The Point is a lysergic acid diethylamide driven adventure that tackles the ideas nonconformity, tolerance and individuality.
The story revolves around Oblio, a child born without a point on his head. Due to an incident involving a game of triangle toss, and the son of the count, Oblio is banished to the pointless forest along with his dog, Arrow. During his time there, they meet a myriad people and things, each with a point. In the end, Oblio finds his way home and everyone around him begins losing his point, while Oblio grows one on his head.
This story seems to be a moral tale that explains each person has something of value to say, or a "point", even if it is different from everyone else's. Oblio's lack of a "point" is a pun on a person without drive or perspective. His journey is a lesson to all that we all have unique and valid ideas, even if the majority of society believes otherwise. Oblio's "point", in the end, is just as real as those of all his peers. This alludes to the idea that any person's idea, even if it is not accepted by most people, is still real and valid, as long as he believes it.
Saturday, April 27, 2013
Friday, March 29, 2013
VDB Experimental
The Video I am reviewing is Shirley Clarke and the Camera, as seen on VDB.
There is a great deal of static in the opening and soon a woman holding a camera is seen. She is playing with the new found technological wonder and is still learning to use it. A man helps her understand the functions of the camera, and she is intrigued by its nature. What makes the scene so interesting is not the subject, but the background. Behind her is a clutter of bottles and books on a shelf, with a couple posters littering the walls. It is strangely innocent: an odd peer into the life of this woman whose life seems to be messy, unorganized and unstructured. Yet she is happily learning to use a film camera, one of the most advanced creations in human history. She then explains what she wishes to do with the camera, perhaps with the technical know-how to do so, perhaps not. Under further watching, the viewer realizes that she is in fact on set and may be in fact be the director of a film, which adds to the intrigue of the situation. How can such a woman, who seems to need help operating the most fundamental piece of filmmaking equipment, be directing her own film? The video then cuts off, leaving the audience forever pondering the strange irony of the situation.
There is a great deal of static in the opening and soon a woman holding a camera is seen. She is playing with the new found technological wonder and is still learning to use it. A man helps her understand the functions of the camera, and she is intrigued by its nature. What makes the scene so interesting is not the subject, but the background. Behind her is a clutter of bottles and books on a shelf, with a couple posters littering the walls. It is strangely innocent: an odd peer into the life of this woman whose life seems to be messy, unorganized and unstructured. Yet she is happily learning to use a film camera, one of the most advanced creations in human history. She then explains what she wishes to do with the camera, perhaps with the technical know-how to do so, perhaps not. Under further watching, the viewer realizes that she is in fact on set and may be in fact be the director of a film, which adds to the intrigue of the situation. How can such a woman, who seems to need help operating the most fundamental piece of filmmaking equipment, be directing her own film? The video then cuts off, leaving the audience forever pondering the strange irony of the situation.
Blog Post 8: Narrative
http://www.youtube.com/watch?v=i0BxrF5Cs8s
TURBO the movie by David Lehre.
David Lehre is an independent video maker/director/actor turned singer from Michigan. He employs a high production value aesthetic to his short films and often appears in his own movies. The genre of this video is science fiction and the style is production forward and faced paced.
David Lehre is originally from Detroit, Michigan, and began making movies in his teenage years with nothing more than a hand held camcorder and a small group of friends. David Lehre and his friends began posting their videos on youtube. He would soon have his first breakout success with Myspace: The Movie. He then started his own film studio and quickly gained recognition through interviews on Letterman, and a 400,000 dollar contract with Fox Studios. While producing various rap and hip hop music videos, he began incorporating ideas and techniques from Korean music videos, as he felt he had exhausted the inspiration locally. After gaining mild recognition in Korea by directing and producing music videos for korean pop musicians, he began his own music career as a popular music singer.
The genre of this film is a mix between martial arts, action and science fiction. It incorporates a lot of science fiction elements such as a futuristic setting, technology that does not currently exist, and the use of a universe with its own accepted paradigms. It also uses martial arts elements as within the video game, players control digital fighters and do combat within a digital arena. There is homage to Hong Kong martial arts cinema through the exaggerated and overly fluid fight choreography. Lastly, it has the "get the girl" motif seen in almost every action movie: The underdog finds his inner strength to overcome evil, and the female protagonist falls in love with him in the process.
The style of this movie is high production value and faced paced. Because it is a short film, character development is difficult and to an extent: limited. However, the primary appeal of this video is the special effects and lighting fast combat choreography. The flashing lights in the background, the glowing "special attacks" inside the video game, and the floating displays, are all incredibly detailed and advanced visual effects that would have been considered difficult even for major film studios, thus it is incredible that an independent artist is capable of creating such elements.
TURBO the movie by David Lehre.
David Lehre is an independent video maker/director/actor turned singer from Michigan. He employs a high production value aesthetic to his short films and often appears in his own movies. The genre of this video is science fiction and the style is production forward and faced paced.
David Lehre is originally from Detroit, Michigan, and began making movies in his teenage years with nothing more than a hand held camcorder and a small group of friends. David Lehre and his friends began posting their videos on youtube. He would soon have his first breakout success with Myspace: The Movie. He then started his own film studio and quickly gained recognition through interviews on Letterman, and a 400,000 dollar contract with Fox Studios. While producing various rap and hip hop music videos, he began incorporating ideas and techniques from Korean music videos, as he felt he had exhausted the inspiration locally. After gaining mild recognition in Korea by directing and producing music videos for korean pop musicians, he began his own music career as a popular music singer.
The genre of this film is a mix between martial arts, action and science fiction. It incorporates a lot of science fiction elements such as a futuristic setting, technology that does not currently exist, and the use of a universe with its own accepted paradigms. It also uses martial arts elements as within the video game, players control digital fighters and do combat within a digital arena. There is homage to Hong Kong martial arts cinema through the exaggerated and overly fluid fight choreography. Lastly, it has the "get the girl" motif seen in almost every action movie: The underdog finds his inner strength to overcome evil, and the female protagonist falls in love with him in the process.
The style of this movie is high production value and faced paced. Because it is a short film, character development is difficult and to an extent: limited. However, the primary appeal of this video is the special effects and lighting fast combat choreography. The flashing lights in the background, the glowing "special attacks" inside the video game, and the floating displays, are all incredibly detailed and advanced visual effects that would have been considered difficult even for major film studios, thus it is incredible that an independent artist is capable of creating such elements.
Blog 7: Music Video
The song I am writing about is Red Flag by Billy Talent.
Billy Talent is a canadian Punk Rock band.
http://www.youtube.com/watch?v=l2UktJtKpFw
The video begins with singing and a red flag being superimposed. There are short scenes of hand cuffs locking children away. As the children escape, shaky handheld camerawork is used to convey the uneasy journey of the children. One of the experimental techniques used is a reflection shot of the children running through the streets through a store display window. As more children escape, they begin covering more and more objects in red flags, covering buildings, military tanks, boats and houses in their path. The red flags, although commonly associated with communism and violence is, in this case, used to symbolize peace and youth culture.
One of the most commonly used experimental techniques used is behind-the-wall shot, in which the subject is behind a veil, or a wall, or a cage and is seen as being encaged behind a barrier. This creates a feeling of confinement and claustrophobia, which parallels the video's "break out" message.
The close ups of the band's instruments and faces are turbulent and unstable, communicating the same sense: the conditions of the video, the freeing of children, the voicing of the oppressed. These are all turbulent matters.
Billy Talent is a canadian Punk Rock band.
http://www.youtube.com/watch?v=l2UktJtKpFw
The video begins with singing and a red flag being superimposed. There are short scenes of hand cuffs locking children away. As the children escape, shaky handheld camerawork is used to convey the uneasy journey of the children. One of the experimental techniques used is a reflection shot of the children running through the streets through a store display window. As more children escape, they begin covering more and more objects in red flags, covering buildings, military tanks, boats and houses in their path. The red flags, although commonly associated with communism and violence is, in this case, used to symbolize peace and youth culture.
One of the most commonly used experimental techniques used is behind-the-wall shot, in which the subject is behind a veil, or a wall, or a cage and is seen as being encaged behind a barrier. This creates a feeling of confinement and claustrophobia, which parallels the video's "break out" message.
The close ups of the band's instruments and faces are turbulent and unstable, communicating the same sense: the conditions of the video, the freeing of children, the voicing of the oppressed. These are all turbulent matters.
Blog 6: Experimental Music Video
The music video I am analyzing is Heffy End by Seo Taiji.
http://www.youtube.com/watch?v=yafnZGVaLrM
Seo Taiji is a contemporary korean artist whose style is said to be the foundation for modern korean popular music. He is considered one of the first korean artists to embrace American influence to the full extent and become a symbol of artistic integration. His music videos often use experimental techniques to match the emotion of his music.
The song Heffy End is about a woman who cannot bear her lover leaving her and decides then to abduct him and keep him imprisoned in her basement so that they can be together "forever".
The song begins a strange collection of scenes: a woman sitting, a girl scribbling, an extreme close up of the pencil pressed against paper, depositing a dark hue onto the snow white paper. Then there is the bouncing of a rotoscoped ball, akin to the one seen in the cartoon in the television. The pencil is placed in a pencil sharpener, and the camera angle makes it seem as if a bullet is being loaded into a revolver. Then a girl places burning letters into order with tweezers, spelling out the title: Heffy End as eerie carnival music plays in the background. Then the song begins.
As the band plays, there is rotoscoping and film scratching. Also, the video is seen through a vignette and strange clips of objects being destroyed are superimposed over the band playing. Then a scene of a woman painting a face on a masked man. The face she paints is smiling but "drawn" tears fall down its face. This suggests that she wants her lover to be happy with her but deep inside he resents it and is unhappy with the arrangement. Then, just as the emotions of the woman and the man split between happy and anguish, the music suddenly goes from soft and instrumental, the raging with screamed vocals, and then suddenly become soft again. This continues for a while.
In the end, the masked man plots his escape and eventually kills his ex lover in order to do so, then the words "Do what you dream" are shown burning, with definitions floating next to each word.
http://www.youtube.com/watch?v=yafnZGVaLrM
Seo Taiji is a contemporary korean artist whose style is said to be the foundation for modern korean popular music. He is considered one of the first korean artists to embrace American influence to the full extent and become a symbol of artistic integration. His music videos often use experimental techniques to match the emotion of his music.
The song Heffy End is about a woman who cannot bear her lover leaving her and decides then to abduct him and keep him imprisoned in her basement so that they can be together "forever".
The song begins a strange collection of scenes: a woman sitting, a girl scribbling, an extreme close up of the pencil pressed against paper, depositing a dark hue onto the snow white paper. Then there is the bouncing of a rotoscoped ball, akin to the one seen in the cartoon in the television. The pencil is placed in a pencil sharpener, and the camera angle makes it seem as if a bullet is being loaded into a revolver. Then a girl places burning letters into order with tweezers, spelling out the title: Heffy End as eerie carnival music plays in the background. Then the song begins.
As the band plays, there is rotoscoping and film scratching. Also, the video is seen through a vignette and strange clips of objects being destroyed are superimposed over the band playing. Then a scene of a woman painting a face on a masked man. The face she paints is smiling but "drawn" tears fall down its face. This suggests that she wants her lover to be happy with her but deep inside he resents it and is unhappy with the arrangement. Then, just as the emotions of the woman and the man split between happy and anguish, the music suddenly goes from soft and instrumental, the raging with screamed vocals, and then suddenly become soft again. This continues for a while.
In the end, the masked man plots his escape and eventually kills his ex lover in order to do so, then the words "Do what you dream" are shown burning, with definitions floating next to each word.
Tuesday, February 12, 2013
Manifesto
1) Free Cinema Manifesto:
Abridged: Create films that tell "the truth". This means that they avoid superfluous and unnecessary shots and techniques. Also, films are also low budget and "honest" and not overproduced. Films are also to be personal and discuss topics that the director understands (and topics that the audience can understand).
2) I dislike this idea. I believe that film exists for the sole purpose of showing to others realities that we cannot possibly have. Realms of pure imagination come to life as actors, artists and computers come together to create the illusion of a fantastical, or simply unreal world. I can understand "realistic" movies, but usually there is a twist on real life; a set of paradigms that must be followed based on the movie itself.
3) The Imaginary World Film Manifesto:
a) A film should use as many resources as necessary to show the best possible version of an imaginary world created by a writer.
b) Realistic films should pay mind to the realism of the set and story, however, should remember that the primary focus of the film is to tell a story, thus specific details should be congruent with the story and help develop it.
c) A film is storytelling; it is the modern way of telling a story and twisting a new, impossible world into existence, thus the plot and universe should drive the film.
d) A film should have a very developed universe: For example, the history of Lord Of The Rings is developed to the point which it can be studied in depth by historians. The Star Wars and Inception universes are the same. Therefore, a film should do its best to expand its universe (single, standalone films obviously have less developed universes than trilogies such as The Matrix).
e) The size of the universe does not matter; for example, the entire film can take place in a small neighborhood. However, the idea is that paradigms and natures of the neighborhood is well thought out, no matter how little or much resemblance it bears to the real world.
Abridged: Create films that tell "the truth". This means that they avoid superfluous and unnecessary shots and techniques. Also, films are also low budget and "honest" and not overproduced. Films are also to be personal and discuss topics that the director understands (and topics that the audience can understand).
2) I dislike this idea. I believe that film exists for the sole purpose of showing to others realities that we cannot possibly have. Realms of pure imagination come to life as actors, artists and computers come together to create the illusion of a fantastical, or simply unreal world. I can understand "realistic" movies, but usually there is a twist on real life; a set of paradigms that must be followed based on the movie itself.
3) The Imaginary World Film Manifesto:
a) A film should use as many resources as necessary to show the best possible version of an imaginary world created by a writer.
b) Realistic films should pay mind to the realism of the set and story, however, should remember that the primary focus of the film is to tell a story, thus specific details should be congruent with the story and help develop it.
c) A film is storytelling; it is the modern way of telling a story and twisting a new, impossible world into existence, thus the plot and universe should drive the film.
d) A film should have a very developed universe: For example, the history of Lord Of The Rings is developed to the point which it can be studied in depth by historians. The Star Wars and Inception universes are the same. Therefore, a film should do its best to expand its universe (single, standalone films obviously have less developed universes than trilogies such as The Matrix).
e) The size of the universe does not matter; for example, the entire film can take place in a small neighborhood. However, the idea is that paradigms and natures of the neighborhood is well thought out, no matter how little or much resemblance it bears to the real world.
Power Of 10
Having seen the power of 10 before, I was not surprised by the video itself. However, I do have a new found appreciation for the funding and work that went in to making the video. Given that IBM was a mega-corporation at the time (its market went into military and government applications, as well as scientific calculations, type writers and other devices), it is not surprising that the video was capable of what it did. I also noticed the cell art used for the sub atomic parts.
Idea For Micro/macro
Idea: Objects in ecosystems
Starting from a tracking shot of an object, I will slowly zoom out and show the context of which it is in.
ie: Following a funny looking backpack and eventually showing that it belongs to a student moving across campus.
ie: Watching temple on a computer and eventually show he is in a computer lab.
Starting from a tracking shot of an object, I will slowly zoom out and show the context of which it is in.
ie: Following a funny looking backpack and eventually showing that it belongs to a student moving across campus.
ie: Watching temple on a computer and eventually show he is in a computer lab.
Tuesday, January 22, 2013
Meshes Of The Afternoon
1) How did Maya Darren use experimental techniques to explore concepts in Meshes in The Afternoon. Describe the various themes and concepts she explores in the film.
It is difficult to generalize how Maya Darren used her experimental techniques to explore specific concepts in her film, Meshes In The Afternoon; However, with no stretch of the imagination, it can be said that she uses a unique mixture of odd shot compositions, strange costumes and innovative post production techniques to create emotion evoking images on screen. In other words, the "experimental" techniques all function to create a visual experience that forces certain emotions on the viewer. This is to contrast the piece with narrative films that use story telling to drive emotional response.
One of the primary concepts of this film is the squashing of space. In any given scene, it is hard to tell exactly how large setting is. To do this, the camera is often jerked across a distance in a fast pan, causing the audience to find it difficult to gauge the distance traveled.
One of the primary themes of this film is the existence in multiple dimensions of sentience. The film takes place in what appears to be a dream-like sequence and thus the main character seeing herself over and over in an increasing number of manifestations. This appears like a venture into an ever deeper dream, much like the dream sequences in "Inception", but without the strong narrative. Also, at times a man appears. The technical procedure would simply include camera hand offs in which Maya Daren became the camera operator.
Another interesting concept is the changing of objects. Dreams are self correcting and self sustaining. In order to keep the body going through rem cycles, odd developments in the brain that cause internal logic issues are typically corrected. In a personal example, I once had a dream that my tooth fell out. To check whether it was a dream or not, I moved my hand up to my face to see if I could see it; it was missing. I decided it must be a dream, but decided to check my hand again one more time to be certain. My hand was present and visible.
As such, objects such as her key change, and at times becomes impossible to pick up. There is a scene in which the key turns into a knife. There is also a scene where Maya Daren (several of her) attempts to pick up the key off the table, but is unable to as it keeps teleporting back to the table. This is performed by simple shutting off the camera, holding it still, moving the object and resuming filming.
2) Describe in great detail the structure of meshes in the afternoon
-how is it organized and shot?
-how did the experimental techniques, concepts, transitions, camera work, and sound play a roll in the structure?
The structure of Meshes In The Afternoon is as such:
First, a girl walks home, only her shadow is seen and minor details such as her foot as to avoid immediately giving away what her character may be like (based on appearance). The music at the time is a koto playing a minor (modified chromatic) scale. The music is designed to evoke a sense of discomfort, as if the seemingly natural events were somehow unusual and strange. She then sees a strange, cloaked man holding a flower. In an attempt to follow him the woman ends up back in her own home to realize that she is a new incarnation of herself. Over several strange events, she incarnates several times, leading to scene in which there are many incarnations of the woman at once. In an attempt to kill her sleeping body (perhaps to wake herself up?) she turns into a man who is then struck and a dimensional portal opens, showing an open sea. After this, the man (possibly in another incarnation) enters the woman's house, only to find her dead in the chair that she was sleeping in.
It is organized in a linear order, as the events do follow time in chronological order rather than jump forwards and backwards. There is a clear cut beginning, and a clear cut ending. The film itself is shot with various experimental angles and post production techniques including moving dutch angles (the stairway scene) and blended frames (the "dimensional mirror" that cracks, revealing another area).
The experimental techniques allowed for strange effects to be created and conveyed. For example, the stopping and starting of the recording allowed for items to "teleport" (ie. The keys). The transitions from scene to scene helped to crush the awareness of the audience by making it difficult to discern and gauge movement. Often, the rapid, fast pans that function as transitions allow for two completely different locations to appear to be near each other by obfuscating the true distance between two shooting locations. The odd camera work is incredibly important to the overall feel of the film, as the handheld effects of shaking and "pacing" (The natural bobbing of follow and walking, hand held, shots) help make the dreamlike effect. (It is akin to the natural progression of dreams, in which specific details stand out, but the entire world is hard to see due to the nature of creating and perceiving at the same time.)
It is difficult to generalize how Maya Darren used her experimental techniques to explore specific concepts in her film, Meshes In The Afternoon; However, with no stretch of the imagination, it can be said that she uses a unique mixture of odd shot compositions, strange costumes and innovative post production techniques to create emotion evoking images on screen. In other words, the "experimental" techniques all function to create a visual experience that forces certain emotions on the viewer. This is to contrast the piece with narrative films that use story telling to drive emotional response.
One of the primary concepts of this film is the squashing of space. In any given scene, it is hard to tell exactly how large setting is. To do this, the camera is often jerked across a distance in a fast pan, causing the audience to find it difficult to gauge the distance traveled.
One of the primary themes of this film is the existence in multiple dimensions of sentience. The film takes place in what appears to be a dream-like sequence and thus the main character seeing herself over and over in an increasing number of manifestations. This appears like a venture into an ever deeper dream, much like the dream sequences in "Inception", but without the strong narrative. Also, at times a man appears. The technical procedure would simply include camera hand offs in which Maya Daren became the camera operator.
Another interesting concept is the changing of objects. Dreams are self correcting and self sustaining. In order to keep the body going through rem cycles, odd developments in the brain that cause internal logic issues are typically corrected. In a personal example, I once had a dream that my tooth fell out. To check whether it was a dream or not, I moved my hand up to my face to see if I could see it; it was missing. I decided it must be a dream, but decided to check my hand again one more time to be certain. My hand was present and visible.
As such, objects such as her key change, and at times becomes impossible to pick up. There is a scene in which the key turns into a knife. There is also a scene where Maya Daren (several of her) attempts to pick up the key off the table, but is unable to as it keeps teleporting back to the table. This is performed by simple shutting off the camera, holding it still, moving the object and resuming filming.
2) Describe in great detail the structure of meshes in the afternoon
-how is it organized and shot?
-how did the experimental techniques, concepts, transitions, camera work, and sound play a roll in the structure?
The structure of Meshes In The Afternoon is as such:
First, a girl walks home, only her shadow is seen and minor details such as her foot as to avoid immediately giving away what her character may be like (based on appearance). The music at the time is a koto playing a minor (modified chromatic) scale. The music is designed to evoke a sense of discomfort, as if the seemingly natural events were somehow unusual and strange. She then sees a strange, cloaked man holding a flower. In an attempt to follow him the woman ends up back in her own home to realize that she is a new incarnation of herself. Over several strange events, she incarnates several times, leading to scene in which there are many incarnations of the woman at once. In an attempt to kill her sleeping body (perhaps to wake herself up?) she turns into a man who is then struck and a dimensional portal opens, showing an open sea. After this, the man (possibly in another incarnation) enters the woman's house, only to find her dead in the chair that she was sleeping in.
It is organized in a linear order, as the events do follow time in chronological order rather than jump forwards and backwards. There is a clear cut beginning, and a clear cut ending. The film itself is shot with various experimental angles and post production techniques including moving dutch angles (the stairway scene) and blended frames (the "dimensional mirror" that cracks, revealing another area).
The experimental techniques allowed for strange effects to be created and conveyed. For example, the stopping and starting of the recording allowed for items to "teleport" (ie. The keys). The transitions from scene to scene helped to crush the awareness of the audience by making it difficult to discern and gauge movement. Often, the rapid, fast pans that function as transitions allow for two completely different locations to appear to be near each other by obfuscating the true distance between two shooting locations. The odd camera work is incredibly important to the overall feel of the film, as the handheld effects of shaking and "pacing" (The natural bobbing of follow and walking, hand held, shots) help make the dreamlike effect. (It is akin to the natural progression of dreams, in which specific details stand out, but the entire world is hard to see due to the nature of creating and perceiving at the same time.)
Monday, January 14, 2013
Senses of Cinema Director: TIM BURTON
Tim Burton
Tim Burton was born on August 25th, 1958. Growing up, he had a taste for the morbid that his peers found disturbing. However, this would later contribute to his signature style of film making. Tim Burton enjoys creating darker, more gothic inspired films than most contemporary filmmakers today. His most well known films include Edward Scissorhands, The Nightmare Before Christmas, Corpse Bride, Alice In Wonderland and many others. Another interesting note is his favor for using stop motion, which he employs in many of his films.
Tim Burton's filmmaking history began with his employment by disney. There, he began designing and creating ideas for the company. After creating a short film, Frankenweenie (which would later be remade into a full feature film), he would go on to direct PeeWee's Big Adventure. A critical failure, but a box office success. This film, which would go down as a cult classic helped catapult him to fame as he would continue to make a string of highly regarded films such as Batman.
The director is also well known for working with Johnny Depp, as he has starred in various Tim Burton movies such as Edward Scissorhands, Charlie and the Chocolate factory, Alice in wonderland, and Sweenie Tod, The Demon Barbor of Fleet Street.
Tim Burton was born on August 25th, 1958. Growing up, he had a taste for the morbid that his peers found disturbing. However, this would later contribute to his signature style of film making. Tim Burton enjoys creating darker, more gothic inspired films than most contemporary filmmakers today. His most well known films include Edward Scissorhands, The Nightmare Before Christmas, Corpse Bride, Alice In Wonderland and many others. Another interesting note is his favor for using stop motion, which he employs in many of his films.
Tim Burton's filmmaking history began with his employment by disney. There, he began designing and creating ideas for the company. After creating a short film, Frankenweenie (which would later be remade into a full feature film), he would go on to direct PeeWee's Big Adventure. A critical failure, but a box office success. This film, which would go down as a cult classic helped catapult him to fame as he would continue to make a string of highly regarded films such as Batman.
The director is also well known for working with Johnny Depp, as he has starred in various Tim Burton movies such as Edward Scissorhands, Charlie and the Chocolate factory, Alice in wonderland, and Sweenie Tod, The Demon Barbor of Fleet Street.
Sunday, January 13, 2013
#8 Narrative Film Maker
Determine, once again to bring to the table an artist that few people in the class would know, I've decided to write about one of my favorite film makers of all time : Stephen Chow
Stephen Chow is a Hong Kong comedy director, known for his personal, slapstick brand of comedy known as "Mou-lei Tou", meaning "pointless" in Cantonese. His work draws many ties and pays many tributes to older Hong Kong cinema heroes such as Bruce Lee and Jackie Chan. His style of humor, "Mou-lei Tou" can be seen as a mix between slapstick comedy, intelligent wordplay, and cartoon style physical comedy.
One of the most fascinating aspects of Chow's work, which I find to be incredibly admirable, is the fact that he is almost always in his own films. He serves as both the director and the lead actor of the majority of his films, a feat that I found to be almost impossible in my attempt during the filming of "Min and Jay 2". He has great command and is an efficient communicator, explaining precisely what he wants in a shot to a large film crew.
Stephen Chow is a legend in Hong Kong cinema, often dubbed the "King of Comedy". In his history of film making, none of his movies have ever flopped, as they consistently reach top 10 in local charts. His most famous movies include Shaolin Soccer, Kung Fu Hustle and FromBeijing With Love. These movies each giving a subtle stab at the influence of western cinema over the world. Particularly From Beijing With Love, a spy movie in which the protagonist's literal name is "double-oh-seven" (ling-ling tsut). In the 1990's mainland China, along with the rest of Asia, began to flock to Hong Kong to see his films, thus again solidifying the strength of Hong Kong Cinema.
He has won various awards for his works. Particularly Kung Fu Hustle, which won 18 awards, including the BAFTA non Enlgish film award. He currently acts mainly as a prodcuer, but has plans to create new films.
Stephen Chow is a Hong Kong comedy director, known for his personal, slapstick brand of comedy known as "Mou-lei Tou", meaning "pointless" in Cantonese. His work draws many ties and pays many tributes to older Hong Kong cinema heroes such as Bruce Lee and Jackie Chan. His style of humor, "Mou-lei Tou" can be seen as a mix between slapstick comedy, intelligent wordplay, and cartoon style physical comedy.
One of the most fascinating aspects of Chow's work, which I find to be incredibly admirable, is the fact that he is almost always in his own films. He serves as both the director and the lead actor of the majority of his films, a feat that I found to be almost impossible in my attempt during the filming of "Min and Jay 2". He has great command and is an efficient communicator, explaining precisely what he wants in a shot to a large film crew.
Stephen Chow is a legend in Hong Kong cinema, often dubbed the "King of Comedy". In his history of film making, none of his movies have ever flopped, as they consistently reach top 10 in local charts. His most famous movies include Shaolin Soccer, Kung Fu Hustle and FromBeijing With Love. These movies each giving a subtle stab at the influence of western cinema over the world. Particularly From Beijing With Love, a spy movie in which the protagonist's literal name is "double-oh-seven" (ling-ling tsut). In the 1990's mainland China, along with the rest of Asia, began to flock to Hong Kong to see his films, thus again solidifying the strength of Hong Kong Cinema.
He has won various awards for his works. Particularly Kung Fu Hustle, which won 18 awards, including the BAFTA non Enlgish film award. He currently acts mainly as a prodcuer, but has plans to create new films.
#4 Study Guide: Analyzing Acting
Film: Ninja Assassin
Actor: Rain (real name: Jung Jihoon)
A) Estimated Age: 26
B)
Facial features: Long hair, single eyelids (as opposed to folded ones)
Eyes: Black and narrow
Mouth: Small.
C) Body Type
Height: 6'1
Shape: Mesomorph. Muscular.
Character: Normally has short hair, and did work out for the movie. But is still naturally more muscular than most Korean icons.
Ethnicity and race: Asian; Korean.
Voice: large range, speaks in a middle register but is a trained singer and is known for screeching high vocals.
Volume: Speaks softly, but firmly. Louder than a whisper, but with command.
Distinctive elements of his voice: Noticeable Korean accent. Not to the point that his speech is not understandable, but it is noticed.
Vocal style: Akin to a loud whisper.
Star type: Known for romantic comedies and drama series (on television), Rain's hollywood debut was Speed Racer.
Publicity about star: He is one of the best selling artists in Asia and was a love interest of Megan Fox. However, he turned her down.
He is known as a very masculine figure in the Asian media industry. (Often portraying himself as a dominant, sensual figure)
Uncredited inventor of the "aviators and suit" look. Also, re popularized three piece suits after punk and anti-establishment movements had become popular.
http://www.youtube.com/watch?v=QDYax6ABb-8
Actor: Rain (real name: Jung Jihoon)
A) Estimated Age: 26
B)
Facial features: Long hair, single eyelids (as opposed to folded ones)
Eyes: Black and narrow
Mouth: Small.
C) Body Type
Height: 6'1
Shape: Mesomorph. Muscular.
Character: Normally has short hair, and did work out for the movie. But is still naturally more muscular than most Korean icons.
Ethnicity and race: Asian; Korean.
Voice: large range, speaks in a middle register but is a trained singer and is known for screeching high vocals.
Volume: Speaks softly, but firmly. Louder than a whisper, but with command.
Distinctive elements of his voice: Noticeable Korean accent. Not to the point that his speech is not understandable, but it is noticed.
Vocal style: Akin to a loud whisper.
Star type: Known for romantic comedies and drama series (on television), Rain's hollywood debut was Speed Racer.
Publicity about star: He is one of the best selling artists in Asia and was a love interest of Megan Fox. However, he turned her down.
He is known as a very masculine figure in the Asian media industry. (Often portraying himself as a dominant, sensual figure)
Uncredited inventor of the "aviators and suit" look. Also, re popularized three piece suits after punk and anti-establishment movements had become popular.
http://www.youtube.com/watch?v=QDYax6ABb-8
#3 (Chapters 4 and 5)
Analyzing Camera Movement:
Movie used: Star Wars Episode: The Phantom Menace
http://www.youtube.com/watch?v=dzQBB4YICwM
Scene: Final fight between Qui Gon Jinn, Obiwan Kenobi, and Darth Maul
The scene begins with a still shot of Qui Gon and Obiwan walking towards the camera, as they dismiss the rest of the rebel troops. Then, a still, close up of Darth Maul is scene as he removes his hood, revealing his face. The camera then moves up and to the right to follow Obiwan as he leaps into the air to strike Darth Maul, who blocks with his saber staff, in the back. Then a slow pan to the right follows the action as Qui Gon attacks Darth Maul from the front, and Obiwan does the same from behind. The next cut is a wide shot showing the fight from a distance; the camera remains still. Then a long, drawn out pan to the right shows their fighting, and a series of still shots that portray acrobatic assaults and incredibly, superhuman leaps. Then, a super wide angle shot is shown. The camera is still in this shot and various reactor beams are seen in the background. It serves to show exactly what kind of location the Jedi are fighting in, and what kind of imminent danger (the large reactor beams that surround them can easily kill them, also the platform they are fighting on is super narrow, making it easy for them to fall to their deaths). A handheld shot is then shown, in which the two Jedi knights, and Darth Maul are mere silhouettes because of the large reactor beam directly behind them. After a series of pans and stills, which consist of closeups on Obiwan (because he separated from the fight after being kicked off a ledge) and wide shots of Qui Gon Jinn and Darth maul, a stills show The three duelists separated by plasma walls. Occasional pans are used during close up to keep the subjects faces on screen, but then, the plasma walls deactivate and the a long handheld shot that moves back and away from the actors is used to show Qui Gon and Darth Maul continuing their fight. This goes on until Qui Gon is ultimately defeated. An extreme, handheld closeup of his face is shown. And then a moving shot that breaks the 180 degree rule is employed. This is incredibly jarring and creates great discomfort, but is intentional as it is supposed to make the audience uncomfortable with Qui Gon's death. The final shot is of Darth Maul, falling down a reactor core.
Movie used: Star Wars Episode: The Phantom Menace
http://www.youtube.com/watch?v=dzQBB4YICwM
Scene: Final fight between Qui Gon Jinn, Obiwan Kenobi, and Darth Maul
The scene begins with a still shot of Qui Gon and Obiwan walking towards the camera, as they dismiss the rest of the rebel troops. Then, a still, close up of Darth Maul is scene as he removes his hood, revealing his face. The camera then moves up and to the right to follow Obiwan as he leaps into the air to strike Darth Maul, who blocks with his saber staff, in the back. Then a slow pan to the right follows the action as Qui Gon attacks Darth Maul from the front, and Obiwan does the same from behind. The next cut is a wide shot showing the fight from a distance; the camera remains still. Then a long, drawn out pan to the right shows their fighting, and a series of still shots that portray acrobatic assaults and incredibly, superhuman leaps. Then, a super wide angle shot is shown. The camera is still in this shot and various reactor beams are seen in the background. It serves to show exactly what kind of location the Jedi are fighting in, and what kind of imminent danger (the large reactor beams that surround them can easily kill them, also the platform they are fighting on is super narrow, making it easy for them to fall to their deaths). A handheld shot is then shown, in which the two Jedi knights, and Darth Maul are mere silhouettes because of the large reactor beam directly behind them. After a series of pans and stills, which consist of closeups on Obiwan (because he separated from the fight after being kicked off a ledge) and wide shots of Qui Gon Jinn and Darth maul, a stills show The three duelists separated by plasma walls. Occasional pans are used during close up to keep the subjects faces on screen, but then, the plasma walls deactivate and the a long handheld shot that moves back and away from the actors is used to show Qui Gon and Darth Maul continuing their fight. This goes on until Qui Gon is ultimately defeated. An extreme, handheld closeup of his face is shown. And then a moving shot that breaks the 180 degree rule is employed. This is incredibly jarring and creates great discomfort, but is intentional as it is supposed to make the audience uncomfortable with Qui Gon's death. The final shot is of Darth Maul, falling down a reactor core.
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