Well done Abdou
Subscribe To http://fr.scribd.com/doc/129823671/%D8%A7%D9%84%D8%A3%D9%8A%D8%A7%D9%85-%D8%A7%D9%84%D
Posts
All Comments
Wednesday, February 26, 2014
Made in Morocco by Abdelouahed Mjahed
Well done Abdou
Monday, February 17, 2014
The glamour of SNRT film makers continues to shine - Fatine's Sarkat Bel lamaan - is in Tangiers
By Ali Karama
Fatine has presented her shortfilm called - The Cry of Bel laaman -this shortfilm reflects the mood of Arab spring .Her film is funded by CCM starring Ahmed Hamada and more Tangiers actors .
Fatine is a SNRT film director employed at the Cultural channel named Arrabia TV channel.Fatine is the first SNRT film director funded by CCM and followed this year by Allal El Alaoui ,Al Oula Tv, in his coming shortfilm called The Step co-written by Khalid Akali and Allal El Alaoui .
"Abu Nahab " by Ahmed Snoussi in Amsterdam
By Ali Karama
Amsterdam is the next step ffor the Moroccan comedian Ahmed Snoussi Bziz who will prohibit his show and knwing that Si Ahmed has been prohobited from official media in Morocco for over 20 years, Snoussi intended to commemorate the February 20 Movement , on the occasion of its third anniversary .
This is the Theatre De Meervaart Amsterdam to house on February 26 his new show "Abu Nahab " (" The Looter ").
"Abu Nahab " is a relentless satire denounces the decay of power and its abuses in the
post-revolutionary period known from the Atlantic Ocean to the Persian Gulf.
Because since the emergence of an Arab sentiment that wants to emancipate and regain his freedom , plans that feel they have escaped the popular outburst of redoubled ferocity and ensure grain not to be surprised by the storm. It ignores the countdown was triggered and the dice are thrown .
Tuesday, February 04, 2014
New recommendations on media presented by Civil society associations
By Ali Karama
New recommendations on media are introduced by civial society and supported by the ministry of communication to be practised on national televisions in Morocco.But, first these recommendations will be sent to to the supreme media court HACA to supervise its bonds , and then it will be introduced to the administative assembly of SNRT in order to start using in it in media .By the way , too many associations are fed up of corruption and unemployment already manipulated by mafia - like in the world of media which orphanize Moroccan technicians and artists.
Friday, January 31, 2014
Friday, January 24, 2014
Good Bye ISADAC
Written by Allal EL Alaoui
Acting
in Morocco is not new .It is related to Halka; actors gathering people around them
usually in a cirle and you can listen to this kind of stories right in the
heart of Marrakech ; a place called
Jamaa El Fna square .Now,some Moroccan towns like Mekness invite the same Halkas just to seduce
consumers because it is about buying goods and at the same time having pleasure.
Right
after the independance of Morocco, some Moroccan students went to France to
study theatre just like Taib Essadiki,Chafik Shimi and more others .
Others prefered to go to Egypt or Syria because of patriotic or nationalistic
reasons .Any way, some forms of theatre
have been known in Morocco ;although in general Arabs already refused
theatre in the past because its dareness to blasphemy .
After
Cairo ;Demascus,and Baghdad and there comes Rabat creating a new establishmement called ISADAC, a french word meaning ; institure of
theatre of dramatic studies which is apparently training, and urges to study and research
in all areas of theater. It is created by decree No. 2.83.706 of 18 January
1985, under the Ministry of culture in Morocco.
One of its
objectives is to train professional actors and introduce them to theatre and
cinema world.yet,ironically its actors are lost in cafés of major towns in
Morocco just like Café Terrace in Rabat ;
which is itself becoming a commercial café meeting .There are other places that
actors and actresses usually meet and discuss the market of jobs just like La
Ruche, Halinka, Triangle Rouge in Rabat,la comédie in Fès and café de la France
in Casablanca .
According to
Hicham El Wali and Said Ait Baja, recently interviewed in Al Oula TV,they state
that the position of actors in Morocco is critically bad and it is getting
worse, because first the jobs are findless and even if there is a job ,
excecutif producers pay them badly (see the famous 2M series called – AL Majdoub
- in which Hicham EL Wali has worked in and appealled to tribunal the producer himself .The production company of Al Majdoub has
declared its fraud and it can not really pay all actors . In the past, ISADAC
was a seducing place for young comers .However now , it really becomes
empty proscenium arch ; producing only unemployed actors,states Said Ait Baja .ISADAC achieved
nearly 1000 adherents before and in 2012 only 350 which is a considerable
decrease in number.
Still , girls in
the world of theatre namely in movies are confronting sexual abuse not denying
that some of them accept the offer willingly just to get a part in a movie or
theatre .Some students in ISADAC convey strange behaviours of ISADAC teachers
as to ask them for sex ,but this fact is not yet confirmed .
Either what
Mahmoud Frites has recently conveyed
about the decline of Art in Morocco or the melancoly of actors already lost in
pubs, expensive cafés and hotels ,states Khalid Didane in his recent play called
– Hawlasa – Acting is still a passion for many and Moroccan actors are going
through painful moments only theatre and cinema-goers know this secret. In some
way,Moroccan actor becomes more melancolic than Hamlet who confronts not only a
« corrupt king » but too many nasty nature elements.
The ISADAC
Admission to the Higher Institute of Dramatic Art and
Cultural Animation is done by competition open to candidates aged 17 to 23
years, holders of bachelor of secondary education or a recognized equivalent.
Students of foreign
nationals may be admitted, subject to availability, on the same terms.
Their applications must reach the direction of ISADAC
through the competent department of the Ministry of Culture and Foreign Affairs
of their countries
FONCTIONS
Institut Supérieur
d'Art Dramatique et d'Animation Culturelle est une école nationale spécialisée
dans la formation des cadres supérieurs dans les métiers du théâtre :
Formation de base
Interprétation et
jeu : Théâtre, Télévision et cinéma
Formation en option
Mise en scène,
dramaturgie et administration théâtrale
Formation de base
:
- Scénographie, décor
et technique de la scène .
Formation en option
:
- Marionnettes, costumes,
éclairage et son
Formation continue
Perfectionnement et
spécialisation des professionnels des arts du spectacl
« Suit
the action to the word, the word to the action, with this special observance,
that you o'erstep not the modesty of nature. For anything so overdone is from
the purpose of playing, whose end, both at the first and now, was and is, to
hold, as 'twere, the mirror up to nature, to show virtue her own feature, scorn
her own image, and the very age and body of the time his form and pressure »
Shakespeare
Thursday, January 23, 2014
Tuesday, January 21, 2014
Saturday, January 18, 2014
Friday, January 17, 2014
Cinebassamat is back again in 2014
By Ali Karama
Cinebassamat is back again with new 2014 shortfilms from all
over Moroccan , Arabic and African countries . Cinebassamat is speahead by
Abdellah Haimer whose vision about
cinema is more plastical than technical that is why his film festival awards the winner as Mohammed El Kacimi prize
. Now Abdou is challenging media and cinema
events in Morocco by annoucing its 6Th Film Festival of Cinebassamat in Rabat
and according to Abdellah this festival will take place in the 7 Art cinema in
Rabat in the 6 Th of April until The 10th of it 2014.
The full program will be published soon
Monday, January 13, 2014
Hamid Bennani honors Moroccan cinema
That was somewhere in Mekness where i happened to meet for the second time Hamid Bennani, a decent man whose quite and yet beautiful soul lurks among Meknassy streets.Hamid is a Moroccan filmmaker who has been influenced by spanish surrealist film director Louis Bunuel .Thanks to Hamid , Moroccan cinema knew its first path to professionnalism by realizing his remarquable long featured movie called - Wechma - along with Ahmed Bouanani , Mohamed Abderrahman Tazi and Mohamed Sekkat.
In 1958,Hamid Bennani enjoys training in drama and
creative workshop and writing organized by the Ministry of Youth and Sports in
Morocco. He made his high school to colleges and Poeymirau Moulay Ismail , before
joining the Faculty of Letters of Rabat where he obtained a degree in
philosophy in 1964.
In 1965, he studied film at the Institute of Film Studies
( IDHEC ) currently Femis , which he won in 1967, " Production and Economy,
Production " section. He was part of another promotion of Moroccan filmmakers Moumen Smihi . While studying in Rabat and
Paris , he attended seminars by philosophers Jacques Derrida, Roland Barthes
and Paul Ricoeur .
In 1968 , he joined the Moroccan Radio and Television RTM
where he held the position of head of department of external relations. He
resigned from RTM in 1970 and founded the production company " Sigma 3
" in collaboration with Bouanani Ahmed Mohamed Abderrahman Tazi and Mohamed
Sekkat. This is the company that produced the same year his first feature film "
Wechma " (Traces ) .
This is the film that , upon completion , enjoyed a
reputation worldwild , thanks to mini
circuits film clubs under the auspices of the Moroccan Federation of Film
Societies (HSFC ) who participated to Besides the financing of the film, as
well as abroad where he won numerous awards in film festivals. Criticism
welcomes with enthusiasm and it recognizes a hitherto unsurpassed quality . It
is widely considered the founder of the Moroccan cinema film. Films previously
made by
Moroccan filmmakers , including "Beating to live," "When mature
dates " and " Spring Sun " in comparison with " Wechma "
are reproductions , sometimes lazy , stereotypes known to all .
" Wechma " is a film in the heavy atmosphere
that is more interested in the internal struggles of the characters and their actions.
This was an important step in the evolution of Moroccan cinema since paved the
way for new storytelling techniques explored by Moumen Smihi , and Mustapha
Ahmed Bouanani and Derkaoui . Despite its critical success, the film enjoyed
only a short commercial release in Casablanca ( Morocco ) and it was not until 1980
that must be projected into the " 7th
Art " in Rabat. However, he was presented several times in the circuits of
film clubs across the cities of Morocco.
He had to wait almost twenty years before turning his
second feature film , "The prayer of the absent ", the original title
was " The Secrets of the Milky Way ." The film is adapted from the
very famous novel writer Tahar Ben Jelloun "The prayer of the absent ."
Unfortunately, this last film did not benefit from the same esteem reserved for
the previous film. Both factors explain this critical public and semi-failure .
He wanted to instill in his film an international
dimension to the way of Luis Buñuel, he is his follower , hence the original
title of the film. Because it remains true Moroccan specialist Buñuel which he
devoted many studies published by the short-lived magazine " Cinema 3
".
However Hamid Benani claims over Sartrean influence.
Saturday, January 11, 2014
Syd Field: A Historical Perspective
John Truby, Syd Field, Linda Seger, Michael Hauge
Syd Field: A Historical Perspective
The Great American Dream used to be the aspiration to write the Great American Novel, not the Great American Screenplay. A few novelists and playwrights wended their way to Hollywood to write screenplays, often with disastrous results and unhappy lives, feeling constrained by the form and the crass commercialism of Hollywood. Screenwriting was not something that was done by many and it was believed you couldn’t learn it. The conventional wisdom was: you either have talent and could do it, or could not. Famous writer William Goldman said, “Nobody knows anything.” It was believed by some as a truism until that philosophy came into conflict with Syd Field.
Syd changed that and, by so doing, he changed the way screenwriters and other film professionals thought about art and craft. Maybe art couldn’t be taught, but it could be encouraged and inspired. And Syd showed that craft could be learned. Syd began to set the stage for a way to approach screenwriting and began to excite students about taking classes. Writers who had never taken a class in writing or drama or film began to realize there was something to learn which helped them down the mysterious and often murky path of screenwriting. Screenwriting classes and books may or may not make them the Great American Screenwriter, but they guided the way for students to get better at their craft.
Syd is known as one of the great writing teachers and one of the first to discuss and champion the paradigm of the Three-Act Structure as it relates to screenwriting. Syd began developing his theories when reading thousands of scripts in the 1970s and seeing what worked and what didn’t. He didn’t invent the Three-Act Structure (that has been around since the first caveman stories!) nor did he invent all the theories about screenwriting, but he made it easier for teachers who came after him to teach and write about screenwriting.
Some of the first generation of screenwriting teachers were developing their own theories in the 1970s as Syd was developing his and writing about them. I wrote my doctoral thesis in 1976 on the elements that make a great script. John Truby developed his theories of Story in the early 70s while studying the philosophy of literature and film. By the early to mid 1980s, the first generation of screenwriting teachers were proving there was something to learn. Robert McKee began doing his 2-3 day seminars in 1984. In 1985, John Truby began to teach his class, The Anatomy of Storytelling. Michael Hauge used his experiences working in development as the basis for his screenwriting seminars and his books. Lew Hunter and Richard Walter, both professors at UCLA, began expanding their work nationally and internationally. By the mid -1980s, Tom Schlesinger and Christopher Vogler were teaching “The Hero’s Journey” and Pamela Jaye Smith came slightly afterwards, applying mythology to film. Kathie Fong Yoneda discussed what makes a commercial script. Madeleine DiMaggio expanded into giving classes about television writing. Viki King and Carl Sautter began giving seminars in the mid-1980s and their books came out within a few months of my first book (1988.) Now, there are hundreds of screenwriting books, covering many different aspects of screenwriting.
As an author Syd was a pioneer, blazing a trail so that other screenwriting books that came after his had a better chance of being recognized and accepted. His theories were accessible and practical and clear. His first book, Screenplay, came out in 1978, and The Screenplay Workbook came out in 1980. When I wrote a proposal for Making a Good Script Great in 1986, the proposal was sent to Syd’s former editor who had moved to another publishing company. Since she knew how successful Syd’s book had been, she took my proposal far more seriously than her colleagues. She called Syd to ask if he knew who I was and he said, “Yes,” which cleared the way for the sale. As I prepared to write the book, I asked myself, “Why is Syd’s book so much more popular than any of the other books that came out during the 1980s?” (There actually were a few.) I looked carefully at Syd’s writing style and saw that it had short, readable sentences. It was entertaining. It was conversational. And I based my writing style partly on his stylistic approach.
All of us who taught during the 1980s encountered an attitude of resistance that started changing as a result of Syd’s teaching and his books and as a result of the first generation of screenwriting teachers. For those of us who started traveling abroad in the mid-to-late 1980s, the usual welcome from our host expressed doubt about how we would be received. The host often said, “The students coming to this class are not open to being taught screenwriting, especially by teachers from Hollywood, and we expect there’ll be problems. But maybe you’ll win them over.” By the 1990s and into the new millennium, that attitude, for the most part, had changed. Today, there all well over 20 screenwriting teachers from all over the world traveling internationally, sharing a new openness and excitement with students and professionals. All of us in one way or another are beholden to Syd for having begun this process.
Whether we agreed with his path or not, he made our paths easier because he had paved a way. Some of us saw ourselves as widening the path, looking at more subtleties about how that structure worked as well as beginning to focus on other aspects of screenwriting. Some took other paths. By the second generation of screenwriting teachers, some began to explore more fully all the different, divergent ways of moving off of the Three-Act Structure, such as Linda Aaronson’s contributions in the area of non-traditional structures which still had a basis in the Three-Act Structure.
Syd enhanced our ability to communicate with each other because he began to create a screenwriting language, not just for writers but for all film professionals. It’s not unusual anymore for a producer to tell a screenwriter that there are “third-act problems,” or for a director to want to strengthen a “plot point.” It’s taken for granted by most film professionals that movies have beginnings, middles, and ends and that we can actually assess and analyze these aspects of a script. But that was not always true. In the late 1970s, screenwriting was considered such a mysterious process that many thought, “We must not even try to understand it.”
During the 1980s, screenwriting teachers and authors were very competitive with each other. Seminar participants were sometimes asked to decide who was “the greatest screenwriting guru of them all.” Most of us (if not all of us) in one way or another, were affected by these attitudes. Carl Sautter called it the “Seminar Wars,” and he wanted to bring an end to it by having a party where we would all be forced to relate civilly to each other! He died before the party came to pass, but the attitude did begin to change by the late 1980s, as various teachers began talking to each other and even forming friendships. Syd was one of the best at this. He was welcoming and accessible to his colleagues. When I first met Syd in 1983, I had read his first two books and I called him to introduce myself. Syd invited me to a book signing and we had coffee afterwards. We talked about his vocabulary of “Plot Points” and mine of “Turning Points” and decided they were the same. I told him that I had started a business as a script consultant which intrigued him, and he said to me, “I’d like to be a script consultant, also” and I said, “Feel free–go for it!” Although Syd had been working on developing scripts and troubleshooting scripts with his students, I talked to him about script consulting as an independent, private entrepreneurial business. He told me later that it was shortly after that when he began his own private script consulting business.
In 2006, Syd and I, John Truby, and Michael Hauge, began teaching together as part of a new Screenwriting Summit created by Derek Christopher. In 2012, Christopher Vogler joined the Summit. The five of us taught together in Las Vegas in December 2012 and we were all looking forward to working together in London in 2013. We presented the London Screenwriting Summit the weekend of November 16th, knowing that Syd was very ill and that it was possible he would die that weekend. He died a few hours after completion of the Summit.
I often thought how big a person Syd was to say, “Yes,” to the idea of teaching with his colleagues, all of whom had come after him and all of whom he could easily have seen as competition. But Syd didn’t see it that way. He had a kind and open and generous and big heart and for six years we taught together in places such as Tel Aviv and Mexico City and Vancouver and Toronto and Los Angeles and New York and Las Vegas. He was a sweet and dear companion, a friend, and a sensitive colleague. He clearly had respect for us, as we respected him.
It’s important that Syd’s legacy not be forgotten. He has influenced millions of writers in a period of over 40 years and he has paved the way for all of us who move into the future and who continue to try to create great screenplays and great films.
Friday, January 10, 2014
Thursday, January 09, 2014
The Step by Allal EL Alaoui and Khalid Akalai
By Ali
Karama
Along
the Martil beach in Tetuan,there stand benignly two artists talking about Arabo-Andalousia
archetecture and literature.These two men are Khalid Akalai and Allal El
Alaoui.Khalid talks fervently about his story called – The step – which is about
an Arabo-Andalousian facet in which there is a step leading to entrance and there we see the changes of historical
events that occur to a Moroccan family from the forties of twentieth century until today .
Allal
,being himself an artist of great interest to Arts, is impressed by this story
and agrees to rewrite it toghether with Khalid to realise and produce it for the
silver screen this year .The step is worth to be produced because it will be a shortfilm that deals with the history of
Morocco via dramatic events that happen to a decent family.The script has been
already written by Khalid Akalai and Allal El Alaoui and gotten ,via Siham's production company called Cinema and Movies 'its first fund
from 2013 CCM commission presided by honorable Abdelkrim Berrechid to release a sum of
100.000.00 Dirham.
Friday, December 27, 2013
Tuesday, December 10, 2013
Blake Snyder's daughter in Love Scene
Best Actress Winner Caitlin Harris dazzles as Vivien Leigh
Our thanks to Master Cat! Geoff Harris for this breakdown of the intoxicating 8-minute film that’s piling up well-deserved awards, including Best Short, Best Screenplay, and Best Actress from the 2013 London International Film Festival. And be sure to note the link and password that will allow you to screen the film at the bottom of this blog!
I had to see the short film, Love Scene, for myself. In it, my daughter Caitlin portrays movie star Vivien Leigh. And to look like the actress — best known for her role as Scarlett O’Hara in Gone with the Wind — she had to wear green contact lenses, dye her hair black, and speak in a slight British accent.
When I saw the film, I was blown away. (And this isn’t just a proud papa talking.) Caitlin had been transformed into Vivien Leigh, who was taking her screen test in 1935 London. But what surprised me as much as the acting and the look of the film was the writing. It was stellar — playful, tragic, and alluring. Love Scene was a mini-movie in eight minutes. In what was essentially one scene — only seven-and-a-half pages long — there was a three-act structure, with a clear beginning, middle, and end. It was if writer/director Bethany Ashton Wolf had channeled Blake Snyder and his 15 Story Beats while writing her short film.
On this website, a couple of years ago, I blogged about using the STC! Story Beats — originally conceived for feature film writing — to structure a TV pilot. And, in another blog on this site, I wrote about how a fiction writer could employ those same beats when writing a novel. This got me to thinking: perhaps the Story Beats could also work in a short film.
I watched the short film again and again (hey, it’s only a little more than eight minutes long!) and even read its script several times (hey, it’s only seven-and-a-half pages long!), and my supposition was correct: Love Scene hits STC! Story Beats. From this one example, we could extrapolate that the Beats could be applied to short films in general in order to make their stories resonate.
Wolf made the film to raise interest and backing for the full-length screenplay she wrote that chronicles the 25-year love affair of Vivien Leigh and Laurence Olivier and is based on the bookVivien: The Life of Vivien Leigh by Alexander Walker.
(Note: Before I break down the short into its Story Beats, it should be mentioned that there was no B Story in this short film [Editor: Some commentators have discovered a B Story; see the Comments below], and the Fun and Games beat occurred much earlier than usual.)
Title: Love Scene
Writer/Director: Bethany Ashton Wolf
Logline: In 1935, a relatively unknown actress takes her first screen test in front of a renowned British film director, only to reveal her need for true love with a famous actor who, tragically, is already married.
Genre: Buddy Love
Sub-Genre: Epic Love, Forbidden Love
Sub-Genre: Epic Love, Forbidden Love
Opening Image: Through a Camera Lens, a blonde actress twirling for the camera at a screen test comes into focus. A similar image – blurred that comes into focus – is repeated when main character Vivien Leigh is introduced, signifying the blurred line between art and real life.
Set-Up: Vivien states her situation at home: she’s married to a barrister and, together, they have a daughter who just turned three years old.
Theme Stated: Vivien remarks what she needs: true love with the man she’s supposed to be with… famous actor Laurence Olivier.
Catalyst: Director Basil Dean points out that Olivier and Vivien are married to other people.
Debate: Vivien argues that Olivier and she are meant to be together, that it’s (to use an STC! term) a “journey” she should go on.
Break into Two: Vivien’s goal is to be with Olivier.
Fun and Games: Vivien moves out of her Act One world by calling out Basil for drinking during her screen test and she asks for a dry martini.
Midpoint: Vivien argues that she and Olivier should be together because their love is similar to the love of such Shakespeare characters as Hamlet and Ophelia, Romeo and Juliet, and Antony and Cleopatra.
Bad Guys Close In: Basil points out that Vivien has compared her love for Olivier with Shakespeare’s tragedies.
All Is Lost: Basil’s remark has cut Vivien to the quick. She stands in silence for a brief moment.
Dark Night of the Soul: Vivien agrees with Basil that she and Oliver are “…star-crossed lovers ‘til the end of time.” Tears roll down her cheeks.
Break into Three: Basil wonders if Vivien is acting right now or telling the truth.
Finale: Vivien asks Basil which answer will get her the part.
Final Image (not counting the tag under the closing credits): A close-up of Vivien through the Camera Lens – clearly in focus.
You can watch the short film by selecting this link and using the password: elephantwalk.
11 Comments on “The Love Scene Beat Sheet”
Add a Comment
LOVE SCENE the short from Bethany Ashton Wolf on Vimeo.
Sunday, December 08, 2013
Khalid Akalai's new book called Cinema and Roots
Khalid Akalai the golden literary Tetuani boy has done it again .He has recently written a book called - Cinema and Roots- Khalid is not only fond of literature but he also loves movies .He is indeed a passionate man who loves films and its roots that means cinema.CCM has praised his short story called -The Step - a story about the history of Morocco from the fourties of the Twentieth century up to now.Khalid and Allal EL Alaoui,the director of the step will share these historical moments of a Sherifian country called Morocco.
Subscribe to:
Posts (Atom)
on December 6th, 2013 at 11:48 am
on December 6th, 2013 at 12:07 pm
on December 6th, 2013 at 12:08 pm
on December 6th, 2013 at 12:14 pm
on December 6th, 2013 at 2:37 pm
on December 6th, 2013 at 2:42 pm
on December 6th, 2013 at 10:55 pm
It always amazes me when we are sucked in to the story so fast, and then hang-on leaning forward in our seats for the next beat. Kieran, I agree with you about the B-story. The fun part is how he is insistent on having the truth and then does not know if it is there or not.
Thinking about identifying with the characters; all women want to be beautiful, all men want to be the center of the beautiful woman’s attention. Alas most of us are the assistant, watching it play out before us and believing we are part of the story.
on December 7th, 2013 at 9:34 am
on December 7th, 2013 at 4:40 pm
on December 8th, 2013 at 4:26 am
South Australia
on December 9th, 2013 at 7:38 pm
on December 10th, 2013 at 10:27 am