Saturday, July 28, 2012
Friday, July 27, 2012
Thursday, July 26, 2012
Tuesday, July 24, 2012
Second Draft Meetings
Here is the schedule for the team meetings.
Wednesday July 25th
9am -940am - Group 3
940am - 1020am - Group 4
1020am - 11am - Group 5
11am- break
1110am - 1150am - Group 1
1150am - 1230pm - Group 2
Please render your second draft according to the instructions for the rough cut. Details are available on our class blog.
Professor Guest, Professor Chung and Bertrand Laurence are available to meet with you throughout the week by appointment.
Monday, July 23, 2012
Friday, July 20, 2012
Rough Cut Guidelines
Rough Cuts
Due Monday July 23rd 9am.
900 am - Group 5
940am - Group 4
1020am - Group 3
1100am - Break
1110am - Group 2
1150am- Group 1
1230pm - conclude
• Anyone in the class is welcome to attend other groups' sessions for these rough cut critique sessions.
• Please have your EXPORTED rough cut video file ready to show on a PORTABLE EXTERNAL HARD DISK. We will try to project each project from a laptop which will be connected to projector.
• Keep in mind that exporting video takes time. Do not wait until the last minute to export your video. We will be playing your exported video file. Please do NOT bring your file to show from the timeline of the Premiere program, this is unacceptable. Rough cuts that are not exported in the correct file format will be considered incomplete.
• Please be ready to go at your appointed time. Attendance is required. Bring a notebook for recommendations and changes.
• When you have finished your editing EXPORT MEDIA.
Format is H.264
Preset is HDTV 720p29.97HighQuality
Save the file as "YOURGROUP-ROUGHCUT.mp4"
Bring this file to class.
Post a low res iPad version to the blog by 6pm.
GUIDELINES
A “rough cut” is a preliminary edited version of your project. The most important criteria of the rough cut is the timing.
LENGTH – 10 minutes. You should layout your ENTIRE film from beginning to end using the complete 10 minutes.
PHOTOGRAPHY - remember to keep up with your excellent photography, good composition, sharp focus and rock steady camera work
FOCUS on your main story, keep things moving along. Each shot should have a moving element, whether it is the camera or the main action. Think of a dynamic way to start your film, something to grab the attention of the viewer conceptually or visually.
SUBTITLES - required at this time.
SOUND and MUSIC - should be mixed and is an integral part of the rough cut
1.
2. TITLES (Optional) – Do not include titles at this time, if you have not decided on a title. Titles should be short, maybe one or two cards at the beginning of the film. The text from the readings is required whether it is spoken or displayed as text.
3. CUTS ONLY – Only use cuts for editing. Dissolves can be used sparingly. Do not use any special effects, filters, etc.
Monday, July 16, 2012
Janin and Dahye Assignment 2
Inspiration: Hongang #774 and Kyerang #1701, page 56 of Early Korean Literature by Professor David R. McCann.
2nd Project // Sun Woo Nam & Stephan Valentin
TO THE MASTER OF KUMCHON TEMPLE
In white clouds by the stream's edge you built this shrine.
Thirty years now since you came here, and still you stay.
Smiling, by the gate you show the way suddenly before me.
Descending the mountain, it ravels into a thousand different paths.
Ch'oe Chi'i-won(9th c.)
Treatment
Treatment
Due Wednesday 7/18 at 7pm.
A treatment is an outline
or a narrative description of a film project using non-technical language. A
treatment is used by film’s creator or producer to attract interest in the
project.
For your treatment, please
prepare a one-page description of your project.
Your treatment should
introduce your topic to the reader. It
should describe the story of the main characters (if appropriate), the history
of the topic and a description of the location. The treatment should follow the
trajectory of your narrative. Describe how your project will begin and then how
it will proceed. End you treatment with
a concluding statement about your topic.
Your treatment should include a description of how are employing the text from our readings as well as any visual and aural (sonic and/or musical) aspects of the film.
Develop a title for your
project. The title can be in Korean or
English. If you have not decided on the
title at this time, use a “working title”.
List your group number and
members’ names. In addition list anyone that you plan to interview.
Your treatment should be a
dynamic and exciting description, however, it is important that you do not use
overly flowery language. Avoid making
impossible claims that your film will achieve. As an example, “this ground
breaking film will reveal …”
Submit your treatment to the blog and print out 3 copies, one each for Bertrand, Haden and me.
Submit your treatment to the blog and print out 3 copies, one each for Bertrand, Haden and me.
Assignment 2 - Eun Ji Kim, and Gloria J Hong
Our film is based on the sijo by Chung Cheol,
The one which portrays a woman's sorrow of raising her child, living as a woman in past Korea.
This film is a story of a store owner at Andong Village, and she talks about the past and present positions woman hold in a Korean family, and how the life is different.
The one which portrays a woman's sorrow of raising her child, living as a woman in past Korea.
This film is a story of a store owner at Andong Village, and she talks about the past and present positions woman hold in a Korean family, and how the life is different.
2nd Assignment-JiyeonKim and JungyoonBae
We were inspired by Yi Hwang's sijo “Dosansipyigok(도산십이곡)”.
To depict landscapes shown in the sijo, which perhaps Yi Hwang himself appreciated when he was stayed in Andong, we took Dosan sowon as our portrait subject. As we were taking shots of Dosan sowon, we felt like we could feel what Yi Hwang felt in the past time. Then, Andong folk village where our ancestors' lives still remains, made us to feel Yi Hwang's humble life, at least indirectly, since that village is quite far from modern secular-or industrialized-Koreans' lives. Yi Hwang himself also rooted in Andong area, so we felt descriptions of 도산십이곡 are closely related to Andong folk village. These are the reason why we chose Dosan sowon and Andong folk village as our subjects of portrait.
Monday, July 9, 2012
Assignment Two Guidelines
Harvard Summer School 2012
Cinema Korea
Assignment Two Guidelines - Portrait with Text
Due Monday July 16 8pm.
Approximate duration: 2 minutes
Work in pairs, one film project per pair will be submitted.
Select a text from the readings in the ELK. This could be a section from a Sijo or Gasa poem. Use this text as an inspiration for your video. The relationship of the text to the video is open to your interpretation. As an example, you could begin your video with the text in written form to set the tone or mood for your work. Or you could have someone read a poem with related video imagery. The text can be an integral part of your video or it may have a more tangential relationship.
Choose to create a portrait of a person or a place as the main focus of your video work.
If you choose a to make a portrait of a person, talk to the person first to find out about what they do, write down questions you might ask in an interview or shots you would take that would build the portrait. Plan your video shoot.
If you choose to make a portrait of a place, choose a place such as a temple, palace, shop, restaurant or other specific locale. Observe the place to see what goes on and take notes on what characteristics might be used to visually (and sonically) describe it. Plan your shoot.
Keep in mind that this is still considered an exercise type of assignment. The purpose of the assignment is to develop your skills in building scenes and telling a story (narrative of non fiction). Most likely you will be working in non fiction.
Stay on course with good photography, focus, composition and lighting. Try to have people, objects or shots that are moving in each shot.
The faculty will be with you during the excursion so we will be able to discuss the progress of your projects. Work in pairs for this assignment, however begin to discuss your final group project together with your team mates. On Monday July 16th, each team will present their ideas to the faculty. During the excursion we will have opportunities to discuss the development of the final projects.
Cinema Korea
Assignment Two Guidelines - Portrait with Text
Due Monday July 16 8pm.
Approximate duration: 2 minutes
Work in pairs, one film project per pair will be submitted.
Select a text from the readings in the ELK. This could be a section from a Sijo or Gasa poem. Use this text as an inspiration for your video. The relationship of the text to the video is open to your interpretation. As an example, you could begin your video with the text in written form to set the tone or mood for your work. Or you could have someone read a poem with related video imagery. The text can be an integral part of your video or it may have a more tangential relationship.
Choose to create a portrait of a person or a place as the main focus of your video work.
If you choose a to make a portrait of a person, talk to the person first to find out about what they do, write down questions you might ask in an interview or shots you would take that would build the portrait. Plan your video shoot.
If you choose to make a portrait of a place, choose a place such as a temple, palace, shop, restaurant or other specific locale. Observe the place to see what goes on and take notes on what characteristics might be used to visually (and sonically) describe it. Plan your shoot.
Keep in mind that this is still considered an exercise type of assignment. The purpose of the assignment is to develop your skills in building scenes and telling a story (narrative of non fiction). Most likely you will be working in non fiction.
Stay on course with good photography, focus, composition and lighting. Try to have people, objects or shots that are moving in each shot.
The faculty will be with you during the excursion so we will be able to discuss the progress of your projects. Work in pairs for this assignment, however begin to discuss your final group project together with your team mates. On Monday July 16th, each team will present their ideas to the faculty. During the excursion we will have opportunities to discuss the development of the final projects.
VEREDAS on-line discussion
Please select and answer
THREE of the four questions below about João Cesar Monteiro’s film VEREDAS.
Your responses should be at least one full paragraph in length and should thoughtfully examine specific examples from the film.
1. What are some of the different strategies used in VEREDAS to present and explore
Portuguese legends and folklore? And what are some of the specifically
cinematic means engaged by Monteiro?
2. What are some of the common themes or ideas explored
within the myths, legends and folk tales that unfold in VEREDAS? What do we learn about the narrative logic and imagination
of Portuguese folklore? In what ways do song and music offer a counterpoint to or
extension of the myths gathered in VEREDAS?
3. What do you make of the title VEREDAS, which literally
translates as “paths”? What kind of journey is described in the film, and to
what purpose? What kind of image does the film give of Portugal? Keep in mind
Park Kwang-su’s original inspiration for TO THE STARRY ISLAND, his almost
anthropological project to explore the realm of traditional Korean culture.
Considered from this perspective, what connections can you make between João
Cesar Monteiro and Park’s respective projects?
4. The frightening final story which closes VEREDAS (the dark tale of a couple torn
asunder by a despotic landlord who enslaves the young man and sires a daughter
with the young woman before driving her out into the wild) makes explicit
commentary on the then present-day Portugal, the fall and legacy of the
Salazar dictatorship, commented upon through the figures of the priest and
landlord and their shared embrace of violence (as well as the carnations on the dinner table which reference the "Carnation Revolution" of April 1974 which took place during the film's production). Thinking about both this final
story and VEREDAS as a whole, what
kind of argument does Monteiro offer about myths and their relationship to
Portuguese culture and history?
Friday, July 6, 2012
Bae, Jung-Yoon : 1st assignment
< journey to find innerpeace >
p.s I apologize unreservedly for any offence i have caused.
Readings in Early Korean Literature, Selections and Introductions
• Readings in Early Korean Literature, Selections and Introductions
Second Round, Week of July 9, to be completed by Sunday July 8, 6 pm
For discussion (and further notes): What do the stories seem to be about? Are there themes that connect Lady Suro with the story of Ch'ôyong and then in turn to the story of King Mu, pp. 18-24? Characters? Types? Materials? Issues? Cultural practices? Other?
What were the circumstances of the compilation itself? Who wrote the stories down? When? And can we infer, why?
Re the story of Ch'oyong and the role of women, see pp 101-122, esp the last two pp, 121-122, and the retelling of the story, 112-114. How does that get set up? Does it work, to bring the woman to center stage?
Hyun Kim raised a set of Questions re 단심가. I'd note additionally p 32 in EKP for the two sijo, 145-147 for more on the two sijo, pp 38-40 for the 고려사 account of Cheong's death at the hands of T'aejong, and 145-147 for more on the sijo and the phrase 일편단심 in the Story of Ch'unhyang.
Wednesday, July 4, 2012
TO THE STARRY ISLAND discussion questions
Hello everyone,
Please prepare TWO questions of your own about TO THE STARRY
ISLAND to ask Director Park Kwang-su. We will begin tomorrow’s discussion with
a round-table discussion before opening to questions from you. Please note that
there may not be time for everyone to ask a question, so with that in mind, I’d
also like receive copies of your questions before class tomorrow. So please
send to hguest@fas.harvard.edu
See you tomorrow!
TO THE STARRY ISLAND on-line discussion
TO THE STARRY ISLAND on-line discussion
In preparation for tomorrow's visit from and discussion with Park Kwang-su, please post a thoughtful answer of at least two paragraphs
to ONE of the following questions about TO THE STARRY ISLAND:
1.
At the time of its release TO THE STARRY ISLAND
was considered path-breaking for depicting events surrounding the Korean War,
long considered a taboo subject for South Korean cinema. What seems special or
even unusual in the film’s representation of Korea during this extraordinarily tumultuous
and traumatic period of its history? And what sort of argument does the film
seem to make about the war and its aftermath? Please engage specific examples
from the film.
2.
Please discuss the evocative presence in TO THE
STARRY ISLAND of traditional Korean culture and beliefs such as folk music,
shamanism and patriarchal village hierarchy. What role do these cultural forms-
and their pointed depiction within the film- play in TO THE STARRY ISLAND’s
complex intertwining of past (both personal and historical) and present?
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