs the amulet (one that she had given him.) Lift your eyes and see that she is also looking at his amulet.
Juan wait for it back, anxious, but she lowers her hand and walk on, deep in thought. To avoid Juan crying again by the way in which wine.
Not that the first sentence is more concise than the second, or more poetic. What matters to us, although an example has been deliberately static, contemplative prayer is that the former holds the secret intention to summarize in a pun on the prevailing emotion in the scene. Vale itself. The second, however, is only a description of what will be in the frame after the scene filmed and edited.
The script is just a guide, an essay must be a defined outline of what we see when the film has been produced.
I talked about how the fictional film concentrates most of the time, in the lives of human beings. Us who we are, we know that we are what we choose to be. Both the successes and mistakes are a product of our will. When choosing an alternative (eg a race among many) may not be aware that this election offers us but we know that consistently decide and act accordingly (to study the contents and the institutions that govern their chosen career) has lifted us, makes us feel good . The choice
characters do is what we must look to understand the structure of a narrative. For more banal it is, this is the time when a plot or narrative structure is defined. Also in those moments when you decide it is then life is also defined. Infatuation, for example, occurs in the moment when two people decide to be together.
Now this only allows us to recognize, in broad terms, any story. It allows us to understand the variety of stories on this level is low. Whether
sequence, an entire movie or a scene, are analyzed from this point of view.
But if we only consider this point of view we will not have any history. Because again, this pattern of choices or decisions, only serves after writing the story, never before.
For analytical approaches to the heart of a script, there are several techniques that reduce, increasingly, history an abstraction. Abstract from less to more are called Script literary treatment (summary of actions by scene, without dialogue); synopsis (summary of the most important moments of history in a film can be one to three pages), story- line (summary of history in one or three sentences).
Another tool is a chart of the most important elections of the characters throughout history, in film are called plot-pints or turning points, in literature knots. In this diagram is called rundown.
If one is able to write the rundown and synopsis of a story, it could be said figuratively that the script would write itself.
For Why in figuratively? Because, as we have seen in cinema more precise tools and follow a standard laws (which is related to transparency and the film industry factor).
There are manuals that teach Americans making up characters, conflicts and histories standard (without prejudice to what I say) that by law take these tools of analysis.
The laws are:
-Characters can only act to resolve a conflict.
-Conflict is between characters, internal conflicts are not addressed, are assumed, but these are part of the character of the character.
-defined conflict as a struggle, like war, in which there are competing factions or forces. Each want for themselves that for which we fight. So much for fighting can be a valuable thing (money, a girl, eg land), information (later we will see the concept of Hitchcockian McGuffin), or the recognition by others that the person himself or the group of people that make up the force is valuable.
clearly understood that this is a capitalist logic of conflict. We live in a capitalist economic system, like it or not like. United States is the capital of the empire.
Happy endings at the expense of what is, copies or reckless heroes are mythical figures of American cinema's most persistent. The losers, they are generally elusive characters, marginal escape the conflict that also escape the recognition of others. We find, as an example, Bogart in Casablanca or any detective bohemian like Vertigo or Chinatown or the Manhattan South.
Attempts longer or covered in this scheme are the sagas and epics: The Godfather, Novecento, Deerhunter (The Sniper), Lawrence of Arabia. We now know that those genres in literature ranging, sometimes six hundred pages. In film duration is limited by commercial factors. Longer films may last four hours or a little more. Otherwise become intolerable. So extensive comparison between film and literary genres are only effective if we consider that this is only an illuminating comparison, not an equivalence.
-The resulting narratives of these laws result in genre films. We've talked to the genres that are on the verge of this logic are the terror and comedy. Because in one case there is a force greater than that of men and the second, sometimes, you see the character of the antihero, who is the acting cowardly flight, produces exemplary actions.
"The logic behind these stories is again the response action. In the same way that assembly, all the conflicts and characters are subordinate to a central conflict as a hero or group heroes or protagonists.
In this general scheme of American cinema, the Americans themselves have been classified as managers are illusionists (to assert the simple fact of reliving the action hero, tell a story to dry), the smuggler (using their own opinions creep gender about the genre itself or reality itself) and iconoclastic (those who invent new genres or mix them in a very personal).
To summarize this class I can mention that when you plan to write or when testing is useful to consider whatever the script (but better if it's a standard), two basic questions that organize the drama.
1) What is at stake for the characters on stage in a sequence or a story?
2) What will happen?: Shaping a scene so that the dynamics of events generated by this question.
course there is another way to approach a story or a story. There is not always central in developing a conflict notorious. Of the different types of conflict, the characters and the script does not American refer the next class.
Class B
Other types of scripts:
So far I have the standard script. The rules given in the previous class are applied as if they were rules. But it is the only way to work a script even the best formula for learning to write a script.
The logic of the standard form of writing is that of subordination to a central conflict and action and reaction: a scene must raise the reaction to the conflict in the previous scene and raise a conflict that leads to the next scene. The conflict is understood as a struggle between characters to occupy a valuable position or learn something valuable.
The characters in this type of script act to achieve a specific purpose, which is called target.
This is a scheme that can be intelligible in most U.S. industrial films. The effect is that of catharsis through identification. Handle, above all, the idea that problems are solved through voluntary action: transmit a volitional intuition. That generally makes us feel powerful, willing or fearful of acting, it depends on the story told (of the problem and how it solves the hero). Now it is possible to discern
broadly, two types of scripts. Those who handle or convey an emotion and intuition or transmit posed an intellectual intuition.
But always and in all cases a better character when acting. Can act good or evil to himself or others. You can, wanting to do well, err. You may feel guilty for the failure of action or correct the failings of the objective set.
The guiding questions remain: what is at stake for a character in a scene in a sequence and in a story? What will happen? These questions will help us understand what works and what does not in the scene.
As an example of a film that manages emotional insights I can talk about any intimate film of Bergman. In his films the character debate with himself. Predominance of internal conflicts. Thus action gives us a clue about what kind of conflict involved. The more accurate this portrait is best accomplished film. The scenes follow each other trying to clarify the situation complete for us to see, as the director, the characters closely. The term known as people.
A third type of conflict that the fight does not refer to the situation of the scene or inside of the characters.
This is a conflict arises between what is and what is seen as the viewer. To continue speaking it is best to think of some of the latest films Buñuel (eg The Phantom of Liberty). Situations arise where there are conflicts between the characters, but they act as if it were known. Displayed signs and innuendo between them that one must unravel so that the film makes sense. It is a conflict of expectation. And what points out that conflict is that there is an idea (a moving image) of an intellectual, which is transmitted and transformed over the film. In The Phantom of Liberty points out that idea from the title. What is off in this case is not an emotion, but an argument about what freedom is. The logic of the characters is disrupted so that the characters do not fight each other and discussed internally. They act as if possessed, they look to be right and none has. The premise of the situation is the tool of expression. No identification possible in this case but the staging of paradoxes. Causes estrangement.
The fourth possibility is given by the combination of the first and will be another type of film directors. 
THESE SUMMARIES ARE TWO KINDS OF MOST IMPORTANT ELEMENTS OF THE NARRATIVE STRUCTURE OF CLASSICAL AND NON-CLASSICAL TYPES OF STRUCTURE. SEMINAR IN PERFORMANCE DELIVERED BY MARIAN ROSE IN 2001 Class
What is the purpose of film? Permanent exposition
We surrounded this issue until now.
We have defined the tools that allowed the film: the camera, the editor and sound recorder.
We defined the classification for which the action figure or any movement that occurs within the frame.
We have analyzed the frame. The motion picture and some of its expressive possibilities: it can behave like the music can be composed like a painting and gradually transform the composition. We talked about the mounting
; of action reaction to, what we meet in understanding how the film says something. Not language: there is no possibility of the trope in cinema.
What is it that the film captures so inascible? Catch moments in the life of human beings and organized in a realtà or narration.
all recognize what a story, a narrative which not only read, for example, in a story, when we are doing we also recognize a narrative story, and when we told a friend a ride, sometimes also narrate . But what mainly distinguishes a narrative spoken or written (two forms of narration in words) of cinematic storytelling is that what we are action movies. Emotion, printing, shock is in the viewer, not the film script. It is useless to write in a script: When John saw that Sophie was standing on the shore of the lake, he felt the sadness unleashed.
That sentence can not shoot.
Yes you can shoot the following: Juan threatens to return by the way in which wine, but momentarily stops and looks at Sofia, which has reached the edge of the lake. John takes his hand to his neck that reveals the thread on which hangs the amulet (one that she had given him.) Lift your eyes and see that she is also looking at his amulet.
Juan wait for it back, anxious, but she lowers her hand and walk on, deep in thought. To avoid Juan crying again by the way in which wine.
Not that the first sentence is more concise than the second, or more poetic. What matters to us, although an example has been deliberately static, contemplative prayer is that the former holds the secret intention to summarize in a pun on the prevailing emotion in the scene. Vale itself. The second, however, is only a description of what will be in the frame after the scene filmed and edited.
The script is just a guide, an essay must be a defined outline of what we see when the film has been produced.
I talked about how the fictional film concentrates most of the time, in the lives of human beings. Us who we are, we know that we are what we choose to be. Both the successes and mistakes are a product of our will. When choosing an alternative (eg a race among many) may not be aware that this election offers us but we know that consistently decide and act accordingly (to study the contents and the institutions that govern their chosen career) has lifted us, makes us feel good . The choice
characters do is what we must look to understand the structure of a narrative. For more banal it is, this is the time when a plot or narrative structure is defined. Also in those moments when you decide it is then life is also defined. Infatuation, for example, occurs in the moment when two people decide to be together.
Now this only allows us to recognize, in broad terms, any story. It allows us to understand the variety of stories on this level is low. Whether
sequence, an entire movie or a scene, are analyzed from this point of view.
But if we only consider this point of view we will not have any history. Because again, this pattern of choices or decisions, only serves after writing the story, never before.
For analytical approaches to the heart of a script, there are several techniques that reduce, increasingly, history an abstraction. Abstract from less to more are called Script literary treatment (summary of actions by scene, without dialogue); synopsis (summary of the most important moments of history in a film can be one to three pages), story- line (summary of history in one or three sentences).
Another tool is a chart of the most important elections of the characters throughout history, in film are called plot-pints or turning points, in literature knots. In this diagram is called rundown.
If one is able to write the rundown and synopsis of a story, it could be said figuratively that the script would write itself.
For Why in figuratively? Because, as we have seen in cinema more precise tools and follow a standard laws (which is related to transparency and the film industry factor).
There are manuals that teach Americans making up characters, conflicts and histories standard (without prejudice to what I say) that by law take these tools of analysis.
The laws are:
-Characters can only act to resolve a conflict.
-Conflict is between characters, internal conflicts are not addressed, are assumed, but these are part of the character of the character.
-defined conflict as a struggle, like war, in which there are competing factions or forces. Each want for themselves that for which we fight. So much for fighting can be a valuable thing (money, a girl, eg land), information (later we will see the concept of Hitchcockian McGuffin), or the recognition by others that the person himself or the group of people that make up the force is valuable.
clearly understood that this is a capitalist logic of conflict. We live in a capitalist economic system, like it or not like. United States is the capital of the empire.
Happy endings at the expense of what is, copies or reckless heroes are mythical figures of American cinema's most persistent. The losers, they are generally elusive characters, marginal escape the conflict that also escape the recognition of others. We find, as an example, Bogart in Casablanca or any detective bohemian like Vertigo or Chinatown or the Manhattan South.
Attempts longer or covered in this scheme are the sagas and epics: The Godfather, Novecento, Deerhunter (The Sniper), Lawrence of Arabia. We now know that those genres in literature ranging, sometimes six hundred pages. In film duration is limited by commercial factors. Longer films may last four hours or a little more. Otherwise become intolerable. So extensive comparison between film and literary genres are only effective if we consider that this is only an illuminating comparison, not an equivalence.
-The resulting narratives of these laws result in genre films. We've talked to the genres that are on the verge of this logic are the terror and comedy. Because in one case there is a force greater than that of men and the second, sometimes, you see the character of the antihero, who is the acting cowardly flight, produces exemplary actions.
"The logic behind these stories is again the response action. In the same way that assembly, all the conflicts and characters are subordinate to a central conflict as a hero or group heroes or protagonists.
In this general scheme of American cinema, the Americans themselves have been classified as managers are illusionists (to assert the simple fact of reliving the action hero, tell a story to dry), the smuggler (using their own opinions creep gender about the genre itself or reality itself) and iconoclastic (those who invent new genres or mix them in a very personal).
To summarize this class I can mention that when you plan to write or when testing is useful to consider whatever the script (but better if it's a standard), two basic questions that organize the drama.
1) What is at stake for the characters on stage in a sequence or a story?
2) What will happen?: Shaping a scene so that the dynamics of events generated by this question.
course there is another way to approach a story or a story. There is not always central in developing a conflict notorious. Of the different types of conflict, the characters and the script does not American refer the next class.
Class B
Other types of scripts:
So far I have the standard script. The rules given in the previous class are applied as if they were rules. But it is the only way to work a script even the best formula for learning to write a script.
The logic of the standard form of writing is that of subordination to a central conflict and action and reaction: a scene must raise the reaction to the conflict in the previous scene and raise a conflict that leads to the next scene. The conflict is understood as a struggle between characters to occupy a valuable position or learn something valuable.
The characters in this type of script act to achieve a specific purpose, which is called target.
This is a scheme that can be intelligible in most U.S. industrial films. The effect is that of catharsis through identification. Handle, above all, the idea that problems are solved through voluntary action: transmit a volitional intuition. That generally makes us feel powerful, willing or fearful of acting, it depends on the story told (of the problem and how it solves the hero). Now it is possible to discern
broadly, two types of scripts. Those who handle or convey an emotion and intuition or transmit posed an intellectual intuition.
But always and in all cases a better character when acting. Can act good or evil to himself or others. You can, wanting to do well, err. You may feel guilty for the failure of action or correct the failings of the objective set.
The guiding questions remain: what is at stake for a character in a scene in a sequence and in a story? What will happen? These questions will help us understand what works and what does not in the scene.
As an example of a film that manages emotional insights I can talk about any intimate film of Bergman. In his films the character debate with himself. Predominance of internal conflicts. Thus action gives us a clue about what kind of conflict involved. The more accurate this portrait is best accomplished film. The scenes follow each other trying to clarify the situation complete for us to see, as the director, the characters closely. The term known as people.
A third type of conflict that the fight does not refer to the situation of the scene or inside of the characters.
This is a conflict arises between what is and what is seen as the viewer. To continue speaking it is best to think of some of the latest films Buñuel (eg The Phantom of Liberty). Situations arise where there are conflicts between the characters, but they act as if it were known. Displayed signs and innuendo between them that one must unravel so that the film makes sense. It is a conflict of expectation. And what points out that conflict is that there is an idea (a moving image) of an intellectual, which is transmitted and transformed over the film. In The Phantom of Liberty points out that idea from the title. What is off in this case is not an emotion, but an argument about what freedom is. The logic of the characters is disrupted so that the characters do not fight each other and discussed internally. They act as if possessed, they look to be right and none has. The premise of the situation is the tool of expression. No identification possible in this case but the staging of paradoxes. Causes estrangement.
The fourth possibility is given by the combination of the first and will be another type of film directors.
Subscribe to:
Posts (Atom)