In earlier posts, mediateacher.net has discussed the relationship of celluloid-based moviemaking, film history, and digital technologies in such posts as The “Film” Word: Language and Moving Images, State of the Process: Digital and Film (concerning the then-recent documentary Side by Side and related topics), Thinking about Light: Emmanuel Lubezki Interviews & State of Cinematography (which is definitely one of this blog’s most visited posts), and Thinking about Light 2.
In news from this year related to the availability and use of celluloid-based filmmaking, the non-profit cinema-arts organization Mono No Aware is working to build the first non-profit motion picture lab in America. This Brooklyn-based group recently celebrated the ten-year anniversary of its annual festival which features multi-media performances that incorporate Super 8, 16mm, 35mm film, or altered light projections. Mono No Aware, founded by Steve Cossman, offers workshops on a variety of analogue filmmaking and processing techniques, and the organization has been visiting schools for a number of years to teach young people about analogue motion pictures. For those interested in verifying that projected strips of images that move in front of us are, indeed, very much alive and inspiring a new generation of moviemakers, multimedia artists, and movie-lovers, check out this piece from Daily Vice.
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There are many Crash Course videos from PBS Digital Studios, starting with one that builds on the Screenwriting Resources posts here at mediateacher.net: Screenplays. It reviews the standard basic “rules” seen in screenwriting manuals, although you will of course want to turn soon to Chapter 7 of Moving Images to dig in well and be inspired about the possibilities and standards in writing for moviemaking.
