Understanding Comics, Chapter Four. Scott McLeod
Additional Readings of interest:
Vermeer: A View of Delft, Anthony Bailey
The Elements of Cinema, Stefan Sharff, also by Stefan Sharff The Art of Looking in Hitchcock’s Rear Window
Television Studies: The Key Concepts (Routledge Key Guides)
Cinema Studies: The Key Concepts (Routledge Key Guides)
Elements of Fiction Writing – Beginnings, Middles & Ends Paperback, Nancy Kress
Map and sketch a day of your routine actions (as the examples that I have presented in my lecture): walking to school, having coffee, meeting a friend or going to a place such as library, etc.
Frame a specific part of an instance (actions) into a simple event(s) but with some kind of visual details, this should help you to create a concept or idea for your narrative with at least two images or a sequence of images through which we would visually witness a change from one image to the another image (before and after the event or action).
The sequence of your narrative study can be presented as a print exercise, there is no limit to which media or size of the print, large or small or even can be a PS animation for web banner.
To take the second part or another topic and make a more in-depth video narrative which are made up of several sequence of event(s) around a minute.
The extenuation part of unit 9 would address in-depth the notion and concept of mise-en-scène in relation to narrative and story telling which means:
The arrangement of everything that appears in the framing – actors, lighting, décor, props, costume – is called mise-en-scène, a French term that means “placing on stage.” The frame and camerawork also constitute the mise-en-scène of a movie.
We would make and design projects based on:
1. What to shoot.
What is to be Visualized (filmed)
2. How to shoot it.
How its Visualized – (framing)
3. How to present the shot(s)
How to put together the visual material to make sense
and tell a coherent narrative – (editing)