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ASSEMBLY SCHEDULE 2 - CHANGES IN YEAR 2010



Class 1 Review on types and is cutting factor:
As this differs from factor factor of continuity or sense.
Courts and other links. Different factors
Court between shots in a scene. I argue in Part
Household.

APRIL 12 Class 2

what I argue is a look and its importance in the field of editing. That allows us to relate, beyond cash. I raise the TP1


APRIL 19 Class 3

What is rewritten in assembly, examples. Iron man, other examples of short films.
.

APRIL 26 Class 4 Delivery
Looks Part 1 TP1


MAY 3 Class 5
types of sequences and cinematic scenes typical from the point of view of the assembly. As identification.

MAY 10

Class 6 Delivery TP1

Looks Part 2 MAY 17

Class 7 Type of Script: Examples. That is esctructura narrative and how this relates to the assembly. Relationship between assembly and script.

MAY 31 (assuming that 25 holiday is going to Monday 24)

Delivery Class 8 Part 3
Looks TP1 to TP2
I raise
7 JUNE

Class 9 Parallel and Alternate assembly. Examples. History of Assembly 1.


JUNE 14 Class 10
TP1 Retrieval Delivery writings. TP2 Delivery
Alternate Mounting a

JUNE 21 (if not passed the holiday to Monday)

Class 11 Partial Class home consultation.
structure and temporality. Types of narrative scenes and film sequences.
function of the scene in the narrative plan. Relationship between this and the time duration of the scene in the style of movie.


JUNE 28 Class 12 Mounting TP2
Alternate Delivery 2

JULY 5 (if not passed the holiday to Monday)

Class 13 First Date Part home delivery (with the option to recover)


JULY 12 Class 14 Mounting TP2
Alternate Delivery 3


JULY 19 Class 15 Class
partial inquiry on the house.


JULY 26 Class 16 (Class jointly)
Delivery of lecture notes. Partial Recuperatorios delivery of home.

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REGULATION ASSEMBLY 2-YEAR 2010

REGULATION CHANGES IN YEAR 2010

The rules:

In assembly 2 becomes practical to have 2 jobs instead of 3. The first presentation is
without written and oral group. The note will be put on the spot.
The TP is written Recuperatorios individual. Partial Household
The work is not practical. 1 is retrieved only once and should be delivered out of the due date happens to be directly Recuperatorios. The Partial Household
is individual.

ONCE SET DATES AND PUBLISHED IN THE BLOG ARE ENDURING.
TO THE STATEMENT OF PRACTICAL WORK ARE ADVISED TO ADVANCE THE ORDER OF EXPOSURE TO EACH OF THE GROUPS.
IF YOU DO NOT PASS TO EXPOSE Recuperatorios DIRECTLY. Change

making these : After the First Class, in which patterns and shifts Groups (half of the students for each shift), shall draft class to class lists will be signed by students, and will recheck the end of the class.
A student visa is not in the two moments is absent.


PRACTICAL:

Investigation 1: Scene dialog and looks.
With the material provided by the chair should set up a telepathic dialogue or a scene of dialogue where the voices of the characters but the characters do not move the mouth. There can be a voiceover scene or character inner voice.
should apply the rule of the axes or not to apply it to tell why not implemented. Attention should be paid to the rhythm of the scene according to the dialogue is invented for the characters. You can not have music. But keep the rest of the bands: Dialogues, environments, Folley and well mixed effects.
The presentation must have at least 2 versions of assembly. A male character closer and closer to another female character. Practical Work

2: Scene
alternate mounting. Delivered 3 versions of the scene made out of material provided by the chair.
In version 1 is the story of the male
In version 2 of the female character
In version 3 assembly is practiced alternate between the two scenes.
Attention is given to the links used to connect by mounting the two scenes alternate and general rhythmic sequence mounted on alternate.
must have these three versions of the four music soundtracks.
A fourth version can be musical, but not required. The first 3 versions they are.




HOME STAY:
Based on the notions of narrative structure and function of a film fragment to be analyzed formally: a sequence, a scene transition, a scene parallel or alternative mounting the films drawn provided by students. Partial
The house will guide made shortly to be published on the blog.
You can refer to the same stylistic features editor in other movies and make connections between films, but without deviating from the movie targeted for analysis. Work is written
individual.
The three types of narrative units may or may not belong to the same film, but never can be chosen from a film outside the films.

ASSESSMENT METHOD AND PARTIAL TP
The work not done according to guidelines are disapproved automatically without exceptions.
If that condition is met, an evaluation of the depth of analysis and reflection about the resources used to mount the stage or enter the work depending on whether partial or practical work.
In case of TP 1 is evaluated using the rhythm as a function of start and end of the dialogue. It will also assess how to use the planes in terms of presenting the situation as clearly and use countershot and establishment level.
In the case of TP2 assess the rhythm in each version, the treatment of the issue between shots. In the 3rd version should be correctly used the moments of possible link between one scene and another, prepared from the film .- should be given equal importance to both characters (using rhythmic or duration of the action plan or to be used for that purpose)
The partial house should be a demonstration of the use of terminology in the assembly, well applied to each sample and quoting reference bibliography.

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Courses 2009 Endnotes ENDNOTES

TIME MORNING


Raineri resource Stichi resource resource Free Free Free resource Peterlin 7 Free Free 7 Free Free Hurevich resource Free

Alvarez, Francisco	7
Amengual, Ana	7
Arau, Lisandro	7
Asensio Cecilia
Avellar Mercon de Vargas, Raphael	7
Boats, Mariela	7
Benitez, Emanuel	7
Bertolini, Paul	6
Capra, James	7
Carrizo , Sergio E. 7
Castillo, Ignacio	6
Casu, Sebastian
Chocobar, Esteban	8
Colombo, Thomas	7
Cozzolino, Gerardo
Crha, Marcela	6
Dagatti, Natalia	7
Daguerre, Renata Free
Daneri, Mariano
Flores, Natalia	7
Funes, Silvina Edit	7
Galán, Lucas	7
Garcia Barros, Julián
Garritano, Bruno
Gaud, José	7
Gazzano, Lautaro	7
Gimenez, Maria Celeste	7
Gramajo, Matias	7
Guido Lavalle, Nicholas
Greco, Ayeray
Huerta, Pablo	7
Jalil, Lucia	7
Juárez, Ayelén	6
Leiva, Natalia	6
Letelier Cabrero, Marianella	7
Marchetti, Rocío	7
Martinez, Federico
Mercado, Noel	7
Muñoz, Rubén	6
Musolino, Ana	7
Noriega, Pablo	7
Ordoñez Maria Paz	7
Perez White, Maria Eugenia	7
Périgo, Maria Antonela	7
Petti, Aimé	7
Provost Camila	7
Raffaele, Franco
Ramuzzi, Paul	6
Reden Medrano, Valeria
Rodriguez C, Jonny
Rodriguez, Franco
Rodriguez, Juan Matias	7
Simonetti, Mauro
Suarez, Federico
Valerio, Miguel	7
Ventre, Gonzalo resource
Vita, Antonella	6
Vonscheidt, Constanza	7
Zorrilla, Pablo

NIGHT TIME

resource resource resource resource 7 resource Free Nesse resource resource Free Banking 7 7 Alfano, Rocío Antunez, Carlos 6 Aragon Alexandrina Maria 7 Aristimuño, Rodrigo 7 Arp, Paul Damian 8 Bachiega, Julia 7 Bianco, Laura Sofia 7 Biscardi, Juan Nicolás Bobbio, Mariana Buzzurro, Matías Carro, Michelle Evelyn Cedola, Tobias 8 Tops, Daniel Libre Civello, Franco Clemente, Joao Paulo Consoli, Maria Luz resort Cubas, Daniel 6 De Meo, Jeremiah 7 Dell `Oro, Tatiana 7 Duo, Shuel 7 Echenique Agustin resource Espil, Inés 7 Fernández, Pablo resource Salvador Figueroa, Daniel Frias, Gisela 7 Gomez, Mauro 6 Grennan, Juan Agustín Lair, Valeria 7 Iriarte, Pablo Lleral, Juliana 7 Mamberti, Florence 9 Manque 8 Mayorga, Joaquín Olaciregui, Agustina 7 Orovitz, Matías 7 Paloma, Ignacio 6 Panella, María Agustina 7 Polo, Juán Joaquín 9 Resenido, Aretha 7 Ridao, Carolina 8 Rodriguez, Gastón G 7 Rojas, Tomás 6 Romaniuk, Damian 8 Ruiz, Nicolás 7 Ruscuni, Florence 8 Scattini, Sofia 7 Silicz, Daniela Ivana Tapia, Javier 7 Vallega, Barbara 8 Vargas, Elisa 7 Vásquez Ocampo, Andrea 9 Vido, Juliana 6