Archives de l’auteur : Escola Secundária de Camões

Excertos visionados – 19 de maio

Conversa com André, Laura, Leonor, Matilde e Rafael, através do Teams, a propósito de dois excertos de filmes com janelas

Conversation with André, Laura, Leonor, Matilde e Rafael, through the Microsoft Teams, about three movie excerpts with windows

 

No excerto de Morangos Silvestres (Ingmar Bergman) o senhor começa a aproximar-se de uma janela e depois de outra e olha lá para dentro. Nós deixamos de ver o senhor e ficamos a observar o casal, a mulher ao piano, o homem que a beija… Depois essa imagem http://blog.cinematheque.fr/100ans20192020/files/2020/05/morangos1.png 1280w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/morangos1-300x188.png 300w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/morangos1-768x480.png 768w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/morangos1-1024x640.png 1024w | (max-width: 364px) 100vw, 364pxdesvanece-se, passamos a ver a janela e as nuvens reflectidas. Ele está do lado de fora. O olhar do senhor é nostálgico, um pouco triste, percebe-se que ele sente falta daquilo que está a ver. Eu acho que o que ele estava a ver é uma memória: dá a sensação que está a ver uma coisa que já se passou.http://blog.cinematheque.fr/100ans20192020/files/2020/05/morangos2.png 1280w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/morangos2-300x188.png 300w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/morangos2-768x480.png 768w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/morangos2-1024x640.png 1024w | (max-width: 1280px) 100vw, 1280px

In the excerpt from Wild Strawberries (Ingmar Bergman) a man starts to approach one window and then another and look inside. We stop seeing the man and watch the couple, the woman at the piano, the man kissing her… Then this image fades, we start to see the window and the reflected clouds. He is outside. The man’s gaze is nostalgic, a little sad, you can tell he misses what he’s seeing. I think what he was seeing is a memory: it feels like he’s seeing something that’s already happened.

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No excerto de All that heavens allow (Douglas Sirk), o homem acorda atordoado e percebe-se que aconteceu alguma coisa e que ele está a voltar a um sítio seguro. Ela está à janela a olhar para o veado, e não o estranha, como se estivesse à espera de o ver. O veado é um elemento da situação. Mas um veado é um animal selvagem, se fosse um gato, ou outro animal doméstico, diria que ele voltou a casa, mas aqui é como se o veado fosse testemunha daquela história e agora que está tudo bem ele pode-se ir embora (é esse o último plano do filme).

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In the excerpt from All that heavens allow (Douglas Sirk), the man wakes up stunned and realizes that something has happened and that he is returning to a safe place. She is at the window lookhttp://blog.cinematheque.fr/100ans20192020/files/2020/05/aha2.png 1280w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/aha2-300x188.png 300w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/aha2-768x480.png 768w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/aha2-1024x640.png 1024w | (max-width: 318px) 100vw, 318pxing at the deer, and is not suprised, as if she were waiting to see him. The deer is an element of the situation. But a deer is a wild animal, if it were a cat, or another domestic animal, I would say he came home, but here it is as if the deer were witness to that story and now that it is all right he can go away (that is the last shot of the film).

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Catégorie : Films vus | Laisser un commentaire

Excertos visionados – 11 de maio

Conversa com André, Carolina, Francisca, Laura, Leonor, Madalena, Matilde e Rafael, através do Teams, a propósito de três excertos de filmes com janelas

Conversation with André, Carolina, Francisca, Laura, Leonor, Madalena, Matilde e Rafael, through the Microsoft Teams, about three movie excerpts with windows

Passeio com Johnny Guitar (João César Monteiro)

O ambiente é muito romântico: no início o diálogo parece ser entre o homem a fumar e a mulher que se está a pentear à janela, depois quando ela fecha a janela isso quebra-se e percebe-se que o diálogo não é entre eles, que é um som que está posto por cima. No fim,    de manhã, quando a câmara se aproxima da janela e passa a só enquadrar o exterior, o diálogo e a música deixam-se de se ouvir e conseguimos ouvir o som dos pássaros, o som da rua, uma mãe a chamar o filho. Apercebemo-nos então que estamos em Lisboa e que o filme é português.

The atmosphere is very romantic: at the beginning the dialogue seems to be between the man smoking and the woman combing her hair at the window, then when she closes the window it breaks and it is perceived that the dialogue is not between them, that it is a sound that is put on top. At the end, in the morning, when the camera approaches the window and starts to only frame the outside, the dialogue and the music stop being heard and we can hear the sound of the birds, the sound of the street, a mother calling her son. We then realized that we are in Lisbon and that the film is Portuguese.

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Visitas ou Memórias e Confissões (Manoel de Oliveira).

A luz é linda.  Parecia uma descrição do que estávamos a ver feita por alguém que estava de fora, que estava a falar em cima do que estávamos a ver. E está a descrever um lugar que conhece, que lhe é familiar. O modo como a cena é filmada – ele vai a andar e a filmar http://blog.cinematheque.fr/100ans20192020/files/2020/05/mc1.png 1280w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/mc1-300x188.png 300w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/mc1-768x480.png 768w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/mc1-1024x640.png 1024w | (max-width: 423px) 100vw, 423px– reforça essa sensação. Há um momento em que ele diz que “a casa é um navio” e nós vemos as janelas redondas e percebemos mesmo o que ele está a dizer. Esta ideia do navio é muito interessante, porque quando pensamos numa casa pensamos numa coisa imóvel, mas a verdade é que se pensarmos bem dentro de uma casa nós navegamos: navegam os nossos sentimentos, as nossas relações familiares, o nosso quotidiano, fazemos a viagem do nosso crescimento.

The light is beautiful. It looked like a description of what we were seeing made by someone who was outside, who was talking about what we were seeing. And he’s describing a place that he knows, that he’s familiar with. The way the scene is filmed – he’s walking and http://blog.cinematheque.fr/100ans20192020/files/2020/05/mc2.png 1280w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/mc2-300x188.png 300w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/mc2-768x480.png 768w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/mc2-1024x640.png 1024w | (max-width: 423px) 100vw, 423pxfilming – reinforces that feeling. There’s a moment when he says « the house is a ship » and we see the round windows and we really understand what he’s saying. This idea of the ship is very interesting, because when we think of a house we think of something immobile, but the truth is that if we think well inside a house we sail: our feelings sail, our family relations, our daily lives, we make the journey of our growth.

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How Green Was My Valley (John Ford)

A comunicação não verbal entre a mãe e o filho, que falam com batidas da bengala, é muito interessante, dá muita intensidade. Vê-se a alegria nos olhos da mãe porque sabe que o filho vai responder. Transmitiu-me muita felicidade. A circunstância pode não ser muito alegre – eles estão de cama, doentes – mas o momento é muito feliz.http://blog.cinematheque.fr/100ans20192020/files/2020/05/hgwmv1.png 1280w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/hgwmv1-300x188.png 300w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/hgwmv1-768x480.png 768w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/hgwmv1-1024x640.png 1024w | (max-width: 378px) 100vw, 378px

Da janela vê-se o tempo a passar: primeiro a janela está fechada e vê-se a neve lá fora, depois a janela está aberta e entram uns passarinhos.

A mim pareceu-me que é uma maneira de contar que a mãe morreu – no inverno via-se que a mãe estava sem forças – e acho que os pássaros são uma reencarnação da mãe, o seu chilrear é como a voz dela, e ela vem falar com o filho.

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The non-verbal communication between the mother and the son, who speak with the beat of the cane, is very interesting, gives a lot of intensity. You can see the joy in the mother’s   eyes because she knows that her son will answer. She gave me a lot of happiness. The circumstance may not be very joyful – they are bedridden, sick – but the moment is very happy.

From the window you can see the time passing: first the window is closed and you can see the snow outside, then the window is open and some birds enter.

It seemed to me that it’s a way of telling that the mother died – in winter you could see that the mother was powerless – and I think the birds are a reincarnation of the mother, her chirping is like her voice, and she comes to talk to the son.

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The Gohst and Mrs.Muir (Joseph Mankiewicz)

O escuro é lindo. Aquele momento em que o fantasma fala pela primeira vez e a câmara se aproxima da cara dela e vemos a sua expressão!

A janela cria o ambiente, é a luz que entra pela janela que ilumina a cena, e a tempestade lá fora, o som do vento, da chuva, aumenta a carga dramática. No início pode parecer que é a tempestade que está sempre a apagar a chama da vela, mas não. A Mrs.Muir assusta-se duas vezes: a primeira quando a janela se abre (e ela fecha-a) e a segunda quando ouve a voz do homem (que ela convocou a falar). A tempestade é uma coisa da ordem natural, o homem de ordem sobrenatural.

The dark is beautiful. That moment when the ghost speaks for the first time and the camera approaches her face and we see her expression!

The window creates the environment, it is the light that enters through the window that illuminates the scene, and the storm outside, the sound of the wind, the rain, increases the dramatic load. At first it may seem like the storm is always putting out the candle flame, but no. Muir is frightened twice: the first when the window opens (and she closes it) and the second when she hears the man’s voice (which she summoned to speak). The storm is a thing of the natural order, man of supernatural order.

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L’Aventura (Michelangelo Antonioni)

http://blog.cinematheque.fr/100ans20192020/files/2020/05/laventura1.png 1280w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/laventura1-300x188.png 300w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/laventura1-768x480.png 768w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/laventura1-1024x640.png 1024w | (max-width: 429px) 100vw, 429pxFoi muito surpreendente quando ela abriu a janela e se viu o mar, porque o exterior é idílico e contrasta muito com o interior em que o ambiente é pesado.

Ela abre a janela, fica por instantes a olhar para o horizonte e depois sai e no lugar dela ficamos nós a olhar (como acontecia no primeiro excerto que vimos). Esta cena transmite uma sensação de tranquilidade e beleza e também de solidão.

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She opens the window, stares for a moment at the horizon and then leaves and in its place we stare at it (as in the first excerpt we saw). This scene conveys a sense of tranquility and beauty and also of loneliness.

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Cidade Branca (Alain Tanner)

Desta vez a câmara não está de frente para a janela e nós não vemos o que se vê da janela. Mas ouvimos: carros, uma sirene de um barco. São sons de coisas em movimento, e vemos a cortina em movimento, mas o som tem a ver com uma aceleração enquanto o que vemos é tranquilo. Ficamos a ver a dança das cortinas.

This time the camera is not facing the window and we do not see what we see from the window. But we heard: cars, a siren from a boat. It’s sounds of moving things, and you see the curtain moving, but the sound has to do with an acceleration while what you see is quiet. We’ll watch the curtain dance.

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Catégorie : En classe, Films vus | Laisser un commentaire

Excertos visionados – 4 de maio

Conversa com André, Carolina, Francisca, Laura, Leonor, Madalena, Maria e Matilde, através do Teams, a propósito de três excertos de filmes com janelas

Conversation with André, Carolina, Francisca, Laura, Leonor, Madalena, Maria and Matilde, through the Microsoft Teams, about three movie excerpts with windows

 

Em Rear Window o personagem está imóvel e vemos o que ele consegue ver a partir da janela da sua casa. Primeiro com os olhos, depois com os binóculos e depois com a lente da máquina fotográfica.http://blog.cinematheque.fr/100ans20192020/files/2020/05/janela-indiscreta3-1.png 1280w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/janela-indiscreta3-1-300x188.png 300w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/janela-indiscreta3-1-768x480.png 768w, http://blog.cinematheque.fr/100ans20192020/files/2020/05/janela-indiscreta3-1-1024x640.png 1024w | (max-width: 424px) 100vw, 424px

Vemo-lo a ver e vemos o que ele vê. Os planos vão-se tornando mais próximos, vemos mais. Os planos da cara do personagem também se tornam mais fechados: quando ele vê o homem a arrumar as facas, vemos a expressão dele a mudar nos olhos dele.

Nós, com este confinamento, estamos como ele: fechados num sítio, quase impotentes, a ver o mundo lá fora pela janela.

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In Rear Window the character is still and we see what he can see from the window of his house. First with the eyes, then with the binoculars and then with the camera lens.

We see him seeing and we see what he sees. The plans become closer, we see more. The plans of the character’s face also become more closed: when he sees the man putting away the knives, we see his expression changing in his eyes.

We, with this confinement, are like him: locked in a place, almost powerless, seeing the world out the window.

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Em Lá-Bas a janela não está aberta, tem os estores para baixo. Enquanto o personagem de Rear Window se esconde para ver, preocupado em ser visto, aqui não é bem isso. Temos a visão da janela por dentro e do que se vê dentro para fora, mas sem sair. Não é tanto ver o que se passa – como em Rear Window – mas olhar lá para fora. Aqui também não vemos quem está a olhar. Mas sentimos a solidão.

In Lá-Bas the window is not open, it has the blinds down. While the character of Rear Window hides to see, worried about being seen, here is not quite this. We have the view from the window inside and what you see inside out, but not coming out. It’s not so much seeing what’s going on – as in Rear Window – as looking out there. Here we don’t see who’s looking. But we feel the loneliness.

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Na Comédia de Deus vê-se pouco do que está lá fora e isso dá curiosidade sobre a paisagem. O plano foca-se no que está dentro: uma sala vazia, com grafitis, pombos, o chão sujo. Vemos um espaço interior, mas aquilo que vemos são coisas que associamos à rua. Depois entra um homem e abre a janela – tem de a forçar para a conseguir abrir. Quando abrimos uma janela é para entra ar e para sair alguma coisa. Quando ele abre a janela é como se fizesse com que aquele espaço voltasse a ser um espaço privado, uma casa.

In A Comédia de Deus one sees little of what is out there and this gives curiosity about the landscape. The plan focuses on what’s inside: an empty room, with graffiti, pigeons, the dirty floor. We see an inner space, but what we see are things we associate with the street. Then a man comes in and opens the window – he has to force it to open it. When we open a window it’s for air and for something to come out. When he opens the window, it’s like making that space a private space again, a home.

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Catégorie : En classe, Films vus | Laisser un commentaire

Montagem do 3º exercício

Montagem

Montámos os planos pela ordem que tínhamos pensado e arranjámos soluções para as ligações ou planos que não funcionavam, de modo a parecerem mais naturais e com sentido.

O elemento central deste exercício era a música, então decidimos em que momento a música entrava e a seguir juntamos os outros planos, e encaixava na perfeição. No fim tínhamos quase o dobro da duração limite, por isso tivemos de cortar a música a meio e remontar as imagens para encaixarem nessa nova duração. (Leonor)

Film editing

We set up the plans in the order we had thought about and found solutions to the connections or plans that didn’t work, so that they looked more natural and meaningful.
The central element of this exercise was the music, se we decided when the music was coming in, and then we put the other planes together, and it fit together perfectly. In the end we had almost twice the duration limit, so we had to cut the music in half and reassemble the images to fit into this new duration. (Leonor)

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Catégorie : En classe, Exercice 3, Exercices | Laisser un commentaire

Exercício 3

A música

Escolhi, entre as música que escuto diariamente, aquela que me trazia sensações muito claras, de alegria e conforto: “Jonny’s Odyssey”. Na oficina de cinema, ouvimos as músicas que cada um propôs e depois dissemos que sensações elas nos traziam e o que imaginávamos quando a estávamos a ouvir. Acabou por se escolher a minha porque foi a música que nos transmitiu, a todos, as mesmas sensações e imagens. (Carolina)

The music

I chose, among the music I listen daily, the one that brought me very clear sensations of joy and comfort : « Johnny’s Odyssey ». In the Cinema workshop, we listened to the songs that each one proposed and then we talk about the sensations that they brought us and what we imagined when we were listening to them. We ended up choosing mine because is was the music that transmitted to all of us the same sensations and images. (Carolina)

 

Argumento

Associámos “Johny’s Odyssey” à tranquilidade, plenitude, liberdade e leveza. Imaginámos um grupo de amigos, ao por do sol numa praia, mas tivemos de adaptar a ideia porque não era possível ir filmar isso.. Além disso ninguém queria fazer um exercício clichê, mas também não havia outra ideia. Acabámos por decidir que o lugar seria um miradouro e duas personagens que eram amigas: uma estava triste e a outra alegre e seria com um jogo de sombras e uma dança que as emoções e sensações se transformavam. (Matilde)

Script

We have associated « Johnny’s odyssey » with tranquility, fullness, freedom and lightness. We envisioned a group of friends at sunset on the beach, but we had to adapt the idea because it wasn’t possible to film that… Besides, no one wanted to do a cliché exercise, but there was no other idea either. We ended up deciding that the place would be a viewpoint and two characters who were friends : one was sad and the other cheerful and it would be with a game of shadows and a dance that the emotions and sensations were transformed. (Matilde)

 

Rodagem

Estava um dia quente e solarengo, perfeito para o que íamos filmar. Quando chegámos ao miradouro escolhido – o da Nossa Senhora do Monte – percebemos que ia sempre impossível filmar, porque estava cheio de turistas e havia muito barulho. Fomos então para um parque mais abaixo, onde descobrimos umas escadas com vista, que eram um bocadinho apertadas para todo o grupo. Apesar destas alterações, a realizadora tinha uma ideia clara do que queria filmar, por isso as decisões eram tomadas rapidamente e conseguimos seguir bastante bem a ideia que tínhamos. (Francisca)

Shooting

It was a warm, sunny day, perfect for what we were going to shoot. When we arrived at the chosen viewpoint – Nossa Senhora do Monte – we realized that it was always impossible to film, because it was full of tourists and there was a lot of noise. We then went to a park further down, where we discovered some stairs with a view, which were a little tight for the whole group. Despite these changes, the director had a clear idea of what she wanted to film, so the decisions were made quickly and we were able to follow the idea we had fairly well. (Francisca)

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Catégorie : Exercice 3, Exercices | Laisser un commentaire

Montagem do 2º Exercício

Começámos por montar os planos por ordem de filmagem, mas havia planos que não ligavam por causa da luz ser muito diferentes. Além disso havia planos que tendo sido filmados para um sentido condiziam melhor com outro, e outros que na rodagem nos tinham parecido óbvios e que depois projectados não pareciam representar nenhum sentido.

We started by mounting the diferentes shots by filming order, but there was shots that didn’t connect because the light was way more different in between. Besides that, there was shots that having been filmed from one direction were better suited to another, and others that in the shooting had seemed obvious to us and then projected did not seem to make any sense.

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Por isso acabámos por decidir não seguir a ordem do cadáver esquisito. Fizemos uma montagem com alguns dos planos da visão e da audição e uma outra com os planos do tacto e do olfacto. Esta foi totalmente inspirada em Bouquet de Lowder. Foi um momento muito interessante na montagem, estar a fazer cortes frame a frame – que é muito trabalhoso – e depois descobrir o resultado incrível. (André e Rafael)

So eventually we decide not to follow the order of the exquisite corpse. We made a editing with some of the vision and hearing shots and another with the touch and smell shots. This one was totally inspired by Bouquet by Lowder. It was a very interesting moment of editing, to be making frame-by-frame cuts – which is very laborious – and then realize the incredible result. (André and Rafael)

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Catégorie : En classe, Exercice 2, Exercices | Laisser un commentaire

Exercício 2

Escolhemos um bairro ao pé da escola que ninguém conhecia muito bem, a ideia foi essa: ser um lugar a descobrir.  Dividimo-nos em grupos e por cada grupo um sentido: a visão e a audição. Cada grupo filmou 3/5 planos e depois, partindo só do último plano de imagem ou ouvindo apenas o último plano de som, os grupos trocavam de sentido. Na sessão seguinte, voltámos ao bairro para filmar o olfacto e o tacto.

We chose a neighborhood near the school that nobody knew very well, the idea was this: to be a place to discover. We divide ourselves into groups and by each group a sense: vision and hearing. Each group filmed 3/5 shots and then, starting only from the last shot when filming the sense of vision, or listening only to the last plane when the sense of hearing, the groups exchanged the senses. The next session, we went back to the neighborhood to film smell and touch.

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Catégorie : Exercice 2 | Laisser un commentaire

Exercício 1

Não tinha uma ideia muito clara do que queria fazer e durante o momento em que estava a filmar não consegui sentir nada que me desse uma ideia clara que mudasse o meu video. (Rafael)

I didn’t have a very clear idea of what I wanted to do and as I was filming I couldn’t feel anything that would give me a clear idea that would change my video. (Rafael)

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Tentei capturar momentos do meu dia a dia que me transmitiram sensações de calma e conforto, mas também uma forte mensagem de liberdade e espontaneidade. Através da montagem, quis construir um jogo de ritmo/tempo entre os diferentes planos; quis mostrar o “vaivém confuso” de pessoas, natureza e música que é a vida quotidiana. (Laura)

I tried to capture moments of my daily life that conveyed feelings of calm and comfort, but also a strong message of freedom and spontaneity. Through editing I wanted to build a rhythm/time play between the different shots; I wanted to show the « confused shuttle » of people, nature and music that is everyday life. (Laura)

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Desde o início deste ano letivo, tinha esta ideia de gravar o meu grupo de amigos, mas quando estamos todos juntos tentamos aproveitar ao máximo o momento e eu esqueço-me sempre de pegar no telemóvel para filmar. Tinha pensado gravar o máximo de vídeos que conseguisse, no mínimo 20 vídeos com 30 segundos cada, e seria um filme de montagem como o excerto do Mekas. Pensei em retomar no entretanto, mas a quarentena começou e eu deixei de poder reunir o meu grupo de amigos. Quando lhes mostrei o filme, ficámos todos um pouco nostálgicos, porque não nos vemos há quase 2 meses. (Matilde)

Since the beginning of this school year I had this idea of recording my group of friends, but when we are all together we try to make the most of the moment and I always forget to pick up the phone to film. I had planned to record as many videos as I could, at least 20 videos with 30 seconds each, and it would be an editing like the Mekas excerpt. I thought about resuming in the meantime, but the quarantine began and I could no longer gather my group of friends. When I showed them the film we all got a little nostalgic, because we hadn’t seen each other for almost two months. (Matilde)

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Comecei por escolher filmar num dos parques de Sintra, um lugar místico, misterioso e mágico, ao som da natureza. Quando lá cheguei o ambiente, quer visual quer sonoro, estava como tinha planeado, mas a sensação ainda não tinha surgido. Decidi começar a andar pelo parque com a câmara na mão já sem nenhuma esperança, até que encontrei umas placas com poemas escritos e decidi filmar ao mesmo tempo que as lia: a sensação de descoberta. Continuei a andar pelo parque filmando e encontrei uma espécie de altar que também nunca tinha visto. Gostei deste espontaneidade e autenticidade ao filmar. (Leonor)

I started by choosing to film in one of the parks of Sintra, a mystical place, mysterious and magical, to the sound of nature. When I got there, the environment, both visual and sound, was as planned, but the sensation had not yet arisen. I decided to start walking around the park with the camera in my hand already without any hope, until I found some signs with poems written and decided to film at the same time I read them: the feeling of discovery. I kept walking around the park filming and I found a kind of altar that I had never seen either. I liked this spontaneity and authenticity when shooting. (Leonor)

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Tentei recriar sensações que eu sentia ter mais facilidade em retratar, como a ansiedade ou desespero e, de certa forma, alguma calma e leveza. Não sabia bem o que queria filmar, mas quando peguei na câmara e comecei a correr, soube logo. (André)

I tried to recreate sensations that I felt were easier to portray, like anxiety or despair and, in a way, some calm and lightness. I didn’t really know what I wanted to shoot, but when I picked up the camera and started running, I knew right away. (André)

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Em busca de sensações para representar neste exercício, procurei escolher duas que pensei serem notáveis com clareza, calma e movimento. A escolha do que usaria para demonstrar cada uma delas veio logo depois, enquanto passeava o meu cão, e notei o contraste da sua presença num ambiente completamente imóvel. A ideia da montagem foi exaltar este contraste. (Carolina)

In search of sensations to represent in this exercise, I tried to choose two that I thought were remarkable with clarity, calm and movement. The choice of what I would use to demonstrate each of them came right after, as I walked my dog I noticed the contrast of its presence in a completely immobile environment. The idea of the editing was to exalt this contrast. (Carolina)

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Escolhi logo filmar esta praia perto da casada minha mãe, mas de todas as vezes deparei-me com contratempos – chuva, falta de luz… Além disso tinha-me agarrado à ideia de fazer toda a montagem diretamente na câmara, parando o vídeo e retomando-o. Achei que era um desafio interessante mas revelou-se mais difícil do que esperava. Cheguei ao final da experiência com 2 filmes diferentes, embora não particularmente feliz com nenhum deles. Embora um pouco tosco e confuso, creio que passa a sensação de movimento desta tarde ventosa. Acho também que apela um pouco ao olfato. (Francisca)

I soon chose to film this beach near my mother’s house, but every time I came across setbacks – rain, lack of light… Also, I had fixed to the idea of doing all the editing directly on camera, stopping the video and resuming it. I thought it was an interesting challenge,  but it turned out to be harder than I expected. I came to the end of the experiment with two different films, although not particularly happy with any of them. Despite a little rough and confused, I believe it shows the feeling of movement of this windy afternoon. I also think it unveils to the smell a little. (Francisca)http://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca1-1024x579.jpg 1024w, http://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca1-300x170.jpg 300w, http://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca1-768x434.jpg 768w, http://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca1.jpg 1273w | (max-width: 640px) 100vw, 640pxhttp://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca2.jpg 1281w, http://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca2-300x169.jpg 300w, http://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca2-768x432.jpg 768w, http://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca2-1024x576.jpg 1024w | (max-width: 315px) 100vw, 315px http://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca3.jpg 1276w, http://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca3-300x169.jpg 300w, http://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca3-768x433.jpg 768w, http://blog.cinematheque.fr/100ans20192020/files/2019/12/francisca3-1024x578.jpg 1024w | (max-width: 315px) 100vw, 315px

Catégorie : Exercice 1, Exercices | Laisser un commentaire

Jogo do Anjo

Jogo do Anjo

Fizemos um exercício chamado Anjo, que se costuma fazer em teatro e dança e a que se juntou o cinema. Em grupos de 3: uma pessoa com os olhos vendados explora a sala através do tacto e da audição, um Anjo protege-o na sua exploração, outra pessoa filma. Ao fim de algum tempo, trocávamos de posição.

O objetivo do exercício era redescobrir a sala onde todas as semanas temos a oficina de cinema, e sem o auxílio dos olhos estarmos mais abertos aos outros sentidos.

No final do exercício partilhámos sensações. As mais descritas foram

a sensação de que o espaço era infinito e de que se perdia completamente a noção do tempo; sensação de confusão e de desequilíbrio; intensificação dos sons. A sala foi descrita como tendo superfícies ásperas, lisas, rugosas, macias e coisas que deslizam, bicudas e frias. Alguns afirmaram ainda terem-se sentido “vivos”.

 

On a fait un exercice qui s’appelle Ange, qu’on fait d’habitude au théâtre et à la dance et auquel on a ajouté le cinéma. En groupes de 3 : une personne aux yeux bandés explore une pièce à travers l’audition et le toucher, un ‘ange’ la protège dans ses exploits et la troisième personne tourne. Au bout d’un moment, on change les rôles.

Le but de l’exercice était de redécouvrir la salle où toutes les semaines nous avons l’atelier de cinéma, et sans le soutien de nôtre vision être plus ouverts aux autres sens.

À la fin de l’exercice on a partagé nos sensations. Les plus mentionnées étaient la sensation de que l’espace était infini et de que on perdait complètement la sensation du temps; sensation de confusion et de déséquilibre; intensification des sons. La salle a été décrite comme ayant des surfaces rugueuses, lisses, douces et ayant des choses qui glissent, pointues et froides. Quelques uns on dit qu’ils se sentaient ‘vivants’.

 

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Catégorie : En classe | Laisser un commentaire

sensação/ emoção/ sentimento

sensação/emoção/sentimento

Tentámos colectivamente encontrar a definição de sensação e a diferença entre sentimento, sensação e emoção. Não é fácil.

Chegámos a alguns sítios:

Que a sensação é qualquer coisa que acontece no corpo e que está muito ligada aos sentidos; que a sensação é imediata e momentânea; que se aproxima da reacção e é provocada por um factor externo; que tem a ver com uma abertura para fora, e que acontece quando se está no presente.

Descrevemos alguns momentos em que sentimos isto. Percebemos que nesses momentos o tempo parece dilatado e que a memória que temos deles é tão forte que ao lembrarmo-nos é como se voltássemos a eles.

Acrescentámos assim à nossa tentativa de definição a ideia de intensidade.

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sensation / émotion / sentiment

Nous avons essayé collectivement de trouver la définition de sensation et la différence entre sensation, émotion et sentiment. Ce n’est pas facile.

On a arrivé à quelques points:

Que la sensation c’est quelque chose que se passe au corps et qui est très liée aux sens; que la sensation est immédiate et momentanée; qui est proche de la réaction et est provoqué par un facteur externe; que a un rapport avec une ouverture à l’extérieur et qui se passe dans le présent.

Nous avons décrit quelques moments dans lesquels on a senti ça. On a compris que à ces moments le temps semble dilaté et que la mémoire qu’on conserve d’eux c’est si forte que quand on les rappelle c’est comme si on revient à eux.

Nous avons ainsi ajouté à nôtre tentative de définition l’idée d’intensité.

Catégorie : En classe | Laisser un commentaire