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Competition is now moving towards Cable Television Channels and Internet Broadcasting, we believe
that soon, mainstream television will be marginalized by the advent of new technology. Recent American Studies
show that teens are more likely oriented towards the computer screen rather than the television screen. To complicate the
situation, Cable Television Programming is more comprehensive than Mainstream Television. Thus, it is important to train more
writers oriented towards this emerging new media. To now about this change, you can visit our site at :https://the-chips1.tripod.com/.
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Intermediate
Material and Screenplay Development & Management Romantic Tragedy : Combined Genre Digital Movie Application - Narrative
(Short/Short Feature/Feature) Creative Workshop starts October 2008. limited slots / controlled group register
through this number 09215081060Parameters of the Workshop:1.
Intermediate Material and Screenplay Development and ManagementCreative Workshop pertains to the structural and integralrelationshipbetween
premise and genre.2. The workshop will tackle Romantic Tragedy as a combined genre.3. Because of the limited space of the
venue, the Writer's Projectwill only accept 6 participants.4. Qualified participants are those who already took-up basicscriptwriting
workshops in different training or academic venues.5. Certificates will be given at the end of the workshop providedthata
participant finished the workshop with output.6. The Output is a Working Outline for a Digital Movie Feature (90minutes or 1hour/30mins).
The Working Outline refers to a completenarrative material with 8 movements written on one page.7. Note: the profile of
the lecturer is included in the e-groupfiles.Schedule/Venue1.
October 2008. limited slots / controlled group2. 5 SessionsPayment Scheme:1. The fee is 5,500 pesos2. 50% down on the 1st day, 25% on the
2nd day and 25% on the 3rd day3. Participants who will pay the full amount on the first day willonly pay 5,000 pesos.1. Text this mobile no and send the following: Basic Scriptwriting
Workshop Attended Name Address LandlineThe above information should be complete
and is subject toverification.2 The text message that you sent will serve as your registration.Workshop Outline:1st Intermediate Material and ScreenplayDevelopment & ManagementRomantic
Tragedy : Combined GenreDigital Movie Application - Narrative (Short/Short Feature/Feature)Creative Workshop October 2008Day
01 : Combined Genre : Romantic Tragedy1. Definition2. Genre Structure3. Genre ComponentsDay 02 : Premise1. Definition2. Premise Structure3. Premise ComponentsDay 03 : Premise vs. Genre1. Structural Relationship2. Relationship Between Components3.
Written Exercise ADay 04: Outline : 8 Movements Method1.
Definition2. Structure3. Components4. Theoretical Integration5. Constructing the Diagram6.
Execution7.
Written Exercise BDay 05: Outline vs. Sequence Treatment
& Screenplay1. Theoretical Integration2. Constructing the Diagram3. Execution4. Final Evaluation of
the Working OutlineDigital Movie Scriptwriters construct
materials and scripts based onthe potentials and limitations of the Science and Technology of theDigital Movie Industry
and Market. Click this website and join
http://forum2007.multiply.com
10th Sinelab Workshop Series (3rd Edition) Starts October 2008 @ Quezon City
BASIC
MATERIAL AND SCRIPT DEVELOPMENT AND MANAGEMENT
Special
Topics
( Conflict
Development and Management Within A Narrative)
( Understanding
the Dynamics of the Milieu)
(Strategic
Content Planning - Outline Construction)
( Getting
The Right Talent For The Specific Character - A Review of The Character Matrix)
(3
Sessions : 2pm-6pm) by Melchor df. Escarcha
ALTERNATIVE
PRODUCTION
( Basic
Camera Direction Lighting and Cinematography)
(3
Sessions : 2pm-6pm)
by
Michael Angelo Dagnalan
Fee
: Php 8,000
Schedule
: Saturdays (2pm - 6pm)
*Tells
Us About Yourself In One to Two Pages
*
Workshop Fees Only
*Students
are required to finish their short films before graduation
*Limited
slots available ( 5-6 students)
*Only
Commited Students will be accepted
. ========
Email
Address and Contact Number For Registration and Inquiries sinelab_workshop@yahoo.com / mobile number 09215081060
=========
For
more information / join us
www.sinelab.blogspot.com
http://sinelab.multiply.com
www.yahoogroups.com/group/sinelab_workshop
=========
SINELAB WORKSHOP Write. Produce. Direct. SINELAB
is an on-going out of school, alternative mode of educating the Filipino that he is a great storyteller in the moving image
media of motion pictures.
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Post-Impressionism
: Historical Overview ( Source : Wikipedia)
Post-Impressionism was both an extension of Impressionism and a rejection of its limitations. Post-Impressionists
continued using vivid colours, thick application of paint, distinctive brushstrokes and real-life subject matter, but they
were more inclined to emphasize geometric forms, to distort form for expressive effect, and to
use unnatural or arbitrary colour. The Impressionist Camille Pissarro experimented with Neo-Impressionist ideas between the mid 1880s and the early
1890s. Discontented with what he referred to as "romantic Impressionism," he investigated Pointillism which he called "scientific Impressionism"
before returning
to a purer Impressionism in the last decade of his life. The Post-Impressionists
were dissatisfied with the triviality of subject matter and the loss of structure in Impressionist paintings, though they
did not agree on the way forward. Georges Seurat and his followers concerned themselves
with Pointillism, the systematic use of tiny dots of colour.
Paul Cézanne set out to restore a sense of order and
structure to painting. He achieved this by reducing objects to their basic shapes while retaining the bright fresh colours of Impressionism. Vincent van Gogh used colour and vibrant swirling brush
strokes to convey his feelings and his state of
mind. Although they often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement.
Younger painters during the 1890s and early 20th century worked in geographically disparate regions and in various stylistic
categories, such as Fauvism and Cubism. === Post Impressionism as an approach to reality provides an added artistic
texture and layer to your material. Imagine a material that uses the suspense genre layered by a post impressionist
sense and sensibility. How about a romance-comedy or a fantasy/romance? So never forget to determine your
approach to reality when you create a material.
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IRISH PATATAS ENTERTAINMENT
IRISH
PATATAS ENTERTAINMENT is a team of independent digital movie producers composed of Melchor Escarcha, an animation specialist, and J.Lauro Caiña, a freelance fiction and scriptwriter.
Melchor spearheaded development and execution of animated foreign short in the web
under Broadlines Animations, Inc. His short “Obit” was selected at
Eksperimento International Film Festival. His documentary “Ay Bumbay”
was featured at Isla Network.
J.Lauro is ABS-CBN’s former drama analyst and wrote in several Teleseryes like
“Pangako Sa ‘Yo.” He
is a freelance romance writer/novelist, a playwright, an actor, and a director. He
helped in the production of several indie films like Trabaho, My Fake American Accent and
Kolorete.
They are all formerly part of Star Cinema’s Creative department.
The group is currently in pre-production stage of several projects that include “small girl, BIG dreams,” “Kamakailan,” and “aBaKaDa Ni Boyet.”
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Group Email Addresses
Post message: irishpatatasentertainment@yahoogroups.com
Subscribe: irishpatatasentertainment-subscribe@yahoogroups.com
Unsubscribe: irishpatatasentertainment-unsubscribe@yahoogroups.com
List owner: irishpatatasentertainment-owner@yahoogroups.com
e-mail: irish_patatas_entertainment@yahoo.com
http://ctwn2007.multiply.com/ http://profiles.friendster.com/32662532
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When you edit a material, you may add or substract
actions or events in a given material within the parameters of the material's content. But you do not touch
the structure whic is often referred to as the plot. Thus, edit means reducing the the number
of sub-characters and sub-stories.
Revise refers to re-constructing the main characters and the main stories.
When you do this, the sub-stories and the sub-characters are adjusted in terms of the changes in the main characters or the
main stories. Again, the plot remains the same but the over-all character and main story structures are altered. Rewrite
is a major one, in my point of view, because it changes the plot of the material yet the content of the material (characters
and stories) remains the same.
Movie
Peg... is the the immediate solution when movie studios reach the static end of creativity. The search for an easy way
out is always the desired solution. A rumor once circulated that a big movie studio in the Philippines collected several
short stories with the hope of putting the said stories together in order to come up with projects for the creative pipeline.
Movie Peg is a neutral device. In fact, it has the potential of developing
skills in terms of upgrading the abiltiy to construct well-crafted stories and detailed- 3/dimensional characters within the
context of genuine innovation. This means, one must be well-versed with the art of material deconstruction and unit
development and management.
But the problem arises when innovation
begins to disintegrate in the midst of wholesale plagiarism by desperate creative teams. Changing the gender of a character
or changing the atmoshpere of a story does change the over-all physical and emotional narrative lines of an outline.
Cosmetic changes are not structural or substantial innovations. These are blatant act of plagiarism.
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Scriptwriting Tutorial : Southeast Asian Thriller
Intermediate Material and Screenplay Development & Management Constructing A Southeast
Asian Thriller
Digital Movie Application - Narrative (Short/Short Feature/Feature) CreativeTutorial
starts February 2009 . limited slots / controlled group register through this number 09215081060
Parameters
of the Workshop: 1. Intermediate Material and Screenplay Development and Management Creative Workshop pertains to the
structural and integral relationship between premise and genre. 2. The workshop will tackle Southeast Asian Thriller
as a qualified genre. 3. Because of the limited space of the venue, the Writer's
Project will only accept 6 participants. 4. The Output is a Working Outline for a Digital Movie Feature (90 minutes
or 1hour/30mins). The Working Outline refers to a complete narrative material with 8 movements written on one page. 5.
Note: the profile of the lecturer is included in the e-group files.
Schedule/Venue 1. February 2009. limited
slots / controlled group 2. 5 Sessions
Payment Scheme: 1. The fee is 5,500 pesos 2. 50% down on the 1st
day, 25% on the 2nd day and 25% on the 3rd day 3. Participants who will pay the full amount on the first day will only
pay 5,000 pesos.
1. Text this mobile no and send the following:  Basic Scriptwriting Workshop Attended 
Name  Address  Landline The above information should be complete and is subject to verification. 2
The text message that you sent will serve as your registration.
Workshop Outline: 3rd Intermediate Material and Screenplay Development & Management Tutorial Southeast Asian Thriller :
Qualified Genre Digital Movie Application - Narrative (Short/Short Feature/Feature) Creative
Tutorial February 2009
Day 01 : Qualified Genre : Southeast Asian
Thriller 1. Definition 2. Genre Structure 3. Genre Components
Day 02 : Premise 1. Definition 2. Premise
Structure 3. Premise Components
Day 03 : Premise vs. Genre 1. Structural Relationship 2. Relationship Between
Components 3. Written Exercise A
Day 04: Outline : 8 Movements Method 1. Definition 2. Structure 3. Components 4.
Theoretical Integration 5. Constructing the Diagram 6. Execution 7. Written Exercise B
Day 05: Outline vs.
Sequence Treatment & Screenplay 1. Theoretical Integration 2. Constructing the Diagram 3. Execution 4. Final
Evaluation of the Working Outline
Digital Movie Scriptwriters construct materials and scripts based on the potentials
and limitations of the Science and Technology of the Digital Movie Industry and Market. Click this website and join
10th Sinelab Workshop Series (3rd Edition) Starts October 2008 @ Quezon City
BASIC MATERIAL AND SCRIPT
DEVELOPMENT AND MANAGEMENT
Special
Topics
( Conflict Development
and Management Within A Narrative)
( Understanding the Dynamics
of the Milieu)
(Strategic Content Planning
- Outline Construction)
( Getting The Right Talent
For The Specific Character - A Review of The Character Matrix)
(3 Sessions : 2pm-6pm)
by Melchor df. Escarcha
ALTERNATIVE PRODUCTION
Producing Low Cost, High
Quality Independent Films
(3 Sessions : 2pm-6pm)
by Michael Angelo Dagnalan
Fee
: Php 8,000
Schedule : Saturdays (2pm
- 6pm)
*Tells
Us About Yourself In One to Two Pages
* Workshop
Fees Only
*Students are required
to finish their short films before graduation
*Limited
slots available ( 5-6 students)
*Only Commited Students
will be accepted
. ========
Email Address and Contact
Number For Registration and Inquiries sinelab_workshop@yahoo.com / mobile number 09215081060
=========
For more information /
join us
www.sinelab.blogspot.com
http://sinelab.multiply.com
www.yahoogroups.com/group/sinelab_workshop
=========
SINELAB WORKSHOP Write. Produce. Direct. SINELAB
is an on-going out of school, alternative mode of educating the Filipino that he is a great storyteller in the moving image
media of motion pictures
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6th Akira's Nightmare Alternative Animation Basic Animation Material, Outline, Treatment and Script Development and Management
is slated for the month of October. Welcome to the participants of (5th Akira).
For Registration: Please indicate full name and contact number mobile phone : 09215081060
This new workshop series will focus on four distinct fields namely;
1. Animation Material Development and Management
2. Animation Beat Outline Development and Management
3. Animation Treatment Development and Management
4. Animation Script Development and Management
The newly improved program will aid animation professionals create commercial animation contents that are within the contemporary
sense and sensibility of the general population. For students ( UP, La Salle - St. Benilde, UST and Ateneo) who are about
to take up their multimedia-animation thesis projects or are preparing for their thesis projects, the workshop will serve
as a tutorial aid in order to augment their needs to finish their respective projects.
========
When you edit a material, you may add or substract actions
or events in a given material within the parameters of the material's content. But you do not touch the
structure whic is often referred to as the plot. Thus, edit means reducing the the number of
sub-characters and sub-stories.
Revise refers to re-constructing the main characters and the main stories. When you do this, the sub-stories and the sub-characters
are adjusted in terms of the changes in the main characters or the main stories. Again, the plot remains the same but
the over-all character and main story structures are altered. Rewrite is a major one, in my point of view, because it changes
the plot of the material yet the content of the material (characters and stories) remains the same.
==========
SCREWING WITH SCREWBALL COMEDY
By Mel df. Escarcha
"Screwball Comedy is a type of comedy prevalent
in the 1930s and typified by frenetic actions, wisecracks and sexual relationships as important story elements.
Usually about upper class characters and therefore often involving opulent sets and costumes as visual elements.
Screwball Comedies are highly verbal as opposed to its predecessor,
the Slapstick Comedy"
You are asked to come up with a material that tackles
inequalities in society in terms of gender. Write a material that is both entertaining and meaningful
at the same time. To top it all, you need to deliver the material in 15 steps, within 15 to 20 sequences,
within 30 to 40 minutes television-running time, contained in a television format with four bodies.
So, what's next?
Genre construction is a technique that helps the writer
cope with the parameters that are often set by the bureaucratic & non-creative component of any television production
team. As part of the creative component, this technique is effective in identifying the tone of the material
as well as the mode of the comedy. In this case, one can use Screwball Comedy as a means of satisfying
the immediate requirements set by the supervising producer & executive producer.
In the definition above, Screwball Comedies are entertaining
but at the same time sensitive in terms of the prevailing socio-political and economic conditions. Often,
this genre tackles inherent gaps, inequalities and inequities in gender, race, age and socio-economic class using humor as
an abstract value in terms of deployment.
The use of opulent sets and costumes as well as upper class characters
serve as a means to visually entertain the masses. But at the same time, wisecracks and frenetic actions
that reveal inherent anomalies and abnormalities within the upper class gives the masses the opportunity to laugh at the hang
ups and stupidity of this socio-economic class which they consider as oppressors.
This opportunity is a way to exact an emotional revenge
to a class from which the masses feel exploits the inherent economic weakness of their class. Thus, the
laughter is not just a physical expression of delight rather it is an emotional validation that the upper class is not so
perfect after all.
The same principle holds true whenever the
genre tackles gender, race or age. The oppressed and the oppressor are immediately identified in the equation
and from that equation the writer begins to workout the material that seeks to entertain the target audience by sending a
meaningful message.
So, next time someone ask you to write a material that
tackles inequalities in society in terms of gender, why not try Genre construction and use Screwball Comedy as the template
of your material. It is a clever way of sending a serious message but packaged in a punchline.
CLICK HERE TO PLAY VIDEO
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