Acting for the Camera (GH228) 4 Credit Hours Spring 2015 COURSE DESCRIPTION Empowers actors with the ability to create strong, vivid, cinematic performances. Gives actors a specific process for creating cinematically in all film & television genres. Students work on new scenes each week, applying a different creative tool and/or new cinematic technique each week. *Students who are late on a given week are not guaranteed that they will work that week. Students who do not participate in setting up the equipment at the beginning of class should expect not to work that week. Students who do not participate in breaking down the equipment at the end of class should expect not to work the following week. COURSE LEARNING OUTCOMES (CLOs): This course is structured as a weekly simulation of filming an individual actor’s coverage within a scene. Instructor will guide actors through the application of each week’s creative concept or cinematic technique. After successfully completing this course actors will be able to: 1. 2. 3. 4. 5.
-Create cinematic performances. -Use the power of their cinematic voice. -Create performances in different genres. -Create three dimensionality with their performances. -Create a variety of cinematic characters.
WEEKLY CURRICULUM: -Week One: “Tools & techniques for creating vivid and memorable film performances.” Instructor will demonstrate various lessons to be covered over the course of the semester. Homework: ½ - 1 page film scene. (Expected each week.)
2 -Week Two: Equipment set up/break down demonstration – “Commanding the camera.” Instructor will show actors how to focus their physical energy, how to use “focused energy” to create and how to use “focused energy” to more cinematically play their creative choices. Actors will create within their character’s coverage of a two-character scene. -Week Three: “The unexpected choice. How to avoid the literal, the obvious, the flat.” Lillian Gish - True Heart Susie Instructor will give actors specific creative approaches to finding the most interesting choices for the camera. Actors will create within their character’s coverage of a two-character scene. -Week Four: Michael Caine – Acting in Film/An actor’s take on movie making. “Putting action into dialogue scenes.” Instructor will show actors how to turn any dialogue scene into an “emotional action” scene. Actors will create within their character’s coverage of a two-character scene. -Week Five: “Creating vivid and specific cinematic characters.” Instructor will give actors a step-by-step approach to creating vivid characters. Actors will create within their character’s coverage of a two-character scene. -Week Six: In Class Project. Actors will create three distinctly different performances, playing the same role in the same scene. -Week Seven: Part I: Commercial Camera Seminar – “The board and the Camera.” “Creating a character’s emotional journey within a scene.” Part II: Instructor will show actors how to create character development within scenes. Actors will create within their character’s coverage of a two-character scene.
3 -Week Eight: “How to create various genres through the actor’s performance.” Instructor will show actors how to create “genre choices.” Actors will create within their character’s coverage of a two-character scene. -Week Nine: “Creating mood, tone and texture with an actor’s performance.” Instructor will show actors how to create mood, tone & texture. Actors will create within their character’s coverage of a two-character scene. -Week Ten: TV/Film Actor – “A day on the set…” “Techniques for creating quickly and effectively with directors.” Instructor will give actors the tools, tips, tricks, & insights necessary to work with directors. Actors will create within their character’s coverage of a two-character scene. -Week Eleven: “Timing, rhythm, and “choreographing within the frame”. Instructor will give actors simple, basic “timing & rhythm” technique. Actors will create within their character’s coverage of a two-character scene. -Week Twelve: Final Exam. Actors will demonstrate their grasp of the material covered in weeks seven through eleven, acting in a two person scene and within the constraints of an industry standard on-set environment. Students will be graded on a point by point basis covering all points discussed, explored and demonstrated in weeks seven through eleven.
RECOMMENDED READING Benedetti, Robert. “Action: Professional Acting for Film and Television,” NY: Pearson Education, Inc. 2006. Caine, Michael. “Acting in Film: An Actor’s Take on Movie Making,” NY: Applause Theatre Book Publishers. 1990. Lawson, Denis. “The Actor and the Camera”. NY: Nick Hern Books Limited. 2014.
4 Swanbeck, John. “John Swanbeck’s: How To Steal The Scene & End Up Playing The Lead,” Amazon & iTunes. 2014. Naremore, James. “Acting in the Cinema.” Berkeley, CA: University of California Press, Ltd. 1988. GRADING: Class Participation: 30% In Class Project: 30% Final Exam: 30% Attendance: 10%
In keeping with CCH policy, grading is designated as follows: 92.5 - 100 = A 90 – 92.49 = A87.5 – 89.99 = B+ 82.5 – 87.49 = B 80 – 82.49 = B77.5 – 79.99 = C+ 72.5 – 77.49 = C 70 – 72.49 = C67.5 – 69.99 = D+ 62.5 – 67.49 = D 60 – 62.49 = DBelow a 60 = F
Definitions of Letter Grades: A. Performance of the student is at the highest level and demonstrates full and uncompromising commitment and effort. B. Performance of the student is at a high level and demonstrates consistent and effective achievement in meeting course requirements. C. Performance by the student has been adequate to meet the basic requirements of the course. D. Performance by the student has been sub-par to basic requirements, though meets minimum standards. F. Performance of the student has been such that the minimum course requirements have not been met.
5 APPLIED HOURS: In order to fulfill the requirements of this course a student should expect to spend two hours for every credit hour or eight hours per week outside of classroom time engaged in class preparation, rehearsing, reading prospective scenes, assignments, and other requirements. It is expected students will screen films and TV programs with an eye towards performance and bring their reactions and questions to class discussion. ATTENDANCE POLICY: You will be allowed two (2) absences for the quarter in this class. Any more than two absences (three tardies equate to one absence) will result in a failing grade. Note: 2nd absence will result in a “0” for participation for that day. CCH ATTENDANCE POLICY (as published in the Scholastic Catalog): Attendance is critical to learning, academic success, and support for other students particularly during production shoots. Regular and prompt attendance at all Columbia College Hollywood classes is required. Instructors are not obligated to assign extra work or prepare additional examinations for classes missed. Class attendance policies are determined by each instructor and must be included in the course syllabus distributed the first class session. The College recommends as a minimal policy that students who are absent 20% of the course will be failed. What constitutes an excused absence is a matter between the student and instructor although The College expects leniency for documented illness and hospitalization, bereavement, personal emergency, military service, and observance of a religious holiday. Students who do not attend the first two class meetings of a course in which they are registered may be administratively dropped. If a student wishes to contest the instructor’s application of the attendance policy he/she may petition the Dean of the College. The Dean will conduct an investigation and respond to the petition as quickly as possible. Students who have filed such a petition may attend class sessions while the matter is under review. This course is comprised of activities that are not possible to re-create. If you expect to be absent in advance of a class session or for multiple class sessions, please discuss with the instructor the feasibility of remaining in the class. Please be prepared to show documentation if you are asking for dispensation for attendance or a due assignment due for a medical or bereavement reason. CHEATING AND PLAGIARISM: As with any academic institution, Columbia College Hollywood considers cheating on exams, assignments, and projects, as well as plagiarism, and knowingly furnishing false information as unacceptable behavior on the part of a student. This behavior is punished severely. Refer to your Scholastic Catalog for the CCH Policy on Academic Honesty.
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Cheating is defined as the act of obtaining or attempting to obtain or aiding another to obtain academic credit for work by use of any dishonest, deceptive, or fraudulent means. Note: Use of a script written for one class or footage shot for one class for academic credit in another class is considered cheating unless you receive approval for such use from your instructor. Plagiarism comes from the Latin word for “to kidnap.” It means you are stealing someone else’s words, thoughts, and/or conclusions. To avoid plagiarism, be sure to reference with source any words or materials you take from the published or otherwise disseminated work of another person or persons. If you are unschooled in or confused about how to source your work, the Librarian is available to answer your questions. ELECTRONIC DEVICES: The use of mobile devices (cell phones, etc.) will not be tolerated during class time. No Phone Calls Allowed! No Text Messaging Allowed! No Emailing Allowed! The use of laptops for taking notes and referencing source material is allowed, but you are on your honor you are using your laptop for class purposes only. ACTING FOR THE CAMERA - GH228: Actors can expect the following grades based on the criteria below: CLOs
A
B
C
D
F
CLO 1: Creates cinematic performances .
Consistently create cinematic performances .
Often creates cinematic performances .
Occasionally creates cinematic performances .
Rarely creates cinematic performances .
Fails to create cinematic performances
CLO 2: Uses the power of their cinematic voice.
Consistently uses the power of their cinematic voice.
Often uses the power of their cinematic voice.
Sometimes uses the power of their cinematic voice.
Rarely uses the power of their cinematic voice.
Fails to use the power of their cinematic voice.
CLO 3: Creates performances in different genres.
Consistently creates performances in different genres.
Often creates performances in different genres.
Sometimes creates performances in different genres.
Rarely creates performances in different genres.
Fails to create performances in different genres.
7 CLO 4: Creates three dimensionali ty with their performances .
Consistently creates three dimensionali ty with their performances .
Often creates three dimensionalit y with their performances .
Sometimes creates three dimensionalit y with their performances .
Rarely creates three dimensionalit y with their performances .
Fails to create three dimensionalit y with their performances .
CLO 5: Creates a variety of cinematic characters.
Consistently creates a variety of cinematic characters.
Generally creates a variety of cinematic characters.
Sometimes creates a variety of cinematic characters.
Rarely creates a variety of cinematic characters.
Fails to create a variety of cinematic characters.
ACTING FOR THE CAMERA - GH228: For the Week Six In-Class Project, actors can expect the following grades based on the criteria below: Comprehension
A
B
·
You create three distinctly different versions of one scene.
·
You participate in obtaining, setting up and striking all equipment.
·
You utilize many of the techniques covered in weeks one through five.
·
You engage with the directors and actors participating in the class.
·
You create two distinctly different versions of one scene. You utilize a number of the techniques covered in weeks one through five.
·
You moderately participate in obtaining, setting up and striking all equipment.
·
You moderately engage with the directors and actors participating in the class.
You create one distinct version of one scene. You utilize some of the techniques covered in weeks one through five.
·
You somewhat participate in obtaining, setting up and striking all equipment. You somewhat engage with the directors and actors participating in the class.
You are unable to create one distinct version of one scene. You utilize few of the techniques covered in weeks one through five.
·
You slightly participate in obtaining, setting up and striking all equipment.
·
You slightly engage with the directors and actors participating in the class.
·
· C
·
· D
Participation
·
·
8 · F
·
You are unable to create one distinct version of one scene. You utilize none of the techniques covered in weeks one through five.
·
You do not participate in obtaining, setting up and striking all equipment.
·
You do not engage with the directors and actors participating in the class.
ACTING FOR THE CAMERA - GH228: For the Week Twelve Final Exam, actors can expect the following grades based on the criteria below: Comprehension Participation A
B
C
D
F
·
·
·
·
·
You demonstrate a very strong ability to utilize the specific techniques covered in weeks seven through eleven.
·
You participate in obtaining, setting up and striking all equipment.
·
You engage with the directors and actors participating in the class.
You demonstrate a strong ability to utilize the specific techniques covered in weeks seven through eleven.
·
You moderately participate in obtaining, setting up and striking all equipment.
·
You moderately engage with the directors and actors participating in the class.
You demonstrate a somewhat strong ability to utilize the specific techniques covered in weeks seven through eleven.
·
You somewhat participate in obtaining, setting up and striking all equipment.
·
You somewhat engage with the directors and actors participating in the class.
You demonstrate a slight ability to utilize the specific techniques covered in weeks seven through eleven.
·
You slightly participate in obtaining, setting up and striking all equipment.
·
You slightly engage with the directors and actors participating in the class.
You demonstrate a lack of ability to utilize the specific techniques covered in weeks seven through eleven.
·
You do not participate in obtaining, setting up and striking all equipment.
·
You do not engage with the directors and actors participating in the class.
