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Developed by Scott Shaw, the primary premise of Zen Filmmaking is that no screenplay should be used in the creation of a film. There are no rules and no definitions. The spontaneous creative energy of the filmmaker is the only defining factor. This allows for a spiritually pure source of immediate inspiration to be the only guide in the filmmaking process. Within the pages of this book, Scott Shaw leads the reader through all of the elements of Zen Filmmaking -- allowing one to emerge as a competent independent filmmaker, possessing all of the necessary skills to create a feature film, documentary, or music video in the easiest and most expedient manner possible. This book also takes the reader behind-the-scenes on several of Scott Shaw's feature films. This provides a unique insight into the filmmaking process while illustrating how to bypass many of the obstacles of filmmaking.
Zen Filmmaking 2: Further Writings on the Cinematic Arts by Scott Shaw Pdf
Created by Scott Shaw, the primary premise of Zen Filmmaking is that no script should be used in the creation of a film. There are no rules and no definitions. But, there is much more to it than that. In this second book on Zen Filmmaking Scott Shaw leads the reader to deeper understandings of how to make the filmmaking process more rewarding, less complicated, and ultimately more enlightening.
Movie is considered to be an important art form; films entertain, educate, enlighten and inspire audiences. Film is a term that encompasses motion pictures as individual projects, as well as — in metonymy — the field in general. The origin of the name comes from the fact that photographic film (also called filmstock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist — motion pictures (or just pictures or "picture"), the silver screen, photoplays, the cinema, picture shows, flicks — and commonly movies.
A Critical Cinema 5 is the fifth volume in Scott MacDonald's Critical Cinema series, the most extensive, in-depth exploration of independent cinema available in English. In this new set of interviews, MacDonald engages filmmakers in detailed discussions of their films and of the personal experiences and political and theoretical currents that have shaped their work. The interviews are arranged to express the remarkable diversity of modern independent cinema and the interactive community of filmmakers that has dedicated itself to producing forms of cinema that critique conventional media.
Author : Gregory P. A. Levine Publisher : University of Hawaii Press Page : 352 pages File Size : 46,5 Mb Release : 2017-09-30 Category : Religion ISBN : 9780824858087
Long Strange Journey presents the first critical analysis of visual objects and discourses that animate Zen art modernism and its legacies, with particular emphasis on the postwar “Zen boom.” Since the late nineteenth century, Zen and Zen art have emerged as globally familiar terms associated with a spectrum of practices, beliefs, works of visual art, aesthetic concepts, commercial products, and modes of self-fashioning. They have also been at the center of fiery public disputes that have erupted along national, denominational, racial-ethnic, class, and intellectual lines. Neither stable nor strictly a matter of euphoric religious or intercultural exchange, Zen and Zen art are best approached as productive predicaments in the study of religion, spirituality, art, and consumer culture, especially within the frame of Buddhist modernism. Long Strange Journey’s modern-contemporary emphasis sets it off from most writing on Zen art, which focuses on masterworks by premodern Chinese and Japanese artists, gushes over “timeless” visual qualities as indicative of metaphysical states, or promotes with ahistorical, trend-spotting flair Zen art’s design appeal and therapeutic values. In contrast, the present work plots a methodological through line distinguished by “discourse analysis,” moving from the first contacts between Europe and Japanese Zen in the sixteenth century to late nineteenth–early twentieth-century transnational exchanges driven by Japanese Buddhists and intellectuals and the formation of a Zen art canon; to postwar Zen transformations of practice and avant-garde expressions; to popular embodiments of our “Zenny zeitgeist,” such as Zen cartoons. The book presents an alternative history of modern-contemporary Zen and Zen art that emphasizes their unruly and polythetic-prototypical natures, taking into consideration serious religious practice and spiritual and creative discovery as well as conflicts over Zen’s value amid the convolutions of global modernity, squabbles over authenticity, resistance against the notion of “Zen influence,” and competing claims to speak for Zen art made by monastics, lay advocates, artists, and others.
Finding the Personal Voice in Filmmaking by Erik Knudsen Pdf
This book philosophically and creatively examines ways in which independent filmmakers may explore, through practice, the discovery and development of a personal voice in the making of their films. Filmmaker and academic, Professor Erik Knudsen, uses a combination of autoethnographic experience derived from his own filmmaking practice and new insights gained from a series of ethnomediaological StoryLab workshops with independent filmmakers in Malaysia, Ghana and Colombia to drive this innovative examination. The book contextualises this practice exploration within an eclectic psychological and philosophical framework that ranges from Jungian psychological theories of the collective unconscious to Sheldrakian scientific theories of morphic resonance, from Christian mystical ideas about creative motivation to structuralist theories that underpin our linguistic understanding of story and narrative. Why should we create? What is a creative act? This in-depth study tackles these questions by examining the early ideation stages of cinematic expression and ultimately seeks to understand the practical ways in which ideas are shaped into stories and narratives.
More than just another how-to manual relating to the independent film industry, in this book, Zen Filmmaker Scott Shaw, guides the reader towards understanding the deeper philosophical, psychological, and metaphysical realms of filmmaking via piercing articles and essays that detail not only his own experiences in the film industry but the interactions he has encountered via the actions and understandings of others. From this, the reader who desires to gain a deeper understanding of what the filmmaking process truly entails will be presented with facts known only to someone who has been an active filmmaker for over thirty years. From this book both the novice and the experienced filmmaker may gain new insight into what actually takes place in the film industry and what to expect during casting sessions, filming on the set, creating in the editing room, as well as what may occur from the audience once a film has been completed and released. Reveling and compelling this book provides the thinking filmmaker with essential and insightful information provided nowhere else.
Zen & the Art of Independent Filmmaking by David Worth Pdf
Zen & The Art Of Independent Filmmaking is full of: Lessons, Insights & Enlightenments from the professional life of David Worth a filmmaker, author and film professor, who spent nearly 40 years making over 35 feature films as a Cinematographer, Editor and Director, before transitioning into Academia. He discusses the thrills and challenges of working as an International Filmmaker as well as with talents like: Clint Eastwood, Shelley Winters, Jean-Claude Van Damme, Sondra Locke, Seymour Cassel, Stephanie Zimbalist, Roy Scheider, Dennis Hopper & Bruce Campbell. You'll experience the Highs & Lows of working on films all over the planet from: Hollywood, to Hong Kong, Bangkok, Macau and Indonesia. As well as Italy, Israel, South America, South Africa, Bulgaria, Romania and back again. If you want the hard core facts about Independent filmmaking... This book is the; No Nonsense, In The Trenches, Hands On, Way to go...
New Essays in Japanese Aesthetics by A. Minh Nguyen Pdf
This collection begins with an engaging historical overview of Japanese aesthetics and offers contemporary multidisciplinary and interdisciplinary perspectives on the artistic and aesthetic traditions of Japan and the central themes in Japanese art and aesthetics.
Screening Nature by Anat Pick,Guinevere Narraway Pdf
Environmentalism and ecology are areas of rapid growth in academia and society at large. Screening Nature is the first comprehensive work that groups together the wide range of concerns in the field of cinema and the environment, and what could be termed “posthuman cinema.” It comprises key readings that highlight the centrality of nature and nonhuman animals to the cinematic medium, and to the language and institution of film. The book offers a fresh and timely intervention into contemporary film theory through a focus on the nonhuman environment as principal register in many filmic texts. Screening Nature offers an extensive resource for teachers, undergraduate students, and more advanced scholars on the intersections between the natural world and the worlds of film. It emphasizes the cross-cultural and geographically diverse relevance of the topic of cinema ecology.
During the 1960s and early 1970s, Japanese avant-garde filmmakers intensely explored the shifting role of the image in political activism and media events. Known as the "season of politics," the era was filled with widely covered dramatic events from hijackings and hostage crises to student protests. This season of politics was, Yuriko Furuhata argues, the season of image politics. Well-known directors, including Oshima Nagisa, Matsumoto Toshio, Wakamatsu Kōji, and Adachi Masao, appropriated the sensationalized media coverage of current events, turning news stories into material for timely critique and intermedial experimentation. Cinema of Actuality analyzes Japanese avant-garde filmmakers' struggle to radicalize cinema in light of the intensifying politics of spectacle and a rapidly changing media environment, one that was increasingly dominated by television. Furuhata demonstrates how avant-garde filmmaking intersected with media history, and how sophisticated debates about film theory emerged out of dialogues with photography, television, and other visual arts.
In the veiled corridors of fate, Elle stands at the threshold of truth and deception. Bereft by her father's demise and adrift in the tides of collegiate life, she encounters a stranger whose enigmatic presence threatens to unravel the very fabric of her reality. Eternal Connections weaves a tale as old as time, where prophecies lie dormant until the chosen rise. Elle, a mere pawn in the grand design, discovers her lineage entwined with a clandestine mafia empire, awaiting her claim. In this labyrinth of power and passion, she finds her heart ensnared by a love that could illuminate her path or ensnare her soul. As the saga unfolds, a curse that has clenched the bloodline for aeons beckons to be broken. With every heartbeat, Elle edges closer to her destiny, confronting the shadows that lurk within. Will her love be the key to liberation, or will the secrets of the past condemn her future? Step into a world where every whisper of the past carries the weight of tomorrow. Eternal Connections invites you to uncover the enigma, where love is the ultimate deliverance. it's a story of an ancient prophecy and forbidden love breaking a curse, with a kingdom yearning for its true heir for centuries.
"Classical works have for us become covered with the glassy armor of familiarity," wrote Victor Shklovsky in 1914. Here Kristin Thompson "defamiliarizes" the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually. Thompson's analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati's Les Vacances de Monsieur Hulot and Play Time and Godard's Tout va bien and Sauve qui peut (la vie). Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book's overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole.
