Rear Window Screenplay.

Complete screenplay available at:

http://www.imsdb.com/scripts/Rear-Window.html

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Shooting over Jeff's shoulder we see beyond him the divan-

bed upon which Lisa is stretched out. There is one light

burning, behind Lisa's head. A fierce discussion is in

progress. Lisa gesticulates with her hands, body and legs.

LISA

There can't be that much difference

between people and the way they live!

We all eat, talk, drink, laugh, sleep,

wear clothes --

Jeff raises both his hands.

JEFF

Well now, look --

Lisa draws back one leg, and points a finger challengingly.

LISA

If you're saying all this just because

you don't want to tell me the truth,

because you're hiding something from

me, then maybe I can understand --

JEFF

There's nothing I'm hiding. It's

just that --

LISA

(Won't let him break

in)

It doesn't make sense to me. What's

so different about it here from over

there, or any place you go, that one

person couldn't live in both places

just as easily?

JEFF

Some people can. Now if you'll let

me explain --

LISA

(Ignores him)

What is it but traveling from one

place to another, taking pictures?

It's just like being a tourist on an

endless vacation.

JEFF

All right. That's your opinion. You're

entitled to it, but --

LISA

It's ridiculous for you to say that

it can only be done by a special,

private little group of anointed

people.

INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

Jeff begin to get desperate.

JEFF

I made a simple, but true statement

and I'll back it up, if you'll just

shut up for a minute!

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Lisa, stretched out on the divan. She looks at him for a

moment without speaking. Then:

LISA

If your opinion is as rude as your

manner, I'm not sure I want to hear

it.

We see Jeff's hand coming to the foreground with a restraining

gesture.

JEFF

(Soothing her)

Lisa, simmer down -- will you?

LISA

(Something starts her

up again)

You can't fit in here -- I can't fit

in there. According to you, people

should be born, live an die on the

same --

JEFF

(Loud, sharp)

Lisa! Shut up!

Lisa turns on her side, and stares into the room, angrily.

INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

After a moment of silence, Jeff says earnestly:

JEFF

Did you ever eat fish heads and rice?

LISA

Of course not.

JEFF

You might have to, if you went with

me. Ever try to keep warm in a C-54,

at fifteen thousand feet, at twenty

below zero?

INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

Lisa, still looking out into the room, and without turning,

says:

LISA

Oh, I do that all the time. Whenever

I have a few minutes after lunch.

JEFF

Ever get shot at, run over, sandbagged

at night because people got

unfavorable publicity from your

camera?

She doesn't answer, obviously annoyed at the unnecessary

questions.

JEFF

Those high heels would be a lot of

use in the jungle -- and those nylons

and six-ounce lingerie --

LISA

(Quickly)

Three.

JEFF

Well, they'd be very stylish in

Finland -- just before you froze to

death. Begin to get the idea?

She turns at last, and looks across at him.

LISA

If there's one thing I know, it's

how to wear the proper clothes.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

SHOOTING OVER LISA'S SHOULDER, and down her body, with Jeff

in the chair beyond. Jeff says, as if remembering some old

experience:

JEFF

Huh? Try and find a raincoat in

Brazil. Even when it isn't raining

(Squints at her)

Lisa, on this job you carry one

suitcase. Your home is the available

transportation. You sleep rarely,

bathe even less, and sometime the

food you even look at when they were

alive!

LISA

Jeff, you don't have to be

deliberately repulsive just to impress

me I'm wrong.

JEFF

If anything, I'm making it sound

good.

(A thoughtful pause)

Let's face it, Lisa... you aren't

made for that kind of a life. Few

people are.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Lisa realizes she is getting nowhere.

LISA

You're too stubborn to argue with.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff, getting angry.

JEFF

I'm not stubborn! I'm truthful!

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Lisa, with sarcasm.

LISA

I know. A lesser man would have told

me it was one long holiday -- and I

would have awakened to a rude

disillusionment.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff is definitely angry.

JEFF

Now if you want to get vicious, I'd

be very happy to accommodate you!

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Lisa starts to rise from the divan, THE CAMERA PANNING UP.

She moves away from THE CAMERA into the center of the room,

as she says:

LISA

(Wearily)

No. I don't particularly want that.

(She turns, faces him)

So that's it. You won't stay here --

I can't go with you.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff looks across at her with some concern.

JEFF

It would be the wrong thing.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Lisa, from Jeff's viewpoint.

LISA

You don't think either one of us

could ever change?

JEFF

Right now, it doesn't seem so.

Lisa begins to move around the room assembling her possessions

preparatory to leaving. She puts a comb, and other effects,

into a handbag. She gets her stole.

All this as she talks.

LISA

(Simply)

I'm in love with you. I don't care

what you do for a living. Somehow I

would just like to be part of it.

INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

Jeff starts to say something then thinks better of it, and

remains silent.

INT. JEFF'S APARTMENT - NIGHT - MEDIUM SHOT

Lisa pauses in the act of gathering her things together.

LISA

And it's deflating to find out that

the only way I can be part of it --

is to take out a subscription to

your magazine. I guess I'm not the

girl I thought I was.

JEFF

There's nothing wrong with you, Lisa.

You have the town in the palm of

your hand.

LISA

(Looks at Jeff)

Not quite -- it seems.

(Tosses a stole over

her shoulder)

Goodbye, Jeff.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

JEFF

You mean "goodnight."

LISA

I mean what I said.

Jeff's eyes follow her up the steps toward the door. He calls

out to her, impulsively, as we HEAR the SOUND of the door

opening.

JEFF

Lisa!

INT. JEFF'S APARTMENT - NIGHT - SEMI-LONG SHOT

Lisa turns in the half-opened door.

JEFF

Can't we just sort of keep things

status quo?

LISA

Without any future?

INT. JEFF'S APARTMENT - NIGHT - SEMI LONG SHOT

Jeff tries to be pleasant, and offhand.

JEFF

Well -- when'll I see you again?

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Lisa, standing in the open doorway.

LISA

Not for a long time. Not, at least

until --

(She begins smiling)

-- tomorrow night.

Continues smiling as she close the door softly behind her.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

The pleasantness on Jeff's face slowly melts into baffled

discouragement. He reaches for a nearby phone picks up the

receiver, dials. It buzzes on filter.

Receiver up on filter.

GUNNISON

(Filter)

Hello.

JEFF

Gunnison?

GUNNISON

Yeah. Is that you, Jeff?

JEFF

It's me.

GUNNISON

Something wrong?

JEFF

The word is "everything." Now what

time does my plane leave Tuesday?

GUNNISON

(Unhappy)

Jeff --

JEFF

(Won't give him time

to argue)

I don't care where it goes -- just

as long as I'm on it.

GUNNISON

(Wearily, after pause)

Okay. Indo-China. Tuesday. We'll

pick you up.

JEFF

That's more like it. Goodnight, old

buddy.

GUNNISON

Yeah.

Jeff hangs up, looks up to the door through which Lisa left.

He's not particularly happy.

INT. JEFF'S APARTMENT - NIGHT - SEMI-CLOSEUP

Jeff returns to the window. He lights a cigarette and smokes

it peacefully, as he contemplates the neighborhood.

EXT. NEIGHBORHOOD - NIGHT - SEMI-LONG SHOT

The CAMERA slowly sweeps over the various apartments with an

odd window lit here and there. In the distant street there

is still some traffic passing, with one or two pedestrians

going by. THE CAMERA completes its sweep, and starts to move

back again. Somewhere a dog howls. The PANNING CAMERA comes

to a sudden halt.

INT. JEFF'S APARTMENT - NIGHT - CLOSEUP

Jeff smiles a little, but as the howl continues, his

expressions sobers. His eyes begin to scan the neighborhood,

as if looking for the source. He fails to find it, and sits

there, puzzled and disturbed. The scene, and the sound of

the dog:

See Me See U

Assignment: See Me See U
Assigned: Sept. 15, 2010.
Due Date: Sept. 22, 2010 (Screening and studio time).
Sept. 29, 2010 (Individual meetings).
Oct. 6, 2010 (Research presentation).
Oct. 13, 2010 (Final assignment due).

Description:
See Me See U is an assignment in several parts. Starting with the framing of a stage play, then considering the possibility of crossing the edge of the stage towards a structure of close-ups, camera movements, and finally an awareness of the construction of a “total symbolic universe.”

Concept and Structure:
With stage plays the viewer is bound by the edge of the stage and the curtain that rises and falls to signify moments of active looking. In Cinema, the viewer is lead into the narrative, across the threshold of the stage, by way of camera movements, framing techniques, pacing, edits, etc. The crossing of the stage creates the “cinematic perspective” of montage, close-ups, etc; a language of fragmented images. Working with a screenplay, you are invited to visualize the movements, angles, framing… essentially the cinematic perspective and symbolic universe of a drama. The objects and actors interact with one another on the stage but the viewer is “lead/guided” by the lens of the photographer.

Objectives:
• To consider blocking and staging of a drama (how the actors interact with the environment).
• To select objects and environments that the actors can interact with (lighting, colour, sound, textures, etc).
• To include the movements of the camera with the blocking, acting, environment (where and how will “we” as viewers be seeing, how will it effect our “reading” of the visual).

Process:
• We will be screening Hitchcock’s Rope during the PM session of Sept. 22nd.
• You will be provided with the screenplay for a scene from Hitchcock’s Rear Window from which you will stage, block, and frame the drama.
• On September 29 (2 weeks) you will be working in class on your research and presentation and be available to meet individually with the instructor.
• On October 6 (3 weeks) you are to be prepared to present your concepts for the staging, blocking, and shooting of the scene to the entire class.
o This presentation will include drawings of vantage points at specific moments in the narrative, consideration of the mise-en-scene, lighting, blocking, etc.
o Feel free to include possible colour palates, textures, effects, and examples (collages, previous photographs/stills, location stills, etc.) within your proposal.
o Input from your peers will aid in the development of your concepts and techniques towards a final product.
• After the presentation you may revise / reconsider your proposal and work towards a shooting schedule.
• On October 13 you are to present the final story boards / shot list for the scene to the class.

Week by Week

Week by Week

September 8

Class 1            Introduction, Assignment #1, Intro, Studio

September 15

Class 2            Studio, individual meetings, Crit Assignment #1, Intro Assignment #2

September 22

Class 3            Screening, Studio/research Assignment #2

September 29

Class 4            Individual Meetings*, Studio, Distribute Readings

October 6

Class 5            Present Research*, Discuss Readings, Intro Assignment #3

October 13

Class 6            Crit Assignment #2, Studio Assignment #3

October 20

Class 7            Group Meetings*, Studio Assignment #3

October 27 (MID TERM)

Class 8            Critique Assignment #3, Distribute Readings

November 3

Class 9            Discuss Readings, Intro Assignment #4

November 10

Class 10            Studio Assignment #4

November 17

Class 11            Present Proposals Assignment #4*, Feedback, Studio Assignment #4

November 24

Class 12            Critique Assignment #4, Intro Assignment #5

December 1

Class 13            Studio Assignment #5

December 8

Class 14            Critique Assignment #5, Hand in portfolio.

December 15

            End of Term Reviews (AM/PM)

Tracing and Pulling: Part 1

Assignment: Tracing and pulling: part 1
Assigned: Sept. 8th.
Due Date: Sept. 15th (1 week).

Description:
This assignment plays with the process of drawing, specifically tracing, as an act of fascination and admiration. By tracing over an image you are in a process of contemplation and reflection; you follow the contour, the pattern, the rhythm, … the subject with ease. As a process, you immediately “pull” out details from the image. With careful reflection you edit and respond to your actions, which during the process may have seemed automatic and objective.

Concept and Structure:
Working with a photograph you have previously taken (you may also choose to shoot new images) you are asked to produce three (3) tracings of the image. You may choose to work abstractly, realistically, or graphically. You may choose to layer your images into a complex network, repeat patterns or textures, or block-out entire areas of the image. Work intuitively, reflect on your process, and edit your results. Consider the elements and principles of design in your final compositions.

Objectives:
• To respond to, and take responsibility for, previous decisions and actions.
• To contemplate a work over time, reflecting on changing conditions of production.
• To confront the mental space in which a work is produced (withdrawal, excitement, exuberance, confidence, etc…)
• To apply the elements and principles of design to assign a value to a finished work (this is a little backwards).
• To “play” with an image (get to know it, how you respond to it, how it reacts).

Process:
• Work with an image you are already invested in and that you find challenging (starting with a colour image is encouraged).
• Produce a print from which you can work on top of with vellum or frosted mylar.
• Work intuitively and responsively with the image. This process will take time to consider and reflect upon but will have immediate physical/visual effects.
• Consider the scale at which you are working and the types of marks you are making.
• Consider what the trace is revealing in the original image.
• You are free and encouraged to work with line, colour, textures, and patterns to exploit your concerns.

Materials:
• Minimum of one printed photographic image of your choice.
• Vellum or frosted mylar.

Additional links:
A Short History of the Shadow: An Interview with Victor I. Stoichita:
http://www.cabinetmagazine.org/issues/24/stoichita.php

The Origin of Painting:
http://projectionsystems.wordpress.com/2009/09/06/the-origin-of-painting/

Instructor's Course Guideline

Instructor’s Course Guideline
Fall 2010

Instructor: Justin Waddell
Office #: 559
Office Hours: Thursday, 1:00pm – 2:00pm (or by appointment)
Office Telephone: 284-7620 (no voicemail avail.)
Email: justin.waddell@acad.ca
Blog: http://phtg230.blogspot.com

Course: PHTG 230 A – Visualization Processes for Photographers
Wednesdays, 9-12 / 2-5 PM. Room # 534
Credits: 3
Pre-Requisite: Completion of First Year Studies or equivalent.
Note: Registration priority to will be given to Photography Majors. Students who have successfully completed VSCM.210 may not receive credit for this course.

Description:
This course prepares students for a visually literate contemporary photography practice by introducing them to design principles, with an emphasis on drawing processes, methodology, and concepts. Through formal analysis, concept development, and color theory, students gain insight into how to organize and manage design elements and principles in a variety of photography and design contexts. Time-based narrative structures and spatial-relational concepts will be researched combined with the histories of montage, collage, decoupage, and assemblage. Fieldtrips, screenings, readings, studio work, collaboration, exhibition, and critiques are essential elements of this course.

Objectives:
Upon successful completion of this course the student will have:
1. Developed a high level of skill using the visual elements and principles of design to produce visuals in a variety of photography and design contexts:
2. Demonstrated an ability to analyze form, understand perspective, lighting and depth, and an ability to utilize drawing processes and ideas;
3. Become proficient with techniques and materials used in professional presentations;
4. Explored basic use of color and color theory.

Evaluation:
Student will be graded on:
1. Completion of each assignment:
• This involves the process of conceptualization and investigation.
• The actual execution and realization of the final piece.
• The ability to discuss individual working processes and methodologies.
• The depth and quality of research apparent in the finished work.
2. Consistent involvement in class dialogue and critiques.
3. A positive attitude towards everyone in the class and respect for different opinions.
4. Overall participation in class during critiques, discussions, presentations, and workshops.


Evaluative events during the semester:
Mid-term meeting
Students will meet individually with the instructor to discuss her/his progression in the course. An evaluation will be provided to the student with an indication of their progress and standing within the class. Individual meetings provide a formal venue to discuss a student’s development and to participate in a dialogue on the course content and direction. Although works will be critiqued continually throughout the term, final grades will not be assigned until the submission of a final portfolio. This process is implemented to encourage reflection on group critiques and peer evaluation as well as consultation with instructors.

Design Department

Visual Communications Design & Photography

In a professional design degree program, the sheer number of projects within any given course creates a constant dialogue between instructor and student so that progression is clearly and constantly defined. Therefore, Design does not distribute mid-term marks. Instead, effective monitoring of students’ progress throughout the semester is provided through the following Departmental protocols and procedures:
1. ongoing consultation with instructors;
2. timely assessment of projects;
3. comprehensive grading forms which are project-specific; and
4. use of the warning letter – distributed before mid-term and allowing students to withdraw without penalty. As another example of ongoing assessment of progress, faculty is encouraged to distribute warning letters whenever needed at any time during the semester.


Final portfolio submission
On the last day of formal instruction, a portfolio reflecting the overall development in the course will be submitted for evaluation. The instructor will draft written evaluation to be delivered when portfolios are retrieved. There are no scheduled individual meetings between faculty and student unless requested and agreed upon by both parties in advance of the portfolio’s submission.
*Failure to submit a final portfolio will result in an “F” grade in the course.

Final Breakdown:
Major Projects: 40%
Creative Process: 20%
Research: 20%
Assignments/Presentations: 10%
Participation/Attendance: 10%

Projects/Assignments:
There will be a minimum of three major assignments and four minor assignments; two of which will have a written component as well as a minimum of two in-class assignments / workshops. Students are also required to periodically research and annotate a minimum of three sources throughout the term. Complete descriptions of assignments including objectives and grading criteria for specific assignments will be distributed as the course progresses.

Attendance Policy:
Course content is delivered as in-class and offsite as lectures, demos and/or workshops, discussions, panels, and critiques. Therefore, missed classes results in missed information and loss continuity. If a student has missed 3 days (or more) of class, or the equivalent through lateness or leaving the class, the final grade will be negatively affected and may result in failure of the course. If illness occurs, it is the student’s responsibility to contact the instructor as soon as possible. In such a situation, a doctor’s note is required and a student will be not listed absent for the occasion only totaling one (1) class day. If illness persists, the student will be directed to the school counselor to discuss options.
Please note:
• Simply attending class does not guarantee a passing grade
• Class field trips are compulsory, as are class critiques.

Participation:
Participation is an integral aspect of this course and students’ contributions to the class dynamic, critiques, and informal discussion will be reflected in this portion of the grade. Meaningful participation will require that students consistently involve themselves in the group. In-class components will also be used to assess students’ participation.

Critiques:
The format of critiquing may be delivered in a formal, informal, or work-in-progress and ad hoc manner. Whatever the format, critiques are an opportunity to discuss work and share information with the group. Students need to anticipate possible questions that may be raised during a discussion and welcome all well-intentioned feedback. Students are encouraged to understand that the criticism given is not intended as a personal attack. It is recommended to have a peer take notes during a critique so that an archive of comments may be compiled during the semester. Critiques are intended to be a productive learning experience. Paying attention and participating in other students' critiques is expected and is a requirement of this course and as such will be reflected in their final grade.

Additional Expectations:
• Students in this course will be responsible for regular attendance and punctuality.
• Students can expect to spend a Min. 6 hours a week out of class on course requirements.
• The studio will be a place that embraces inclusiveness and diversity.
• Occasionally, film screenings will be held as an integral part of the course.
• Readings will be assigned and critical feedback is mandatory.
• Critiques are compulsory *

Materials:
• Students must bring with them to each class basic mark-making and drawing tools and a selection of supports for experimenting in studio as well as selected readings.
• Specific materials will be required for in-class exercises; these will be announced at least one week in advance.
• All works are to be presented undamaged and complete at the time of critique. No work shall be accepted as incomplete or damaged. Please take care when handling your work. Improper presentation and transportation will not be accommodated.
• Works will be required to be presented in both digital and physical forms. All materials essential to the presentation of a work is the responsibility of the Student.
• Students are responsible for the cost of printing and mounting final works for presentation.
• The studio will be a space that involves both dry, wet, and digital medias. Please be advised to use caution and adhere to health and safety procedures when handing materials.

Texts:
There is no required text for this course however, the instructor will, whenever possible, provide selected texts on closed reserve in the library or in the form of photocopies. Students may also be directed to websites, on-line documents, periodicals, and e-resources for additional readings.

Health and safety as an instructional requirement:
It is the responsibility of every faculty member to ensure that his/her students are informed to avoid accidents and occupationally-caused disease by establishing, enforcing and personally modeling safe and healthy procedures and work habits related to all aspects of producing art and design.

Both faculty and students are expected to follow safe work practices, to comply with safety requirements, and to take an active role in protecting the health and safety of all members of the ACAD community.

Students must familiarize themselves with the minimum acceptable health and safety standards and endeavor to comply with them at all times, since they will be held individually accountable for health and safety performance. It is encouraged that students utilize the technicians and staff to ask questions when in doubt about safe working processes.

*This studio will be a solvent free environment: No turpentine (odorless included), spray adhesive or fixative, rubber cement, toxic markers etc.

Conduct Code: Studio
The use of electronic communication and personal media playing devices during studio class time:
• Cell phones: turned off and stored out of sight, except if a student or faculty member has compelling circumstances that warrant active cell phone use in the studio. These circumstances must be identified and approved by both faculty and students prior to use.
• Cell phone use permitted in hallways only.
• Personal media playing devises may be used, at the sole discretion of the faculty, during designated work periods only.
• Laptop computers and PDA usage during studio class time is limited to projects or coursework that specifically warrant their use, or for faculty designated research and production assignments.

During studio class time, it is the students' responsibility to:
• conduct themselves in a manner which reflects respect and courtesy for other class members and for faculty.
• conduct themselves in a manner which reflects respect for a healthy and, safe communal studio environment.
• conduct themselves in a manner which reflects respect for the materials, art work, and possessions of classmates.
• conduct themselves in a manner which reflects respect for College property.

*Failure to meet the basics of conduct expectations above may result in disciplinary proceedings.

College/Program/Department Policies and Procedures:
Students and faculty should refer to the College’s website for up to date information concerning academic and campus regulations. Students and faculty are responsible for familiarizing themselves and complying with all College policies, procedures and regulations as well as specific Program and/or Department regulations as distributed. Program regulations will normally be distributed within the first week of classes.

Storage of Student Artwork:
Due to the lack of space to store artwork, all student work must be removed from the College by 5:00 pm, December 23, 2010. Any artwork remaining may be disposed of.
*Please review Disposal/Storage of Student’s Work attachment.

ALBERTA COLLEGE OF ART & DESIGN COURSE OUTLINE



PROGRAM/MAJOR: Photography

COURSE: PHTG.230 – Visualization Processes for Photographers

CREDITS: 3.0

PRE-REQUISITE: Completion of First Year Studies or equivalent.

NOTE: Registration priority to will be given to Photography Majors. Students who have successfully completed VSCM.210 may not receive credit for this course.

DESCRIPTION: This course prepares students for a visually literate contemporary photography practice by introducing them to design principles, with an emphasis on drawing. Through formal analysis, concept development, and color theory, students gain insight into how to organize and manage design elements and principles in a variety of photography and design contexts.

OBJECTIVES: Upon successful completion of this course the student will have:

1. developed a high level of skill using the visual elements and principles of
design to produce visuals in a variety of photography and design contexts;
2. demonstrated an ability to analyze form, understand perspective, lighting and depth, and an ability to draw;
3. become proficient with techniques and materials used in professional presentations;
4. explored basic use of color and color theory.

EVALUATION: Evaluation and assignment of grades will be based upon the quality of work produced relative to the objectives of the course. Specific criteria will be stated in writing and distributed by the course instructor normally by the end of the first week of instruction.

REGULATIONS: Students and faculty should refer to the College’s website for up to date information concerning academic and campus regulations. Students and faculty are responsible for familiarizing themselves and complying with all College policies, procedures and regulations as well as specific Program regulations as distributed. Program regulations will normally be distributed within the first week of classes.

Introduced: December 1984
Revised: May 1988
May 1990
May 1991
March 1995
December 2002, Implementation September 2003
January 2008, Implementation September 2008