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.)
Tuesday, January 22, 2013
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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