We will work from the observation and reading of some paintings. Their composition, structure and representation. From Kandinskij to Caravaggio, passing through De Chirico and Paolo Uccello. From these paintings, we will draw a line that unites the essential unity of paintings with that of audiovisuals and cinema: the image, the frame.

We will work on the concept of composition, on the spatial relationships within a load-bearing structure: lasting images, which can hold the gaze of those who live and read them.

We will thus see that a large part of the aesthetic composition is not only built on lines or geometries. But above all on the internal movements of the images. The movements are given by the gestures of the characters and the breadth of their bodies. These gestures, both in paintings and in cinema, are generators of internal tension.

What do we mean by ethics when we talk about film framing?

The ethics of looking is necessarily based on the relationship with the spectator. This ethic is built on the society, the culture, the history of the viewer and of the person who composed that image. There are multiple ethics, just as there are multiple spectators.

Constructing an ethical relationship with the viewer means allowing his eye to roam freely within the frame. Not trying to represent reality, but looking for our own reality in what we represent.
What can we show and if we can show it, from which point of view?

And when one image is juxtaposed with another, what role does ethics play? Can we consider film editing ethical in a scene with a strong tension between several characters?

In the third part of the workshop, the ideas and knowledge resulting from the discussion and the collective process will be put into practice.

Creation of volumes and visual planes through photography and the lighting of a scene. Use and choice of lenses: the management of cinematographic space and time.

Creating an image that is both ethical and aesthetic, a potentially infinite image, within which each person can be free to wander, to navigate with their own gaze in search of their own truth.

During the workshop professional equipment will be used: 

a Blackmagic URSA Mini Pro 12K camera; 

cinema lenses; 

Astera lamps and projectors.