Film Analysis of "The Miracle of P.Tinto"

"The Miracle of P Tinto" is a projected film of Spanish nationality with a original written Spanish text, created and directed by Guillermo Fesser and Javier Fesser (Spanish comedians) that later will be translated to other languages for the further projection in different countries like France or England with modified scripts.

Beside the two enviable screenplay writers, this film has an unequal production crew, cause and consequence of the following annotations for a generic, and therefore modest, formal analysis:

      The great majority of the shots that form the film are medium, for example the scene in which Usillos appears ringing the doorbell with his head. The wide shots set the image; usually they are present at the beginning or end of the sequences, almost always present at the family reunions around the table. The close ups detail and exaggerate the gaze (especially the closer close ups of the madhouse director’s blood injected eyes) and gestures of the characters, which emphasize the comicality.

For last, a very used shot is the detail shot: the keys, a comic, the exam sheet, Usillos crushed finger…

      The dolly movements, even though they are scarce, they are well justified. For example in the first scene appear continues lateral and ascending vertical dolly movements that accompany the voice in off narration that is directed to the action. Another type of dolly movement that we find frequently is that which ‘’describes’’ us the characters from bottom to top.

      The pan movements are very scarce, especially the tracing ones (two or three), for example; in the sequence 89, when a car is moving and stops in front of the factory. The rest of the shots are without movement. 

      Zenith and chopped shots abound always when the father and Joselito are in the scene, which gives them an individualist perspective, personality and importance in front of the other characters.

The editing is all-rhythmical. For the action sequence they use a more accelerated editing of the shots in order to accentuate the comic. The accelerated editing combines with the camera movements, scares but present, to achieve a classical action editing resembling films like E.T. For scenes where priors the dialogue, they use the shot/counter shot.

      A formula that they repeat several times during the film is beginning with the close up of one of the characters and then the other character enters in the shot in foreshortening and continuing in its vice versa. Usually they end these shots/counter shots with the character in foreshortening that exits the frame leaving, this way, the other character in a close up.

      The lighting is one of the most distinguished elements. It’s very achieved with special attention to the images that are without colour, this is, black and white, and very well achieved in a delicate focalization that complement the dusk and down light.

When we speak that the ‘Miracle of P. Tinto’’ is a work of art, we referee precisely at its technical production, even though we cannot deny that it has nothing to envy in this aspect any other Spanish comic films.

"Sometimes, life s****"

http://vimeo.com/23741907

'Sometimes, life s****'  is about the typical problem of the most of the students the day before handing in a paper, when they sleep until late at night, and besides being late, the college is a crazy maze to go through to get arrive to class.

A "kinesthesic" walk by the Museum of the Moving Image

    The Museum of the Moving Image hosts more than 130,000 objects covering instances of production, promotion, display pictures, television and digital media. From photos to video games, visitors can discover how the image and the film industry has evolved and production materials such developments have affected, and in many cases the drivers of change.
    One of the activities conducted by the museum guide that impressed me most, was the use of the ‘Foley sound effects’ in cinema. The Foley sound effects are those obtained with recorded sounds, with or without mixing between them. For example, to the grunts and roars of the Wookiee Chewbacca, Ben Burtt used mixtures of sounds emitted by bears, dogs, walruses and sea lions. Also included in those sound effects are recorded in the study to be added to the sounds cape of the film, like two coconut shells rattled to simulate the hooves.
    Also, other of the devices that are exposed in the museum and that I liked to participate the most was the Kinetoscope, which was the forerunner of the modern movie projector developed by William Kennedy Laurie Dickson as he worked with Thomas Edison. This instrument is considered as the first machine of cinema. This is a band of film advancing after a single viewer in front of a light bulb, creating the illusion of movement.
    In my opinion, after having been experienced the delights of this museum, I ended the visit with a clear idea of how technology has changed considerably film from the early silent cinema of the Lumiere brothers, to the 3D digital cinema in XXI century. In other hand, too, the language of film has changed, including the conventions of the genre, creating film genres and the society, giving rise to different film movements and national cinemas.

My own "Mr potato face"

Stamp Art

...what's in Dali's mind...

"Hunter College: A Day in the Life"

Cars jamming on the Lexington Avenue, a statue watching endlessly the day by day life of the people down below, some inside lights reflecting on the glass giving the impression of sunlight, just a little lie to soften the weather…
All of these are just the surroundings. A boring outside, a rainy day! Yes! But inside it, an utmost interesting, vibrant and exceptional day-to-day life that we share in this unique environment that is Hunter College.

Artist Statement

A great part of me was astounded when I first discovered that I could be on the verge of a major change in career, that had first began with acting but through the years and especially this past year turned more and more to directing and sound/music.

When I first began thinking about the acting career, I was sure about one thing: Even though I would have to embrace different areas, my final stop would be cinema.

I began my career as an actress in Madrid with a vast musical background that I believed would help me when performing; for both areas were very similar in a way.  Both of them play with emotions, emotions that you have to transmit to the audience and I was sure that if I could feel when singing or playing an instrument I could do so when playing a character. In a way, music was what inspired me in the first place to take this path which I’ve chosen.

Even though my career focused almost only on interpretation, I was still interested, from the first moment, in all the other areas of filmmaking, but it was not until I directed a short film that I had to present in class, that my desire to engage on the Film Directing Learning Quest and the sudden change in my career began.

I think that little by little my desire of becoming a film director or sound/ music designer is growing unstoppable in me, though I love acting, I feel that my need of knowledge, of knowing everything that builds this seventh art, can only be granted to me by directing and designing the film's sound/music. It offers me a possibility that no other area inside filmmaking offers, a possibility to tell your own stories, to show your own view of the world and the world you create, to pass over the barriers that the other fields of filmmaking might hold and be able to create your own universe and your own language, to bound together everything that exists in one simple shot.

For all that reasons I'm here, to continue discovering myself into this huge art.

So... keep on MOVIEng, shoot it all!