Cinematic Storytelling® Story Consulting and Seminars Jennifer van Sijll
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"A film is never really any good unless the camera is an eye in the head of a poet." ---Orson Welles

"When I write a screenplay, I describe a movie that's already been shot."         ---Robert Towne

For more info
                                2-Day Cinematic Storytelling® Class

This class is an information-packed 2-day boot camp.  It will demonstrate how film language works by defining and demonstrating 17 of its most potent tools. If you’re a screenwriter, director, cinematographer, marketing wizard or creative ad exec, this class will help you exploit the inherent properties of the medium. You’ll learn how to hook audiences, engage their emotions, message ideas and turn viewers from passive observers into invested co-authors and…do it wordlessly.  We’ll look at samples from film, advertising and viral videos to make our case.

Day 1: What is Cinematic Storytelling and why does it work on audiences?

Morning

  •  What makes a movie, a movie?
  •  Audience Behavior: Telling versus Showing
  •  Turn Passive Viewers into Co-authors
  •  First three movie elements: defined and demo-ed

Afternoon

  • Next five movie elements defined and demo-ed
  • Long term recall – packaging memories 
  • Extending the experience beyond the movie
  • Embedding the movie experience into the viewer’s life

Day 2: How can you embed Cinematic Storytelling techniques and up audience engagement?


Morning
  • Increasing audience engagement by: 
Framing, Organic Embedding, Bread-crumbing, Visual Twists and Re-purposing
  •  Next five movie elements defined and demo-ed

Afternoon

  • Last 4 movie elements
  • Wrap up on the Power of Cinematic Storytelling


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Cinematic tools imaged: All images above are included for educational purposes: Each demonstrates a visual tool to advance plot or character: 
In order: Depth of field; slo-mo; mirror images; linear vs curvilinear; frame balance and imbalance; creating a visual threshold; conflict through staging; color saturation and fast-mo; externalizing inner conflict; characterization through wardrobe and frame balance; chiaroscuro lighting; curvilinear to externalize uncertainty; sound effects as fear provoking; music as unifier.
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