Subjects and courses. Directing laboratories.
Directing of the feature and documentary films, the series, television formats. The craft is taught by leading Russian filmmakers, as well as prominent representatives of European cinema, those who in the 2000's rethought the changed «world views», invented their own manner of narration and manner of shooting, brought new heroes to the cinema and created a new style.
Fundamental formulas of drama. Features of all genres of cinema. Laws for the construction of serials and television formats. Script of the clip and advertisement.
Basics of cameraman's art: optics, focal length, technique, choice of shooting point, camera angle, light, handheld camera and static camera, depth of space, etc. Special classes are dedicated to the style and manner of shooting.
Features of work with the sound engineer. The development of the sound concept of the film in the director's script. Sound on the set and in the recording studio. Scoring, mixing and film dubbing.
Methods and techniques of working with the actor, character analysis, motivation, psychology. The work with the actor is taught by leading film directors and stage directors. Inside the course various methods are analyzed and tested in practice: realistic, epic, naturalistic. Directors themselves act as an actors.
Introduction to the profession of the artistic director. Features of work with the artistic director. Development of a visual concept and a plastic imagery of the film.
On the author's course of Andrey Dobrovolsky students study features of the audio-visual information affecting the assembly form of the film organization in time and space; subjective, objective and production criterions that determine the development and implementation of the idea at all stages of its formalization; principles of dramaturgic thinking and dramaturgical construction. Students develop dramaturgic thinking and the ability to orient themselves in the problems of the formation of intent and formalization of the idea. In teaching a criterial approach is used to assess the subjective, objective and production components of the design that determine the development and implementation of the idea at all stages of its formalization. The student gets the skills of dramatic construction.
Analysis of the dramatic and visual tools of films, the analysis of the cinematographic language, the study of the film structure on examples of film production, the specificity of the sound-recording messages, the structural features of the visual imagery of the film, the difference between the «cinematographic» and the other languages, the relationship between the structure of the film and its meaning.
Film editing skills at the script level. Thinking with mounting blocks. Methods of film editing. Practical classes on film editing are conducted jointly with the students of the faculty « Film editing directing».
Students are trained to work with editing programs The Avid, Final Cut, Adobe Premiere Pro. Work with Post-production segment: editing, color correcting / telecine, audio mixing.
Students study the principles of constructing the composition, the options for the color solution of the frame, the features of multi-camera shooting, the structural construction of the frame, the definition of the depth of field in the camera.
Study of the logic of spatial mise-en-scène, language of terms, graphic designations and system of explanatory text notations. Students are trained to visualize the text, learn how to better solve this or that script problem on the screen.
Students learn to interact with the casting director and location manager, learn the principles of selecting actors and locations.
The course is dedicated to the varieties and possibilities of computer graphics and 3D-animation.
Students get acquainted with the rules and features of all stages of film production: pre-production, production, post-production. Preparation of a calendar plan and production plan. Interaction with the second-unit directors.
Working on the set. Interaction with the general producer, line producer, manager of the film. Drawing up the budget and estimates of the film. Organization of film production. Administration of the filming process. Planning of filming.
The course introduces students to leading Russian and foreign film companies, film funds, rules and procedures of co-production.
The author's course of Vladimir Mogilevsky is about everything that happens to the film after the words of the director is «cut» before it appears on the screen. Preparation the material for editing, computer graphics and special effects, color correction, making a copy for theaters. What is the difference between a low-budget experimental movie and a magical spectacular blockbuster? The course gives an idea of the features of post-production.
The study of the basic principles of legislation on the protection of copyright and related rights (in particular, copyrights on the Internet); consideration of cases of violations of authors rights; specificity of copyright of audiovisual works. Study of the modern system of intellectual property (in particular, objects of patent law and means of individualization).
The course of lectures on the social problems of cinema: «What is cinema as a social phenomenon?», «What is its place and role in society?», The study of the viewer, the study of a children's cinema-goer, cinema as an ideological system, cinema as part of a mass culture.
A course of lectures on the history of world cinema. At the lectures the process of the history of cinema is represented in all its contradictions, interrelations and collisions. Students study the main periods and trends of world and national cinema.
A course of lectures, giving an idea of the diversity of styles in the cinema. It's addressed to films by directors who are little known in Russia. On the one hand, it's little-known directors of «Golden Hollywood», on the other hand. it's experimental pictures of small, peripheral cinema. This is a huge layer of Portuguese, Polish, Romanian cinema, as well as cinematography of other countries.
The course of lectures on the New cinema. We conditionally call the «New» cinema films of the zeros. The classes deal with languages, styles, forms, and analysis of key films created in the 2000's. The films of such directors as Bruno Dumont, Carlos Reagadas, Michael Haneke, Jean-Pierre and Luc Dardenne, Philippe Granriere, Pedro Costa and many others are thoroughly analyzed.
Classes are devoted to how the film was made from the structural, compositional, stylistic, grammatical, semiotic point of view. Students get acquainted with the theories of Bazin, Krakauer, Metz, Jacobson, Worth, Pazolini, and others.
Course on the analysis of stories using cinematic figures: plans, angles, sizes, editing phrases.
Course, the purpose of which is to teach students to see hidden signs, idiosyncratic maps that are contained in every great film. Within the framework of the course, seminars are held where students are invited to speculate the film, find in the picture coincidences, the meanings that are hidden from the view, the meanings that are the core of the picture, revealing its invisible paradoxical essence.
Classes devoted to creating ideas. Students find answers to the questions: «What is the original idea?», «How to create an image, so that from it, as from a spider's web, history itself was twisted?», etc.
The stories created by the great screenwriters have their own face, it has an individuality, it isn't anonymous, it isn't just well built. It has not only the exact characters, deft storylines and the original plot. It has something else. In the classroom the teacher and students are trying to answer the question exactly «what»?
The course introduces students to the features of the construction of drama and conflict in the plot. At the lectures the author analyzes the motives of the character, the underlying desires, the complexes that drive the heroes. Students get acquainted with the psychological formulas for writing a script and learn how to apply them in practice.
Students acquire the skills of interdisciplinary analysis of the motion picture on the basis of clinical character, the foundations of psychiatry, theoretical psychoanalysis, structural linguistics and poetics, analysis of motives, analytical psychology, the theory of speech acts, modal logic.
The main components and laws of the plot. Scenes and actions, plot, exposition, introduction and denouement, peripetia, recognition and associated errors of unrecognition, metamorphosis, collision, culmination. The course is devoted to the classical theory of the plot, which takes its origins back in ancient Greece.
Ritual is a stereotyped sequence of actions that encompass gestures, words and objects. The structure and antistructure of the ritual underlies all events and actions. The essence of life consists of a successive change of stages, transitions from one state to another. Within the framework of the course students get acquainted with the theories of Arnold Van Gennep, Victor Turner and many others.
A course that teaches us to summarize the stories. Students learn to write a synopsis, a tritiment, a poetry plan, and also it is possible to describe the characters and their characters.
Classes in which students learn quickly (for 5 minutes) orally present their story. You need to be able to transfer the best of its, be able to spark the interest of the listener.
Author's course of Victor Alimpiev. The most important property of the fine arts is the free choice of the viewing time, since the work of art is motionless (video art and performance is no exception, as it should be seen as a continuation of the picture and sculpture, not the film and the stage play). On the contrary, the arts associated with the passage through time. For example, music or cinema provide us, spectators. But the wonderful intrigue is that the arts aren't indifferent to each other: the basic properties of one can be a desirable horizon for another. On examples from music, fine arts, theoretical texts and so on. we will observe the variety of shades of this intrigue: who before whom dies, we are in front of the work or the work before us.
The technique of photography, the fundamentals of optics, lighting technology, exposure metering, features of shooting various genres of photography, computer image processing. Mastering the settings and properties of professional photographic equipment.
Fundamentals of music theory, features of work with the composer, musical decision of the film in various genres. Students get skills to set tasks and interact with composer and music editor.
The possibilities of makeup, the art of changing the appearance of the actor. Students get acquainted with the technique and specificity of make-up in the cinema (special effects, scars, wounds, burns, abrasions, etc.).
A course of lectures on the history of fine art from ancient times to the twentieth century. Ideological and stylistic features of each historical stage. Characteristic trends in the work of outstanding masters.
Author's course of the philosopher Elena Petrovskaya, outlining the subject field of the new discipline, visual research. It examines the main approaches to the problem of «visible» and «invisible» in the works of leading contemporary philosophers and culturologists.
In the framework of the author's course of Oleg Aronson, two major books of the leading french philosopher of the 20th century - Gilles Deleuze: «Cinema 1: The Movement-Image» and «Cinema 2: The Time-Image».
The author's course of Valery Podoroga gives an in-depth understanding of what auto-bio-graphy is, to what existential and psychoanalytic locus of culture it belongs, how autobiography is possible not as a literary genre, but as a conceptual unity.
The course of Ksenia Golubovich «Homeland» is devoted to how the concept of «native land» is constructed in various philosophical and poetic discourses. Marcel Proust speaks about the artist as a «citizen of an unknown homeland», and many artists speak about the inner homeland: internal France, internal Germany or even «secret» Russia (which can be found in works of Tarkovsky and Tyutchev). What is this? How does this concept on the one hand relate to the theme of the fateful history of the genus and on the other hand, to the concept of a person's freedom. We will consider this in the system of ideas to start thinking about the concept that today we are trying to offer as the leading, the main one for today. How are Homeland and Art connected? And why can't we be at home, if we aren't free?
Why do we need psychoanalysis? He turns his gaze inward, but for a glance that once went inward, there is no return. Psychoanalysis raises dreams, imaginings, secret desires, passions, and then you find yourself in their power. That is in the power of yourself.
Introduction to group and individual work on films. Psychodramatic work with the material of various movies. Topics: «Opportunities and «ambushes» of psychodramatic work with cinema», «Rituals, rehearsals, frames and structures; the specific of the introduction in the «role of the role», in the role of everything that is seen and heard (objects, sounds, elements) ...»
The image and reading are opposed to each other or assume each other? Often the image captures and paralyzes, while reading involves activity and analysis; it seems that reading corresponds to a linear time, and the image to a stop. However we all know that images can also be read, and reading creates images. Is the image unique? Is the reading unidirectional? What place can the subject occupy in relation to the image and in relation to reading? In this questions, which are undoubtedly important for the cinema as the practice of unfolding images in time, psychoanalysis can help.
Subjects and courses. Actor's laboratory.
«I don't want to use the word «master», the «curator» is more precise. I also don't want to call the course a «course», it's the laboratory, where we together will be engaged in search, to search for answers to the most important questions for this profession. This is due, in particular, to the fact that we almost completely abandon the linear system of education and move on to a modular system. That is classes are taught in blocks (modules). During the semester each teacher will hold one intensive: these will be master classes of different duration, on average one month.As a result of each master class, students will come to a definite result.It is important that among the teachers of acting, are different people with different visions of the profession. This allows students to gain a comprehensive understanding of the profession and the world in general. Also in the curriculum there is an occupation in scenic speech, vocals, lectures on the history of the theater, a large number of bodily practices: plastic, modern dance, stage movement, defile lessons. An important feature of our laboratory is the use in the actor's learning of performative practices. In addition, to special disciplines the students of the laboratory will attend «streaming» lectures. It's general lectures about the history of cinema, history of arts, philosophy, psychology, which is absolutely necessary».
Yuri Muravitsky: «Svetlana is a sensitive person with great acting and teaching experience. In her classes she focuses on things that are basic for any actor, there are attention and interaction with the partner».
Yuri Muravitsky: «It's not easy to talk about Clim. In my opinion, the vision of the acting profession of this director, playwright, teacher is closer to metaphysics, he works with energy, teaches to feel it, to realize his acting nature, opens metaphysical meanings in and around the theater».
Yuri Muravitsky: «Sveta is the co-curator of the laboratory. This is a person I fully trust. In addition to the stage speech, Sveta will conduct classes in acting, share knowledge and experience gained from the unique master Anatoly Vasiliev».
Yuri Muravitsky: «It's very important that Katya and Dasha not only actively act in film, they take it off themselves. They know this profession on both sides. Film artistry is a unique course for the system of acting. Usually actors are taught acting in general, but they don't learn in detail how to interact with the camera, how to behave on the set. In this practical course, students find out what the specifics of the actor's work in the cinema are, how to work in major plans and so on».
Yuri Muravitsky: «Katya is one of those people who "don't sing'' are starting sing. Vocals are one of the few "linear" subjects in our laboratory. Systemic long-term studies are needed here. The task is simple: the disobedient should sing, and the singing should continue to develop».
Yuri Muravitsky: «Anna teaches actors to feel, understand their body and own it, be able to express feelings, thoughts, mood with it. The subject was called ''plastic'' because it isn't a dance in the classical sense. It's still closer to modern dance. Anna prefers to call her subject - Body research».
Yuri Muravitsky: «Petr teaches basic things. Let's put it this way ''applied" acrobatics, rhythmics, as well as all that the actor must be able to do (falls, somersaults and so on)».
Yuri Muravitsky: «I met Yulia when I was working on "The Seagull" at the Stanislavsky Electrotheater. She was a stage director of plastic. She taught artists to move right on the podium. It was incredibly useful, and I invited Julia to the students to teach them the basics of this profession».
Yuri Muravitsky: «The actual theater is getting closer to the performance today, and connection and existence in the performance is fundamentally different. The study of performative practices is one of the know-how of our laboratory. And Nikita is one of those who will help our actors better understand this direction».
Subjects and courses. Intensiv on filmmaking. Technos.
What does the face can report? Why are some people cinematic and others not? What people should be shooted, forming from them figures and rhyming them to each other? What needs to be done to make the hero express his existence and not be a fake?
The location must have its own existence, its texture. The place should speak for itself. In such places a special time flows. The place itself contains the atmosphere, gesture and event, which must be fixed.
Film editing is an art of combination. If you compare the montage with the story (and this is a valid comparison), then the frame can be equated to the word, to the sentence and even to the whole paragraph. You can write in short sentences, creating meanings, and you can conclude meaning in long frames. Create the flow of time, the clash of meanings, the rhythm of the narrative. This is where the film editinge is shown. You need to understand which language you want to use to make your film.
Sound is one of the components of the film, plunges into anxiety, fascination, horror, calm. The direction of sound expands the space of the film. What should the director take into account when he or she working with the sound score of the film? What can be expressed only by sound? How does the sound create an atmosphere and authenticity?
The manner of shooting can be compared with a stroke in painting. Through the shooting you can catch secret meanings, not lying on the surface, not transmitted either by content or acting. The shooting itself, regardless of the content and acting, can carry within itself particles of anxiety or idleness, panic or love frenzy.
Students of the course will touch on the fundamentals of film dramaturgy to understand what material the film is made of and whether any «reality» can be material for the film.