Carlota

PHILOSOPHY OF COMPOSITION
EDGAR ALLAN POE
Edgar Allan Poe talks about a taboo topic among writers but not so much with the filmmakers. For a writer, he says, is not easy to reveal the processuntil the final work. They do not like to reveal the secrets, gear, although he has done. Edgar Allan Poe was one of the masters of the short story, and it has shown in this text that says, pulling downthe conventions of other writers, the process of creation is most famous poem "The Raven."

He talks about the way he wrote that poem, but, as somebody may think, you can translate those keys to acreation of a good movie story, because the base of a good movie is a good story, a good script, and, at the end, the filmmakers are all writers, poets of the image, and that is one of the main thingsthat I think about when I read the Allan Poe's essay.

At the end, making a film or writing a poem is the same, both are based on the creation of a story, but as said Allan Poe, the stories, bothliterary and cinematic, should have a number of points that define it, make it something consistent and exciting at the same time, but not out of some parameters, because if it happens our history doesnot work.

Allan Poe defines a set of points perfectly applicable to both literature and film. The first is her extension. He Said that in a literary work must take into account how long it will takeyou, in this case, in verse. Transfer this to minutes and you will have the right length for a film. Argues that a long poem is a succession of short poems, something applicable to the cinema, as agood film is, in many cases, a succession of good short films. An example I find now is "Los abrazos rotos" (2009) by Pedro Almodovar, film that removes the short film "La concejala antropófaga", ashort film that is only one excluded sequence from the final editing.

Keep in mind that the extent that a film like a poem, must be designed to be consumed in a given time that may not exceed a...