’A scenario that gives, on reading, the sensation of the soundtrack of the film, will have a rare, extremely convincing evocative power. Physiological thinking of the scenario A film is, physiologically, an object that addresses only two of our (...)
One of the first difficulties of writing the script is the macroscopic structure, ie the general sense of the narrative. Forget Syd Field There are, of course, the famous “three-act structure,” dear to Syd Field (see his famous book Screenplay), (...)
A film by Benoît Labourdette (5’16s, 2011).
A meeting, like a thousand other meetings. No, it is your meeting.
Training methods “Pocket Films” for movie teachers in Africa. Frame CFI (French Agency Media Cooperation) proposed in the context of the “Images of Africa” formation (training program for careers in television and cinema) a “Pocket Films” course of (...)
A film by Benoît Labourdette (1’43s, 2021).
Sometimes the pieces of the puzzle fit together like a piece of cake... you think you’re touching heaven.
The criteria of composition When we do the framing of an image with a camera, we often use the classical criteria of image composition, inherited from the tradition of figurative painting. Which is quite natural. Things as we see them in the (...)
From the point of view of perception, a film is only an illusion formed by our brain from visual and auditory stimuli. Images seen can produce sounds and vice versa. Each person mentally constructs a different film from the same film seen. Thus (...)
Collective film (5’28s, 2020).
When talking objects teach us that digital can create human connection.
Painting is the original material of plastic work, which is intimately connected with photography, because it also contains the time of its gesture and its imagination.
The films gathered here were made in a collaborative way in 2019 as part of the participatory artistic action DIA LOG, which accompanies the changes in the Les Navigateurs district of Choisy-le-Roi. Immersed in the eyes of the children of the (...)