POEM01- The House Boy.

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Alone in the darkness of the forest night
The House Boy hadn’t got any light
He was pacific, he didn’t like to fight
And he wore his trousers so tight
He liked to draw, and he liked to write
And he always respected the civil rights
But all of this arrived to the final end
When he decided to kill himself
Since he hadn’t got a single friend
So he rested in peace under a shelf

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POEMA 01. El Nin Casa.

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Tot sol a la foscor de la nit del bosc
El Nin Casa no tenia cap llum
Ell era pacífic, no li agradava lluitar
I vestia els seus pantalons molt estrets
Li agradava dibuixar, i li agradava escriure
I ell sempre respectava els drets civils
Però tot això va arribar al final final
Quan va decidir suïcidar-se
Perquè no tenia cap amic
I ara descansa en pau baix una prestatgeria

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 POEMA 01. La casa del ragazzo.

Da solo nel buio della notte di una foresta
La casa del ragazzo non aveva luce
Era tranquillo, non gli piaceva lottare
E indossava pantaloni tanto stretti
Gli piaceva disegnare, scrivere
Era rispettoso delle leggi
Ma tutto ciò era giunto alla fine
Quando decise di farla finita
Perché non aveva un solo amico
Ora riposa in pace sotto uno scaffale

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Published by Lluc Servera Caldentey – 3º ESO A. IES MANACOR

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ACT 15 – Elements in Movie Posters

ACT 15 – Locate Elements in Movie Posters.

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A film poster is a poster used to advertise a film. Studios often print several posters that vary in size and content for various domestic and international markets. They normally contain an image with text. Today’s posters often feature photographs of the main actors. Prior to the 1990s, illustrations instead of photos were far more common. The text on film posters usually contains the film title in large lettering and often the names of the main actors. It may also include a tag line, the name of the director, names of characters, the release date, etc.

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	ELEMENT	DESCRIPTION
1	Titles	The main headline may be the strongest element of the poster or it may be secondary to a strong visual. Some posters may have subheads and other title elements as well.
2	Tag Line	It’s a phrase identified with the film. A motto used in selling a movie. The goal of a poster essentially is to “sell” the movie—to make you want to see it.
3	Logotype	It’s a graphic representation or symbol of a movie, Studio name, trademark, abbreviation, etc., often uniquely designed for ready recognition.
4	Director	Name of the director(s) who directed the film.
5	Starring	Name of the main actors and actresses.
6	Studio	Name of the Studio which produced the film.
7	Date Release	Date of the public exhibition of the film. It may be in theaters or for home viewing, and it may be a wide or limited release.
8	Awards	Nominations and awards received.
9	Age Restriction	Film classification with regard to suitability for audiences in terms of issues such as sex, violence, substance abuse, profanity, impudence or other types of mature content.
10	Related movies	Other films directed by the same director, starred by the same actors or actress, produced by the same Studio.
11	Form	Forms are three dimensional – height, width, and depth. You get volume and mass with form.
12	Line	A line is a continuous mark connecting two points.
13	Texture	It describes the surface of an object. The designer renders the object to give an idea of how it would feel to the touch.
14	Color	How color is used in your advertising design can have a big impact on how it is interpreted by your customers.
15	Shape	Shapes are two dimensional, or flat. A shape is height and width only in poster design.
16	Gradient	Variation between two or more colors.
17	Shadow	Shadows can be used the partially hide elements in posters.
18	Artwork	Photographs, drawings, and graphic embellishments are a key visual element of many types of posters. Some posters may have only a single visual while others might have several pictures. Even text-only posters might have some graphics in the form of decorative bullets or borders.
19	Text	More text information about the production of film, interviews to the director or main actors, post-production notes, etc.
20	Contact	The contact or signature of a movie poster may appear anywhere in the poster although it is usually near the bottom. It consists of one or more of: Logo, Studio Name, Address, Web Site, etc.
21	Focal Point & Reading Direction	The designer places objects or creates patterns so that the eye follows a path. The path the eye follows in advertising is very important, because you want the reader to end up at your call for action.

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Bellow you can see some movie posters where the elements of the previous table are high-lighted.

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ACT 05 – Photograph.

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Photograph is something like a travel,
but very very fast at speed like a click.

Eugenio Turri says: “The photo shoot is a brief moment, a split second generally, but in that moment of intensive participatory, it is seen and understood more than hours spent watching, the charm and sophistication of old photographs is at this: they represent a brief moment, lightning, through which you read a lot of things, ignoring others, the world they reflect.”

It ‘s true, photography, captured fleetingly also puts us in communication with a capacity of which we are not yet aware. Shooting at that time because you can imagine that this is the image that, more than any other, can help us understand that reality. Then, slowly the image can be observed and will reveal many of the things that we had only guessed, and of which we have already forgotten. This is the time of discovery.

Unlike when we look at images that were not created by us, but by another photographer – contemporary to our time-we have to make an act of empathy. This means we need to try to guess what the photographer wanted to express in carrying out the proposed image. The image must be seen for what it offers us materially and what led to his choice.

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ACT 05 – Fotografare…

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Fotografare è un po’ come fare un viaggio tanto veloce quanto  uno scatto.

Eugenio Turri afferma: “Lo scatto fotografico è un attimo breve, generalmente una frazione di secondo, eppure in quell’attimo, di grande intensità partecipativa, si è visto e capito più di quanto si fosse  fatto in ore e ore passate a guardare. (…) il fascino e la preziosità delle vecchie fotografie sta in questo: esse rappresentano un momento breve, fulmineo, attraverso il quale si leggono molte cose e se ne ignorano altre, del mondo che essi rappresentano”.

E’ vero, la fotografia, catturata anche fugacemente ci mette in comunicazione con una capacità di cui noi non siamo ancora consapevoli. Si scatta in quel momento perché si intuisce che quella è l’immagine che, più di ogni altra, può aiutarci a capire quella realtà. Poi, con calma l’immagine si potrà osservare e ci rivelerà molte delle cose che noi avevamo solamente intuito, e delle quali, ci siamo già dimenticati. Questo è il momento della scoperta.

Al contrario quando osserviamo immagini che non sono state realizzate da noi, ma da un altro fotografo – contemporaneo alla nostra epoca- dobbiamo compiere un atto di immedesimazione. Ciò significa che dobbiamo cercare di intuire ciò che quel fotografo ha voluto esprimere  nel realizzare l’immagine proposta. L’immagine va guardata per quello che materialmente ci offre e per quello che ha condotto alla sua scelta.

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ACT 05 – Fotografiar…

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Fotografiar és com fer un viatge,
però a la immensa velocitat d’un clic.

Eugenio Turri diu: “El dispar fotogràfic és un moment breu, una dècima de segon en ocasions, però en aquest moment de intesa participació, li precedeixen hores observant. L’ànima i sofisticació de les fotografies antigues es troba aquí: representen un breu instant, un llamp, a través del qual podem llegir una gran quantitat de coses, igonrar-ne d’altres en el món que reflexen.”

És cert, la fotografia, captada fugaçment també ens posa en comunicació amb una capacitat de la qual no som encara conscients. Fotografiem perquè imaginem que aquesta és la imatge que, més que cap altra, pot ajudar-nos a comprendre la realitat. Després, a poc a poc la imatge es pot observar i revelarà moltes de les coses que només havíem endevinat, i de la qual hem oblidat. Aquest és el moment del descobriment.

A diferència de quan ens fixem en les imatges que no van ser creades per nosaltres, sinó per un altre fotògraf – contemporani al nostre temps-, hem de fer un acte d’empatia. Això vol dir que hem de tractar d’endevinar el que el fotògraf volia expressar en la realització de la imatge proposada. La imatge ha de ser vista pel que ens ofereix materialment i cap on ens dirigeix la seva elecció.

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Published by : Francesco Ostento.

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