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50weekstolearnfilm

Noteverythingtheyteachatfilmschoolshouldbepractical.Howaboutalittle

EdmundBurkeornudefiguredrawinginstead?

MarkCousins(/people/markcousins)

Updated:23April2015

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fromourDecember2014(/newsopinion/sightsoundmagazine/december2014issue)andJanuary2015(/newsopinion/sightsoundmagazine/january2015issue)issues.

Credit:ArthurChiverton(arthurchiverton.com)forSight&Sound.

Shouldweplantabombunderfilmschoolcoursesandseewherethepiecesfall?Mightwefireuniversityfilmstudiescoursesintothesky,onamagnesiumrocket,andseethesmithereensfalltoearth,likethemanwhofelltoearth,liketheclimaxofNicolasRoegsEureka(http://explore.bfi.org.uk/4ce2b71349eb0),whenJackMcCannfindshisgold?

Lotsofgoodthingshappeninfilmschoolsandonfilmcourses,whichareoftentaughtbygreatpeople,buttheyhaveoften,too,losttheirsenses.Literally.Theyteachaboutequipmentandproduction,whentheirjobisreallytoawakeninstudentsasensoryresponsetotheworld.ThismattersnowmorethaneverbecausetherearehundredsoffilmcoursesintheUKalone,andifyoucountthenumberofthemaroundtheworld,youllprobablygetintofivefigures.Addtothisthelittlefactthattherearenowfourandahalfbillionmobilephoneusers,ofwhichatleastonebillionhavephonesthatcanshootmovingimagery(avirusletloosebytheLumirebrothersandEdison?)andyouhavestrongreasonsforaskinghowfilmingshouldbetaught.

Belowaremyanswers.AsIvejustreadWernerHerzog:AGuideforthePerplexed(http://www.faber.co.uk/9780571259779wernerherzogaguidefortheperplexed.html),andbeentotheBauhausmuseum(http://en.wikipedia.org/wiki/Bauhaus_Archive)inWeimarinGermany,whereradicalideasaboutteachingcreativityandcraftweredeveloped,andsinceImluckyenoughtohave

talkedtoSamiraMakhmalbaf(http://explore.bfi.org.uk/4ce2bbf60fe28)aboutthemethodsherfather,Mohsen(http://explore.bfi.org.uk/4ce2ba84e24c9),usedinIrantoteachhiskidsfilmmaking,mysuggestionsareirregular.

Mycoursewouldbecalled50weekstolearnfilm.LikethegreatAmericantheatredirectorandeducatorPeterSellars(http://en.wikipedia.org/wiki/Peter_Sellars),ondayone,whenthestudentsarrive,Idtellthemthattheydallpassed,butthatnowcomesthehardpart.Then,together,wedpickupapackof50cards,eachofwhichhasaweeklongthemeorprojectwrittenonit.Wedshufflethedeck,andthenlaythemoutinarow.Thatrowofthemeswouldbethecourse.

Andwhatwouldthethemesbe?Deepbreath:

1.Aweekoncolour:Goethesideasaboutcontrastinghues,andthecoloursinshadowscolourinnature,inthebeachesofHarrisandLewisinScotlandcostumeanddesigninthemoviesofJacquesDemy(http://explore.bfi.org.uk/4ce2b9f19d223).

2.Eyeline:OliverHardy(http://explore.bfi.org.uk/4ce2b9f0712da)lookingatthecamera,theeyelinesoftheMadonnainRussianiconpainting(theylookalmostattheviewerbutnotquite),eyelinesinthefilmsofGeorgeCukor(http://explore.bfi.org.uk/4ce2ba13dd997)andOzuYasujiro(http://explore.bfi.org.uk/4ce2ba19a8f0d).

3.Weddingfilms:manyofthemostprofitablefilmsevermade(judgedbypercentagereturnoninvestment)areaboutweddingsTheWeddingBanquet(http://explore.bfi.org.uk/4ce2b7c61d08b),MyBigFatGreekWedding(http://explore.bfi.org.uk/4ce2b87e1b406),MonsoonWedding(http://explore.bfi.org.uk/4ce2b86e6f142),FourWeddingsandaFuneral(http://explore.bfi.org.uk/4ce2b7c896116),MurielsWedding(http://explore.bfi.org.uk/4ce2b7d7b010d),Bridesmaids(http://explore.bfi.org.uk/4f4b88654786e),MammaMia!(http://explore.bfi.org.uk/4ce2b8c546aef).Whatcanwelearnfromwhytheywork?

4.Nudefiguredrawing.

5.Focus:inNuriBilgeCeylan(http://explore.bfi.org.uk/4ce2bbfd08ce3),Hitchcock(http://explore.bfi.org.uk/4ce2b9ee3449d),KiraMuratova(http://explore.bfi.org.uk/4ce2ba3cac6b0),LeonardodaVinci(http://en.wikipedia.org/wiki/Leonardo_da_Vinci)andMantegna(http://en.wikipedia.org/wiki/Andrea_Mantegna).

6.Obsessivemotifs:Scorsese(http://explore.bfi.org.uk/4ce2ba1b41e00)onLowerManhattan,PicassoonthefaceofDoraMaar(http://en.wikipedia.org/wiki/Dora_Maar),LyonelFeininger(http://en.wikipedia.org/wiki/Lyonel_Feininger)onthechurchatGelmeroda.Thestudentschooseamotifandmakeadifferentfilmaboutiteveryday.

7.Naturestudies:Scandinavianfilmsofthe1910s,theworkofAlbrechtDrer(http://en.wikipedia.org/wiki/Albrecht_Drer),thewritingofRousseau(http://en.wikipedia.org/wiki/JeanJacques_Rousseau).

8.Thought:inVirginiaWoolf(http://en.wikipedia.org/wiki/Virginia_Woolf),JamesJoyce(http://en.wikipedia.org/wiki/James_Joyce),FedericoFellini(http://explore.bfi.org.uk/4ce2ba14e69d2),ScorseseandForoughFarrokhzad(http://explore.bfi.org.uk/4ce2b9fb0c36a).

9.Storytelling,blockingandemotionin13thand14thcenturyItalianpainting:Duccio(http://en.wikipedia.org/wiki/Duccio),Cimabue(http://en.wikipedia.org/wiki/Cimabue),Giotto(http://en.wikipedia.org/wiki/Giotto)(includingatriptotheScrovegnichapel).

10.Walkabout:eachstudentdisappears,goesoffgrid,foraweek,withnomeansofcommunication.

11.Other:eachstudentlivesalifeorhasanexperiencethatistotallyforeigntothem.

12.Kickthetruthout:TheEmperorsNakedArmyMarchesOn(http://explore.bfi.org.uk/4ce2b79f4707d),andhowtoshowwhatyouarentallowedtoshow.

13.Thesublime:inWernerHerzog(http://explore.bfi.org.uk/4ce2ba16525a7),CasparDavidFriedrich(http://en.wikipedia.org/wiki/Caspar_David_Friedrich)andBurke(http://en.wikipedia.org/wiki/Edmund_Burke).

14.Storytellinginthreeminutepopsongs:TheKinks(http://en.wikipedia.org/wiki/The_Kinks),Squeeze(http://en.wikipedia.org/wiki/Squeeze_(band)),PJHarvey(http://en.wikipedia.org/wiki/PJ_Harvey).

15.Theartofpersuasion:howtocharmofficialstoletyouintoplaces(includesHerzogsadvicethatyoushouldalwayscarryboltcutterseverywhere).

16.Tensioninstorytelling:Hitchcock,StephenKing(http://en.wikipedia.org/wiki/Stephen_King),PatriciaHighsmith(http://en.wikipedia.org/wiki/Patricia_Highsmith),MohammadAliTalebi(http://explore.bfi.org.uk/4ce2baf788d73).

17.Poetics:inAristotle(http://en.wikipedia.org/wiki/Aristotle),DavidLynch(http://explore.bfi.org.uk/4ce2ba1844422),LeCorbusier(http://en.wikipedia.org/wiki/Le_Corbusier)andPierPaoloPasolini(http://explore.bfi.org.uk/4ce2ba19b9009).

18.Themirthofnations:comedycinemaaroundtheworld.

19.Vengeanceandviolence:inDjibrilDiopMambty(http://explore.bfi.org.uk/4ce2ba279dcc9),QuentinTarantino(http://explore.bfi.org.uk/4ce2ba9d8e6e4)andJohnWoo(http://explore.bfi.org.uk/4ce2ba1d205fc).

20.Movementandblocking:inthefilmsofTsuiHark(http://explore.bfi.org.uk/4ce2b9ee4de50),KingHu(http://explore.bfi.org.uk/4ce2b9f9f06ce)andOrsonWelles(http://explore.bfi.org.uk/4ce2ba1cd8b44),andthepaintingsofTintoretto(http://en.wikipedia.org/wiki/Tintoretto).

21.Soundpoetics:inthemoviesofKiraMuratova,PaulThomasAnderson(http://explore.bfi.org.uk/4ce2bb4267d18)andHitchcock,andtheworkofWalterMurch.

22.Musicweek:taughtentirelyinthedark.

23.Whatmightneverhavebeenseen:FilmsthatshowedlivesthathadneverbeforebeenonscreentheworkofKimLonginotto(http://explore.bfi.org.uk/4ce2b9f236ac6),JohnSayles(http://explore.bfi.org.uk/4ce2b9f1b5ec0),AnandPatwardhan(http://explore.bfi.org.uk/4ce2b9ee5fbd3)andKennethAnger(http://explore.bfi.org.uk/4ce2b9f64490c).

24.Voice,andhowtofindit:thedistinctivelookandfeelofthemoviesofJohnFord(http://explore.bfi.org.uk/4ce2ba151e3be),ApichatpongWeerasethakul(http://explore.bfi.org.uk/4ce2bc5fc62bc)andMichaelMann(http://explore.bfi.org.uk/4ce2ba18899a2),andthepaintingsofFrancisBacon(http://en.wikipedia.org/wiki/Francis_Bacon_(artist)).

25.Performance(http://explore.bfi.org.uk/4ce2b6b2d8659):AwholeweekonthefilmbyNicolasRoegandDonaldCammell,whichwillincludethestudentsundergoingchanges.

Credit:ArthurChiverton(arthurchiverton.com)forSight&Sound.

26.Howtoendafilm:2001,theendingsinOzufilms,ClaireDenissBeautravail(http://explore.bfi.org.uk/4ce2b8203c690),ImamurasTalesfromtheSouthernIslands(http://explore.bfi.org.uk/4ce2b7337233b),AntonionisLeclisse(http://explore.bfi.org.uk/4ce2b6a9624ac),BillyWildersTheApartment(http://explore.bfi.org.uk/4ce2b6c010eb7).

27.Thepsychologyofcrying:cryingandpatheticfallacy,DouglasSirk(http://explore.bfi.org.uk/4ce2ba1b82432),tryingnottocry,andtheendingofItsaWonderfulLife(http://explore.bfi.org.uk/4ce2b72fd693f).

28.LSD:thosestudentswhowantto,takeacidandallowthemselves,iftheywant,tobefilmed.TheexperiencethenleadstostudiesofKandinsky(http://en.wikipedia.org/wiki/Wassily_Kandinsky),musiqueconcrte,surrealism,DavidLynch,MayaDeren(http://explore.bfi.org.uk/4ce2b9f823b7e)andJonathanGlazer(http://explore.bfi.org.uk/4ce2bb3b0819f)films.

29.Iconoclasmandmediaportrayals:avisittoEsfahan(http://en.wikipedia.org/wiki/Isfahan)inIran.

30.Interview:filmmakersconductinterviewsandare,regularly,interviewedthemselves.Sothisweekisastudyofthebestinterviewseverdone,infilm,TV,radioandprint.TheParisReview(http://en.wikipedia.org/wiki/The_Paris_Review),PaulMorley(http://en.wikipedia.org/wiki/Paul_Morley),FacetoFace(http://en.wikipedia.org/wiki/Face_to_Face_(British_TV_series)),etc.

31.Secret:astudyoffilmswithsecrets,suchasTheCryingGame(http://explore.bfi.org.uk/4ce2b7b5a8ba7),Vertigo(http://explore.bfi.org.uk/4ce2b6b9caca4),TheUsualSuspects(http://explore.bfi.org.uk/4ce2b7e102253),Kiarostami(http://explore.bfi.org.uk/4ce2ba75b73db)sKokertrilogy.Howdoplottwists,orstyletwists,work,andwhatarethebestwaystodothem?Thisweekshould,itself,containanunexpectedtwistforitsstudents.

32.Thefrontier:studentsgoandliveforaweekontheislandofLampedusa(http://en.wikipedia.org/wiki/Lampedusa),oranotherplaceofmigratorymovementwherehumanrightsarebeingabused.

33.Sex:howtodosexincinema,lookingatCourbetsLOriginedumonde,thesexscenesinJeanLucGodard,CatherineBreillatandSouleymaneCiss.

34.Lubitsch:fiveofhissilentmasterpieces,andwhytheywork.

35.Panicandcalm:thepsychologyoffightorflight,anditsopposite,anditsdepictioninstoryandcinemaTsuiHark,Apichatpong,andtheperformancesofJackLemmon(http://explore.bfi.org.uk/4ce2ba17dad57).

36.Thehumanface:howtolookatit,filmit,hideit,inthepaintingsofRembrandt,thefilmsofRohmer,andtheperformancesofGongLi,RuanLingyuandHidekoTakamine.

37.Memory:inShakespeare,SergioLeone,themasterpiecesofGuruDutt,MoufidaTlatliandAlainResnais.

38.Self:shouldIputmyselfintomyfilm?ThemoviesofAgnsVarda,FranoisTruffautandJohnFord,andthewritingofVirginiaWoolf.

39.Literal:howtoavoidonthenosedialogue,storysignpostingandgongmetaphors.

40.Silent:aweeknotspeakingatall.Itellstoriesnottospeak,buttolistenRudigerVoglerinAliceintheCities.

41.Beginnings:thegreatopeningsincinema,andwhytheyworkBlueVelvet,KaagazKePhool,Psycho,etc.

42.Costumeandstory:IntheMoodforLove,TheConformist,Jezebel,TheRedDesert,ThroneofBlood.

43.Recut:reeditinggreatfilmsthatareflawedbecauseofbadpacingorendings,ortoomanyendings,orextraneousscenesStevenSpielbergsWaroftheWorlds,Kwaidan,theBrazilianfilmLimite,etc.

44.Rescore:greatmoviescenesgivennewsoundandmusictrackstheshowersceneinPsycho,theendingofTarkovskysMirror,theopeningofScorsesesTaxiDriver,thewholeofTheJungleBook.

45.Life:Kierkegaard,DeBeauvoir,LaoTzu,Montaigne,GeorgeEliot,Bentham,ClariceLispector,AmartyaSen,JesusChrist,Jung,WalterBenjamin,JosephBrodsky,MerleauPonty.

46.Love:intheworkofSamiraMakhmalbaf,JoanDidion,FrankBorzageandHowardHawks.

47.Deathandgrief:inTheBalladofNarayama,Jhorror,Amour,ThreeColoursBlue,TheBabadook,Gravity.

48.WatchKieslowskisDekalog(http://explore.bfi.org.uk/4f4b9f666e4c8)andtenfilmsdirectedbyStanleyDonen(http://explore.bfi.org.uk/4ce2ba146de52),alternatingoneofeach.

49.TheturningoftheEarth:themagicmomentsoftheyear.Arecapofwhatwehavelearnt.

50.Destroy:thestudentsburntheirnotesfromthe50weekcourse,andwritethethemesandoutlinefornextyears50weeks.

Phew.Imtiredjustthinkingthatup,sothestudentswouldbeexhaustedstudyingit.Ithink.Ihope.

Butthatsthepoint.Suchlearningshouldbeanoverload,adeluge,anassaultontheemotions,senses,values,skills.Maybetheabovesoundtoootherworldlytoyouandwhatwouldthosewhoratifyeducationalcoursesthinkofit?butitsgoodtodoasketchtokeepinmindasyouridetherapids.

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