11/25/2014

Film Review - Repulsion

(Fig.1)

Repulsion 

Release date - 1965
Director - Roman Polanski
Genre - Psychological thriller, Thriller, Horror.

The film is about a shy young french woman, Carol Ledoux, who works as a manicurist in London, but feels strongly repulsed by men, but at the same time they fascinate her. Even one person who admires her she is repulsed by, shown when he tries to kiss her she turns away, second time lets him, regretting it she quickly gets out his car and runs back into the flat to brush her teeth, showing how conflicted she is about anything sexual. She shares a flat with her older sister Helen Ledoux and also has a strong dislike for her sisters lover, Michael. Early on in the film Helen and Michael go on holiday and leave Carol alone in the flat, once carol is by herself she slowly skinks into a world of insanity ruled by her fear of men and sex. Having paranoid hallucinations. Some of the hallucinations are so dark you could say they almost come out of a dream like state and verge on reality, they aren't completely random though, they actually reflect the character very well. Hallucinations include mens hands bursting through the wall trying to touch her (Fig.2) and even her own rape which at one point it seems like she is fantasising, putting on make-up waiting for it to happen again. Elaine Macintyre also seems to think the rape may be verging on fantasy "At night she is visited by terrible hallucinations (or are they fantasies?) in which men appear from beneath her bedclothes and rape her violently, yet silently, the relentless ticking of her alarm clock the only sound to be heard." (Macintyre, 2010)

(Fig.2)
Carol's Hallucination of mens hands bursting through the walls. 

Throughout the film Carol notices cracks in the walls and floor (Fig.3), at first you think they are normal and everyone can see them but as the film progresses they become larger and it becomes clear that they are one of Carols paranoid hallucinations (Fig.4), maybe to reflect her scared mind or as they become bigger show her decent into madness. "Small cracks in the walls of the apartment flow into crunching indicators of the heroine's crumbling mind." (Crowther, 1965).

(Fig.3)
Crack starting off small and in public

(Fig.4)
Carol's state of mind worsening, crack becoming bigger


In the first half of the film Carol does have a strangeness about her, but it's very underplayed, she constantly seems like she is day dreaming and almost hypnotised and times, at one point in the film she walks past a car crash, taking no notice of what has happened, where as everyone else has stopped to watch, showing how disconnected she is from the world. It seem clear that most people at first believe she is just a awkwardly shy girl "At first she just seems like a painfully shy young woman who walks with her head down, averts the eyes of strangers, speaks softly, and chews her fingernails. However, her deep-seated revulsion toward men and sex soon begins to manifest itself in bizarre ways." (Viola, 2008)

The film to begin with does start off slowly, with Carol going about her day to day life, this may be deliberately done, showing how she is in public or how people see her when she is in public, at these points she is out of her safe zone, feeling the need to stay low key and not to draw attention to herself, as soon as we reach the second half of the film when she is left alone in the flat we see the real Carol, her stranger thoughts  become clear again, her home is her safe zone so that is the time for her to let out all the horrifying thoughts and ideas that have built up throughout the day, it also seems to become overwhelming for her when someone enters that safe zone, for example when her admirer forces himself into the flat because he is innocently concerned about her she almost instantly kills him, but then possibly more deservingly her landlord who thinks because she is alone he can try to come to a new arrange for rent, but Carol seems to quickly and brutally dispose of him also, now two bodies littering the flat. 

Carol's issues are never really explained by the end of them film and we are left wondering what happens to her, but it ends how it begins, with a close shot of her vacant eyes.


Bibliography - 

Crowther, Bosley (1965) 'Repulsion (1965)'
In: http://www.nytimes.com 04.10.65 [Online]
At: http://www.nytimes.com/movie/review?res=EE05E7DF1739E471BC4C53DFB667838E679EDE
(Accessed on the 25.11.14)

Macintyre, Elaine (2010) 'Repulsion (1965)' 
In: http://www.elainemacintyre.net 10.01.10 [Online]
At: http://www.elainemacintyre.net/film_reviews/repulsion.php (Accessed on the 25.11.14)

Viola, Mat (2008) 'Repulsion (1965)'
In: http://notesofafilmfanatic.com 26.01.08 [Online]
At: http://notesofafilmfanatic.com/?p=18 (Accessed on the 25.11.14)


Illustration list - 

Figure 1. Repulsion (1965) - Roman Polanski | Movie Posters | Pinterest (1965) From: Repulsion.
Directed by: Roman Polanski [Film Poster] United Kingdom: Compton Films / Royal Films International. At: http://media-cache-ec0.pinimg.com/736x/89/d1/11/89d111aedf849c49e6633e094cb6a7c6.jpg

Figure 2. My complicated feelings about Roman Polanski | Pop Culture (1965) From: Repulsion.
Directed by: Roman Polanski [Film Still] United Kingdom: Compton Films / Royal Films International. At: http://www.google.co.uk/url?sa=i&source=images&cd=&ved=0CAUQjBw&url=http%3A%2F%2Fpopcultureandfeelings.com%2Fwp-content%2Fuploads%2F2010%2F12%2Frepulsion_shot13l.jpg&ei=bVl1VNCKMKqx7Qa4pIAY&psig=AFQjCNF_qB8ncVx_dLm1OoEhGBZ_doy6yg&ust=1417063149857631

Figure 3. Horror Digital - Repulsion (1965) From: Repulsion.
Directed by: Roman Polanski [Film Still] United Kingdom: Compton Films / Royal Films International. At: http://www.google.co.uk/url?sa=i&source=images&cd=&ved=0CAUQjBw4NA&url=http%3A%2F%2Fwww.horrordvds.com%2Freviews%2Fn-z%2Frepulsion%2Frepulsion_shot5l.jpg&ei=jVl1VPaAHqKs7Aba-oHgCw&psig=AFQjCNGhuLnlMMhiZH_7GYz7R_16DKid7g&ust=1417063181558217

Figure 4. REPULSION' LOOKS REAL GOOD ON YOU | Obsessions Of A Cinéphile (1965) 
From: Repulsion. Directed by: Roman Polanski [Film Still] United Kingdom: Compton Films / Royal Films International. At: psychocinderella.wordpress.com



Film Review - Black Narcissus

(Fig.1)

Black Narcissus

Release Date - 1947
Director - Michael Powell, Emeric Pressburger.
Genre - Melodrama, Drama.

This deeply emotionally drama is about a group of nuns, lead by Sister Clodagh instructed by her order to oversee the establishment of a new school and hospital in the high Himalayas where the local General has offered the use of a deserted palace, which was briefly home to a monastery, but originally built as a home for the dead General's concubines.

With its innovative use of colour and the bold internal tensions that beset the characters, many critics consider Black Narcissus to be one of the finest and earliest examples of eroticism in film. Powell states "It is the most erotic film that i have ever made", "It is all done by suggestion, but eroticism is in every frame and image, from beginning to the end." (Powell,1947)

In Black Narcissus the setting is essential for establishing this atmosphere of conflict. The entire film was shot in Pinewood Studios in England, which means that the sets were the work of an artistic genius. So many of the scenes are so stunningly beautiful and magnificent, it is hard to believe that the film is not shot on location. Which is why matte design is so great (fig.2) example of matte painting, how the set actually looked, One of the people responsible for these matte paintings is W. Percy Day, considered one of the originators of the use of modern matte painting.

It's said that Powell and Pressburger passed up the opportunity to film on location, instead they got help from art director Alfred Junge an cinematographer Jack Cardiff, to invent a believable landscape. 

 The great duo of Michael Powell and Emeric Pressburger (together known as The Archers) shot their classic dark melodrama mostly on British studio sets, and the film's very falseness, the matte-painting vanishing perspectives and harshly exaggerated lighting creates a psychologically charged space in which an ungodly tragedy can unfold. Not to mention the bold use of colour (fig.3) below a more vibrant natural place, above where the nuns now reside a more harsh dull, unnatural, adding to the whole contrast of the film. Even the nun's clothing is conflicted by the environment, Dann Maloney mentions that it may be to prepare the audience for all the more subtle confections in the film " With their heavy, plain, white robes, the nuns look like they belong in Medieval Europe, certainly not in modern South Asia. They are immediately in conflict with the physical setting preparing the audience for the subtler internal conflicts that will follow." (Maloney, 2014) Almost everything in this film is conflicting with one another already we spoke about the colour and character but even the architecture "Powell contrasts the boxy interiors and blank walls of the British colonial offices with the curved, multi-leveled, spatially indefinite chambers of the old palace." (Kehr, 2001)



(Fig.2)
On set before matte painting.

(Fig.3)
Matte painting and shown use of colour contrast.



Bibliography - 

Kehr, Dave (2001) "Black Narcissus (1947)'
In: http://www.criterion.com 29.01.01 [online]
At: http://www.criterion.com/current/posts/94-black-narcissus (Accessed on the 25.11.14)

Maloney, Dann (2014) 'Black Narcissus (1947)'
In: http://theartofilm.blogspot.co.uk  13.02.14 [Online]
At: http://theartofilm.blogspot.co.uk/2014/02/the-dramatic-mattes-of-black-narcissus.html (Accessed on the 25.11.14)

Illustration List - 

Figure 1. Powell & Pressburger Images - Black Narcissus (1947) From: Black Narcissus. Directed by: Michael Powell, Emeric Pressburger [Film Poster] United Kingdom: General Film Distributors.
At: http://www.google.co.uk/url?sa=i&source=images&cd=&ved=0CAUQjBw&url=http%3A%2F%2Fwww.powell-pressburger.org%2FImages%2F47_BN%2FBN-Germany.jpg&ei=ZYlwVPKDPIncat2OgNgE&psig=AFQjCNEX4GwCCAM0675Iq-x4SSxj76L1VQ&ust=1416747750058763

Figure 2. BN_Behind Scenes (1947) From: Black Narcissus. Directed by: Michael Powell, Emeric Pressburger [Film Poster] United Kingdom: General Film Distributors.
At: http://theartofilm.blogspot.co.uk

Figure 3. BN_N_2 (1947) From: Black Narcissus. Directed by: Michael Powell, Emeric Pressburger [Film Poster] United Kingdom: General Film Distributors.
At: http://theartofilm.blogspot.co.uk





11/24/2014

Animation - Deer walk cycle 2


Looking a little bit jumpy because the animation ended up being 18 frames so i doubled up a few frames her and there to make 24. Not sure if it works now though...

Animation - Bouncing Ball


Maya - Exterior lighting mid day -








11/22/2014

Maya - Block UV Layout -


  


Should have turned the third block around more so you didn't see two three's but for some reason the rotate tool on my macbook plays up.
Either way, done.

11/21/2014

Animation test - Deer Walking (10 Frames)



10 frames - Thought i'd stop and test out the walk cycle before i carry on. Needs to be sped up a bit.

11/19/2014

Online Greenlight Review (2)

Thumbnails 54 - 63

  


Sketch book Thumbnails - 42-53




Ok, so first off are some extremely early on thumbnails, like before i really knew what i was going to do and at the time it was just thinking about Harper being a nature artist and trying to incorporate that, so big buildings and fruit buildings. obviously didn't pursue that.

but i did take some of the more simple smaller buildings and look into them more (52,53) because they simply fit into my city better.

Life Drawing -


26 - 41 Thumbnails and final concept ideas -

 
 



11/10/2014

Maya - Common Shaders


Learnt my lesson on not saving today, i got to the very last one and as i hit render Maya froze on me.
I also was silly enough to not print screen the outcomes as i went along!
Hopefully for now this is proof enough that i done the tutorial but i will have to go back and re do it all to get proper pictures.

Maya - Pencil & Eraser - Texturing



11/06/2014

Influence maps - continued -



having trouble drawing thumbnails at the moment, so i thought id read my travelogue back and look into the main parts of my city, so surrounding woodland, the main citadel building, two types of home also with

11/04/2014

Influence map - Plant studies - Forming structures -




Influence map showing Charley Harper's work to how it made me consider certain colours, areas, styles and possible outcomes.

Plant studies, if my city is to be placed around / surrounded by nature what would that included.

Lastly using Charley Harper's work to try to see if i could get any interesting results for structures. 

11/03/2014

Video's to accompany artist research -





Three of the best videos to sum up my artist - all ever so humble and inspirational -

Charley Harper - Supporting Artist Research -

Film Review - Edward Scissorhands

(Fig.1)

Edward Scissorhands 

Release date - 1990
Director - Tim Burton
Genre - Fantasy, Romance, drama

When Tim Burton created the film he intended to mock the faults in society.
Throughout the film Edward as a character attempts to address the theme of how people feel the obligations of conformity, Tim Burton shows throughout his work he is a non conformist.

It goes without saying the story is solid, there are few subplots to the film, but Edwards pursuit to try to fit in is one, we seem to take a trip with him as if its our first time in a strange new world as well, throughout the whole film Edward is longing to be accepted by the outside world and at first he is accepted but due to an unfortunate event being tricked into robbing a family home the whole neighbourhood turns against him saying they knew all along he was bad, Peter Travers touches on the subject in his review "Burton, a misfit kid from California who took solace in drawing cartoons and watching Vincent Price horror movies, clearly relates personally to Edward's situation. Burton shows how the townspeople's curiosity about Edward turns to suspicion and hostility (not unlike Hollywood's reaction to an innovative mind). " (Travers, 1990)

The contrast of the film helps set Edward apart from the rest of the town, for one thing he lived in total isolation but the neighbourhood below totally thrives on gossip . Also the dark mansion on the hill that is Edward's home is contrasted by the colourful, perfect town below (Fig.2), all the houses are built neatly in rows, fences all lined up evenly and even the neighbours seem to be in a routine of running, tending to the lawn or walking the family pet (Fig.3). This shows the contrast of nonconformity vs conformity in the film. The use of colour is important in the film, Edward and the castle are pale and dark, perhaps foreshadowing the films outcome. The small town is bright, colourful and vibrant reflecting the pace of life, Roger Ebert mentions the use of colours "The movie takes place in an entirely artificial world, where a haunting gothic castle crouches on a mountaintop high above a storybook suburb, a goofy sitcom neighborhood where all of the houses are shades of pastels and all of the inhabitants seem to be emotional clones of the Jetsons.." (Ebert,1990) This being said the art of the film is overly creative and bold, from the lawn hedges outside Edwards castle (Fig.4) to the quirky almost expressionistic design of everything inside everyones home, even Edward himself at times is a object of art being artificial life.

(Fig.2)
Contrasting castle and town.
(Fig.4)
Neat vibrant town.
(Fig.3)
Hedges outside Edwards home.

Edward himself though just pulls you in with a innocent pure look, so odd yet so loveable, you instantly fall for this character and route for him the whole way through this dark yet comical love story,  Owen Gleiberman expresses his love for the character also "Yet I loved the film simply for the character of Edward, who is Burton's purest achievement as a director so far. As an image, a presence, he's at once poetic and heartbreaking, and the innocent aggression implicit in his hands create undercurrents of rich, subversive comedy" (Gleiberman, 1990) the love story itself is certainly a heartbreaking one, an innocent boy whose heart is set on a girl you would think wouldn't fall for him, but you soon find out she does and keeps that love with her for the rest of her life.


Bibliography

Ebert, Roger (1990) 'Edward Scissorhands (1990)'
In: http://www.rogerebert.com 14.12.1990 [Online]
At: http://www.rogerebert.com/reviews/edward-scissorhands-1990 (Accessed on 03.11.14)

Gleiberman, Owen (1990) ' Edward Scissorhands (1990)'
In: http://www.ew.com/ew/ 07.12.1990 [online]
At: http://www.ew.com/ew/article/0,,20609141_318762,00.html (Accessed on 03.11.14) 

Travers, Peter (1990) 'Edward Scissorhands (1990)'
In: http://www.rollingstone.com 14.12.1990 [Online]
At: http://www.rollingstone.com/movies/reviews/edward-scissorhands-19901214 (Accessed on 03.11.14)

Illustration List - 

Figure 1. Edward Scissorhands Movie Poster on Behance (1990) From: Edward Scissorhands. Directed by: Tim Burton. [Film Poster] United States: 20th Century Fox.
At:https://m1.behance.net/rendition/modules/31766973/disp/6046681882d0175c3b00c7951ce5fd88.jpg.

Figure 2. Katy Fosdike: Mise en Scene FIlm Review: Edward Scissorhands (1990) From: Edward Scissorhands. Directed by: Tim Burton. [Film Still] United States: 20th Century Fox.
At:http://www.alicia-logic.com/capsimages01/esc_014Neighborhood.jpg.

Figure 3. So's Reel Thoughts: Frankenweenie (1990) From: Edward Scissorhands. Directed by: Tim Burton. [Film Still] United States: 20th Century Fox.
At:http://socalrpm.files.wordpress.com/2011/01/edward_scissorhands_12.jpg

Figure 3. Edward Scissorhands Lived in My Backyard… (1990) From: Edward Scissorhands. Directed by: Tim Burton. [Film Still] United States: 20th Century Fox.
At: http://www.google.co.uk/url?sa=i&source=images&cd=&ved=0CAUQjBw&url=http%3A%2F%2Fzannaland.com%2Fwp-content%2Fuploads%2F2011%2F06%2Fedward-1.jpg&ei=2_dXVIi-Cu6v7Aad54DYDA&psig=AFQjCNH5VrJjEqHaY8-Czc4g73xWWbH5ZQ&ust=1415137627333286







Film Review - Le Belle et la Bete

(Fig.1)

Le Belle et la Bete 

Release Date - 1948
Director - Jean Cocteau
Genre - Fantasy, Romance, Art Film, Drama.

Cinemas first adaptation of Jeanne-Marie Leprince de Beaumont's timeless fairytale La Belle et la bête (a.k.a. Beauty and the Beast) however even though this is a fairytale story it is hard to see this as one, the set alone gives it a very dark, daunting feel as Roy Armes also mentions early on in his review "but there is little evidence in Cocteau's approach of the childlike innocence" (Armes, 2001) 

The story is a delightful peak into the dreams and fantasies of this era, telling the story of an ugly beast whose heart is melted by the beautiful Belle, the story itself most people will already know from the early 1990's animated Beauty and the Beast (1991). This is a beautiful movie, it's a fairytale and it very much feels like that even though a very theatrical and nightmarish one. 

In Short what really starts the fairytale off is when Belle's father who is sentenced to death for picking a rose from Beast's garden. Belle offers to go back to the Beast in her father's place. The Beast falls in love with her and proposes marriage on a nightly basis which she refuses. Belle eventually becomes more drawn to Beast, who tests her by letting her return home to her family with the key to his treasure's magic and telling her that if she doesn't return to him within a week, he will die of grief.

During this film you may notice there are two very different set styles applied to each home, Belle's home and Beast's larger much more grande home. Now, Belle's home is very simple, wooden, shack like, well light and as you'd expect a house to look like back then. (Fig.2) Roy Armes talks about the contrast "The home life of Belle's family is parodied and often broadly farcial in tone, as, for instance, in the use of cackling ducks to comment on the attitudes of her sisters. By contrast, the departure of Belle for the Beast's castle and her entry there are totally stylised, with Cocteau employing slow motion photography to obtain a dreamlike effect." (Armes,2001) 


(Fig2) Belle's Home


When Belle first explores the Beast's home you see how much more dramatic it is, using darkness to it's advantage, this is highly affective allowing us to focus on whats really important in the shot, like in (fig.3) when Belle is walking through the main door all you focus on is the door, her and the strange arms holding the lights. You have the same effect in (fig.4) as Belle seamlessly floats down the corridor all you see is her and the open windows with the curtains blowing everywhere, this says a lot more than a well lit shot could, every set design being more about the feel it gives you over it being realistic or even practical as Roy Armes also mentions "Visually, the film is one of Cocteau's most sophisticated works. The costumes designed by Christian Bérard and the lighting and framing devised by Henri Alekan are decorative rather than functional and take their inspiration from classic Dutch painting, particularly the work of Vermeer." (Armes,2001)



(Fig.3) Belle entering beasts mansion

(Fig.4) Belle floating through dramatically lit scene 




Bibliography - 

Armes, Roy. (2001) (Beauty and the Beast)
In:http://www.encyclopedia.com 12.01.2001[Online]
At:http://www.encyclopedia.com/doc/1G2-3406800097.html (Accessed on the 2.11.14)

Illustration List - 

Figure 1. La Belle et la Bête (1946) From: La Belle et la Bête Directed By: Jean Cocteau [Film Poster] France: Lopert Pictures.
At: http://cineclap.free.fr/la-belle-et-la-bete-1946/la-belle-et-la-bete-1946-a04.jpg?lzv1sf

Figure 2. Beauty and the beast (la belle et la bete) (1946) From: La Belle et la Bête Directed By: Jean Cocteau [Film Still] France: Lopert Pictures.
At:http://www.dvdizzy.com/images/b/beautyandthebeast-criterion-11.jpg

Figure 3. La Belle et La Bête, 1946 directed by Jean Cocteau, film still (1946) From: La Belle et la Bête Directed By: Jean Cocteau [Film Still] France: Lopert Pictures.
At:www.google.co.uk/urlsa=i&source=images&cd=&ved=0CAUQjBw&url=http%3A%2F%2Fthepandorian.com%2Fwpcontent%2Fuploads%2F2009%2F08%2F18828836.jpg&ei=d35WVJXaCKKr7AbcwICABQ&psig=AFQjCNHn19I8qH7pIp7aGzyFFa1vPCXFAQ&ust=1415041015230339

Figure 4. la belle et la bête | the pandorian (1946) From: La Belle et la Bête Directed By: Jean Cocteau [Film Still] France: Lopert Pictures.
At:http://www.google.co.uk/urlsa=i&source=images&cd=&ved=0CAUQjBw4Dw&url=http%3A%2F%2Fthepandorian.com%2Fwpcontent%2Fuploads%2F2009%2F08%2Fpdvd_022.jpg&ei=gH5WVKbyFcOQ7Ab9lYCYAg&psig=AFQjCNE1KjuPuwzeWanYjpX5-5HDAunJ3w&ust=1415041024471508