Curious about studying film in Canada? Keep reading for the complete run-down on what you need to know!

So you’re thinking of studying film in Canada as an international student? Canada is home to a billion dollar TV and Film industry, with much of the action happening in Vancouver.

Whether you’re interested in directing, producing or cinematography, Vancouver is the place to be! Are you thinking about studying film in Canada as an international student? Here is what you need to know to help organize your study plans before the first day of class.

STUDY PERMITS FOR STUDYING FILM IN CANADA

Because InFocus Film School programs are at least 6 months in length, students require a study permit.  Study Permits are issued by Immigration, Refugees and Citizenship Canada.

InFocus is on the Designated Learning Institutions list, which means we are authorized to host international students. You must provide proof of your acceptance from InFocus when you apply for your study permit. You will also need to provide a bank statement or proof of loan. This is to show that you are able to support yourself while you are studying film in Canada.

If possible, you should apply for a Study Permit as early as possible. It can take several months to process an application, depending on your home country.

WORKING AFTER GRADUATION

InFocus Film School does not offer post graduate work permit eligible programs. However, students may be eligible for post graduate work permits through a pathway program with a partnering institution. Currently, InFocus offers pathway programs through Capilano University and Yorkville University. With this permit, students can plan ahead to immigrate to Canada as a permanent resident.

We recommend you do your research at Immigration and Citizenship Canada or speak to a Regulated Canadian Immigration Consultant (RCIC). InFocus Film School works with a RCIC that can go over your options with you.

VISA REQUIREMENTS

Depending on your country of origin, you also may need a Temporary Resident Visa. You can find out if you need a visa here.

*This is for informational purposes only. 

Click here to learn more about InFocus Film School’s Film Production Program!

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Social media marketing has revolutionized the way people market their business, and documentary filmmaking is no exception. It’s true that nothing can replace the buzz created by a festival screening, but using social media can effectively create awareness around your film. Perhaps even helping you land big opportunities like those all-­important festival screenings! Failure to take advantage of these platforms in your marketing strategy can be a serious misstep. Learning how to market your documentary on social media will help to further your film’s exposure and reach a wider audience. So, where do you start when you’re ready to consider marketing your documentary film?

1. Build A Marketing Strategy Into Your Project

Some documentary filmmakers cringe at the idea of building a marketing strategy for the film before they even start shooting. But, considering how you’ll market your film before you start filming doesn’t have to detract from relevant social issues.

In fact, considering how you’ll market your documentary before you start shooting can actually help increase awareness of a particular issue. By capitalizing on the social issues highlighted in your documentary, you’ll be able to build a marketing strategy that can connect with other individuals, organizations and industry professionals. Better yet, you can reach an audience already informed on your topic and let them serve as a springboard to bring more attention to your film from more uninformed audiences.

2. Promotion via Social Media

Most of us are familiar with social media in some form or another. We’ve likely all come across marketing campaigns in our social feeds from a range of different companies. When it comes to promoting a documentary, finding success through social media lies in creating content that is authentic. 

Filmmakers who promote their work on social media and fail usually do so because their outreach lacks passion and authenticity. Simply repurposing a post in hopes that someone will engage with your content may not get you the results you’re looking for. Instead, opt for eye-catching, original content that peeks people’s interest and attention. 

Documentary filmmakers can particularly take advantage of social media as a marketing tactic. By incorporating the issue at hand into your film’s marketing strategy, you’ll not only bring awareness to a wider audience, you’ll also encourage them to take action and contribute to the cause. 

3. Sharing Work Through Social Media

Sharing clips and snippets of your documentary is integral to building visibility. Few people are willing to go out to a theatre and buy a ticket for a film they don’t know anything about. Give them something to snack on while they wait for the main course! Posting video teasers from your documentary will likely result in more engagements and it will leave interested viewers wanting to see more.

When you upload clips to social media platforms, it’s important that they be as sharp as possible. Present high­-quality snippets of finished material to generate interest on any social media platform. Make sure your film has it’s own dedicated page on each social network you want to use. Remember to ensure that the page isn’t cluttered with personal or off-topic posts.

Remember to clearly link between your film’s social media accounts. Most important above all is having a clear link to your film’s website.

Finally, when it comes to publishing larger clips, many film industry professionals turn to Vimeo for uploading high-definition videos. These uploads could be used for publicity, for submitting work to film festivals, or even getting the attention of producers and distributors.

GUEST BLOGGER: Marcela De Vivo is a freelance writer and accomplished online marketing professional in the Los Angeles area. Her writing covers everything from social media marketing, health, real estate and technology.

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What is mise-en-scène and how do you use it in your films? See how Psycho and Dune expertly use mise-en-scène to develop the overall look and feel of each film.

by Sophia Lin

Have you been wanting to know what is mise-en-scène and how to utilize it? A commonly used film term, on the lips of filmmakers, critics, and audiences alike, is mise-en-scène. You’ve probably heard about how a film has fantastic mise-en-scène or seen the term mixed in with other popular buzzwords like visual storytelling. And if it all seems a little wishy-washy after a while, we’re with you! As it turns out, mise-en-scène is a complex concept with more than a few layers to dig into. In fact, it covers multiple elements of filmmaking.

So let’s get into the nitty-gritty of it all. It’s one thing to grasp the definition of mise-en-scène, but entirely another to use it in your work or build it into your film analysis stratagem. To help you further understand what is mise-en-scène, we’ve included an in-depth analyses of two very different films. See how the iconic Hitchcock film Psycho and the recent Oscar-winning film Dune have both made use of mise-en-scène in some of their most pivotal scenes. How does mise-en-scène foster symbolism? In what ways do directors use mise-en-scène? And exactly how did it work together with the cinematography?

One of the greatest instruments in a filmmaker’s toolbox is mise-en-scène. We’re here to show you how to use it to its full potential!

What is mise-en-scène?

Getting a good handle on the core definition is always a must. To start, mise-en-scène is a French word, literally translated into “putting on stage”. Appropriately, its definition involves the arrangement of some kind in front of the film camera.

Mise-en-scène is composed of the following four elements:

1. Setting
2. Staging
3. Lighting
4. Costumes

Each contains a couple more sub-elements, so to speak. Staging, for instance, encompasses actors’ performances and blocking. But we’ll be breaking all that down soon enough. For now, these four neat terms will make it easy to remember.

1. Setting

The first element to analyze when it comes to understanding what is mise-en-scène is setting. A film’s setting is where the story is set. In the realm of mise-en-scène, it almost always refers to the setting of a specific scene. For example, we would consider the interior of a character’s bedroom in one scene, rather than a broad setting for an entire film, like the city of New York. The setting also always includes any props or set design visible on-screen.

Settings can be used in a variety of symbolic and figurative ways. For one, they can act as an indication of a character’s personality. Or, if the setting undergoes changes as the film progresses, it can be an outward display of a character’s interior development. In more complex cases, settings can reflect a character’s psychology or motives. 

How Is The Setting Used In Psycho?

Norman Bates from Psycho

Mise-en-scène is used often in horror films. When we first meet the antagonist Norman Bates from the horror film Psycho, he invites Marion Crane, the female protagonist, into his parlour. At the time, he seems charming and innocent. But look closer — in this scene, Alfred Hitchcock cleverly uses the setting to reflect Norman’s eventual villainy.

One key example is, whenever Norman appears on camera, several taxidermy birds appear behind him. But they aren’t just any birds — they are predatory birds, from owls to eagles, showing Norman’s true nature as a predator preying on innocent victims. On the other hand, Marion is shown on-screen surrounded by small birds, sparrows and such, which points to her fate as the prey of Norman.

2. Staging

As we’ve mentioned, staging refers to a couple extra sub-elements as well:

The first is performance. At the end of the day, the actors are the star of the show. As a result, the specifics of their performance help to make up the mise-en-scène. How are they delivering lines? What is their body language? This goes as far as incorporating the style of the actors’ performances, such as whether it’s naturalistic or theatrical acting.

Second comes blocking, a term that refers to where the actors are physically placed and how they move relative to the camera. For that reason, the camera placement is often considered part of the blocking as well. One intriguing example is that a character moving from left to right past the camera is seen as a symbol of change in a positive direction.

How Is The Staging Used In Dune?

Helicopters from Dune

One of the most visually stunning scenes in Dune is when the protagonist Paul Atreides sees Arrakis, his new home planet, for the first time in a helicopter. Arrakis is known for its precious Spice, and the overhead view of the desert planet serves as an unforgettable introduction. But that isn’t all it is.

During this scene, the blocking is intentional and carefully considered. Paul sits behind the glass window of the chopper, with the camera placed on the other side. This creates the unique effect of the desert reflecting off that glass, making it look like the sand dunes are overlaying or overlapping Paul’s face.

An actor’s face is also a clear symbol of identity. Director Denis Villeneuve uses the blocking to tell us that Arrakis will become a foundational part of Paul’s identity, perhaps even to the point of inseparability.

3. Lighting

A third element to understanding what is mise-en-scène is how the film is lit. Lighting is one of the many parts of filmmaking that we typically don’t notice. Gaffers, who are responsible for the lighting of a scene. You can use lighting to create realism, so the shots appear natural and never tip us off to the fact that it has been fabricated. But because it is fabricated, it leaves many options for how the lighting can be used to enrich a film’s message.

There are two main types of lighting to get to know:

One is low-key lighting, which means the contrast is high, with the dark parts of the shot being very dark and the bright parts very bright. To no surprise, this lighting is favoured in horror, thriller, and noir films for the harsh look it creates.

Another is high-key lighting, which is low contrast with few shadows. There won’t be much of a difference between the darker and lighter parts of the shot. This creates a brighter look overall. In contrast, this lighting is often found in rom-coms and musicals.

How Is The Lighting Used In Psycho?

Norman Bates from Psycho

Remember the scene in the parlour with Norman? Well, turns out the setting isn’t the only noteworthy part. Filmmakers aim for each scene to contain multitudes of meaning, and Hitchcock is no exception. Lighting-wise, Norman is lit from the side in this scene. As a result, this creates shadows on one side of his face but not the other.

This results in a curious two-face effect. With a split down the middle, this lighting technique suggests a light half and a dark half to Norman’s character. Or in other words, a sense of duality. As the film goes on, it becomes clear that Norman is not who he appears to be. (Spoiler alert!) As we come to find out, there are, in fact, two personalities within him. This whole scene also acts as a perfect illustration of how the various pieces of mise-en-scène can work together to send multiple messages within one idea. 

4. Costumes

The final piece to understanding what is mise-en-scène to the costuming of the film. This aspect of mise-en-scène refers to anything the actors are wearing, including hair and makeup. Costume designers will spend their time looking over the exact details of outfits, styles, shoes, and accessories that will be true to a character. This will also convey meaning on a second level. As we know, what you wear says a lot about who you are.

Interestingly, costumes can be another way to track a character’s development and their relationship with those around them. The lending of a jacket, for instance, can reveal much about how two characters feel about one another. Beyond that, how costumes are worn is also considered. For example, a disciplined character may have ironed clothes and tied-up shoelaces, while an absent-minded one will wear a half-tucked shirt. 

How Are Costumes Used In Dune?

Harkonnen tribe from Dune

Rather than observing a specific scene, costume analysis is often more overarching. Throughout its entirety, Dune is filled with elaborate and ground-breaking sci-fi costuming in nearly every scene. Some costume choices reflect the climate of a particular planet, while others were chosen for reasons of practicality. An example of this is how the stillsuits had to be able to preserve moisture.

A true prime example of costuming being used to the peak of its creative capabilities is the costumes worn by the opposing Harkonnen tribe. Their armour is hard-shell and darkly coloured, with repetitive textures and bands that resemble those of insects. In fact, the costume designer based it specifically on the look of beetles, ants, and spiders.

Wait a second, beetles? If that sounds familiar in any way, it should be — Dune features a one-off scene of Paul simply watching a small black beetle crawl up the sand. Beetles are pests, invading and harming any environment they intrude upon. In this case, the Harkonnen costumes create a parallel, foreshadowing their tribe as the colonizing parasites that will invade Arrakis.

Conclusion

As you’ve seen by now, understanding what is mise-en-scène isn’t a quick and easy task. It’s versatile, subtle, and leans towards the abstract. But once you’ve studied and practiced it, employing it in your film will become second nature. Many refer to it as a language in and of itself – mise-en-scène conveys hidden ideas on another level working together with the dialogue and plot events.

And so, learning a visual language like this takes time, and close film analysis is a must for understanding what is mise-en-scène. With that in mind, there are some famous examples to dig into. Some that come to mind are the use of light in Parasite, the red jacket in Rebel Without A Cause, the blocking in The Shining’s climatic scene, and the googly eyes in Everything Everywhere All At Once.

So get into it! Before you know it, you’ll be watching films in a whole new way, seeing more with every rewatch. And if you’re a filmmaker, you’ll find yourself sprinkling fresh ideas into the mise-en-scène of your own films, making the most of what the art of filmmaking has to offer.

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Coming up at this year’s Vancouver International Film Festival is Soviet Bus Stops. Read more about VIFF and the film below.

By: Kennedy Randall

After much anticipation, the Vancouver International Film Festival is returning at the end of the month. In the past 41 years VIFF has become one of Vancouver’s most beloved film festivals will be running from September 29th to October 9th showcasing over 130 feature films and 100 short films.

InFocus Film School has partnered with VIFF to showcase Soviet Bus Stops, one of many fantastic films screening this year. Directed by Kristoffer Hegnsvad, Soviet Bus Stops follows Canadian photographer Christopher Herwig. From Ukraine to Uzbekistan, Armenia to Far Eastern Siberia, Herwig sets out to document a piece of urban architecture in former Soviet Republics that may be considered ordinary and benign – bus stops. 

Click here to learn more about InFocus Film School’s Film Production Program!

From the 1960s and 70s, the architecture of the Soviet Regime was largely utilitarian and mass-produced. What Herwig finds on his travels is profoundly different; bus stops that are creative and whimsical. Architecture within the Soviet period was highly monitored and totalitarian following a uniform style. However, bus stops are often a negligible part of the urban landscape, and these revolutionary structures ended up being overlooked. Therefore, these roadside fixtures artistically represent a place and time in history, built as quiet acts of creativity against overwhelming state control. 

Although, despite their radical nature and innovation, these bus stops are seen by many as strange or embarrassing. This is, unfortunately, leading many of them to be torn down. “These bus stops are disappearing so fast. If I come back a year from now, they could be gone, demolished, or rebuilt. These pictures may be all that’s left in the end. I want to give them some kind of immorality,” Herwig reflects.

Shot over seven years, Soviet Bus Stops follows Herwig on his journey to capture these bus stops and memorialize them through film. He meets some of the humble and eccentric bus stop creators from various former Soviet Republics to hear their stories about how these unique structures came to exist.

Herwig’s photography books of the bus stops have become bestsellers around the world. Hegnsvad’s documentation of this process turns this unusual journey into an engaging film about human connectivity, photography, politics, and history. In so doing, Herwig and Hegnsvad both commemorate the stories of these bus stops through their chosen medium, sharing a relatively unknown subject with wider audiences.

The stories of individuals who created small acts of resistance are embedded in the poetry and art of the remaining bus stops and become honoured, protected, and celebrated in these mediums.

InFocus Film School is proud to be the community partner for such an unforgettable film. Purchase your tickets for either screening on October 2nd at The Cinematheque or October 4th at International Village 8 here.

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Join the Vancouver Chinese Film Festival for their renowned film screening on August 9th!

Taking place next month, the Vancouver Chinese Film Festival has set to screen various films relating to Chinese culture. By merging Canadian and Chinese audiences the festival allows Chinese culture to be seen by audiences at home and abroad. Their mission is to create a more inclusive Canada by promoting cross-cultural exchange. Below we have outlined five of the short films that will be screened at the Vancouver Chinese Film Festival on August 9th. 

1. Brick

Brick follows Wenxin, an architect who lives abroad. He returns to his hometown to bury his mother’s ashes. Upon arriving in his hometown, Wenxin finds himself at a classmate reunion. Here, he accepts the invitation of his classmate to act as a consultant for the renovation of the old district. It seems as if he has the ability to protect the nostalgic memories of the traditional district and the opportunity to enact his “dreams’ ‘ and “revenge.” Upon attempting to complete his dreams, he finds that he cannot achieve them. On the other hand, his revenge results in a new series of harm. Wenxin learns Yin and Yang, finding that life and death are a part of the natural law and the unity of men and nature is the true connotation of Feng Shui.

2. Ideal Homeland

The story takes place in the near future when AI (Artificial Intelligence) controls humans. In this future, the tables turn, and humans begin to work for AI. The hero of the story, Joe, is the carrier of AI’s sexual experience. He does the most mechanical task every day to obtain the credits on which we depend for survival in AI society. In such oppression of slavery, Joe desperately yearns for the freedom of independence.

3. A Zebra-Riding Boy

Based on the Impressionist-Southern author, Su Tong’s novels, Cavalryman and Paper, A Zebra-Riding Boy explores the combination of literature and commerce. Poor bow-legged teenager Zuo Lin has a dream to ride a horse in the most prosperous place of the city: the sad wooden horse cavalry, the happy zebra cavalry, the bleak and sad iron cavalry, and the brilliant paper cavalry all melt into one.

4. Churi

Churi is a short dramatic film about a young man who remembers his mother’s love through the act of making churi. The film weaves together the young man’s search for food and subsequent cooking with the memory of his mother cooking. The film artistically jumps between past and present. By doing so, it evokes the longing that pervades diasporic experience and explores how we carry memory and our roots in our bodies. 

Created by Namit Kataria, this film was made during his time in the InFocus Film Production Program!

5. Sisyphus the Turtle Chaser

Years ago, teenagers, Will and Liang Zi grew up together in Northeast China. When they were young, Will was lively and naughty. He was known as the”king of gambling,” becoming a master of all kinds of gambling and trickery. Liang Zi was his faithful follower. One day, the pair ran away from home. Many years later, the two adults find each other face to face in Beijing. Liang Zi had a southern girl Molly, while Will became a taxi driver. Both adults must figure out how to face each other years later.

Beyond screening films that promote Chinese culture, the VCFF aims to further develop China-Canada relations. Liu Fei, Consul General of the People’s Republic of China in Vancouver, saw the quality of cross cultural exchange in the Vancouver Chinese Film Festival. Fei vocalized his wish for more young individuals to contribute to cross-cultural exchange between the two continents. 

This year, the Vancouver Chinese Film Festival will be held as a joint festival with the Vancouver International Youth Film Festival. Reserve tickets for film screening here.

Other than the film screening, VCFF has many other events to check out. The Opening Ceremony will take place on August 8th at the Vancouver International Film Festival Theatre and the festival will conclude on August 13th at the Michael J Fox Theatre. 

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