WOMEN MAKE FILM EPISODE 3: CONVERSATION, FRAMING AND TRACKING
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WOMEN MAKE FILM EPISODE 3: CONVERSATION, FRAMING AND TRACKING

Sat
7
Sat May 7 1:00 PM

Arc Cinema
Allocated Seating
60 Mins
2018 | DCP | UK | D: Mark Cousins    

Conversation 
How do you make a basic human interaction cinematic? Angela Schanelec directs us to focus on body language in Places in Cities (1998), Tang Shu Shuen (Cecile Tang) uses the zoom as a guide through the emotional shifts in The Arch (1968), and in The Virgin Suicides (1999), Sofia Coppola shows us an unspoken conversation, with songs and split screens telling a story of impossible longing. 
 
Framing 
Frames describe and paint the scenes. They can make sport look balletic, like in controversial Nazi iconographer Leni Riefenstahl’s Olympia (1938). They shape the cinematic world – through impressionist glances in Kathryn Bigelow’s Blue Steel (1989), suffocating close-ups in Lucrecia Martel’s The Holy Girl (2004), and camera angles as extreme as the titular character’s emotions in Mahalia Belo’s Ellen (2016). 
 
Tracking 
Tracking shots are, to many, the essence of filmmaking magic. They can pose questions and suggest responses when hardly anyone else in the film is talking – like in Chantal Akerman’s From the East (1993) or Marion Hänsel’s Le Lit (1982). In Antonia Bird’s Face (1997), a seamless tracking shot makes the camera almost seem an extension of our eyes. Kinetic in nature, tracking can also help dynamically show a desperate escape, like in Ursula Meier’s Home (2008). 

Arc Cinema

1 McCoy Circuit Acton, Australian Capital Territory, 2601