Again and again, you spin clumsily into sharp edges and ledges and chair legs. You’ve been contorted in a telephone box-sized space, limited to miming careful dances around corners, and entertaining yourself with the voices in your headphones and your head. At sporadic moments, you twitch a furry character into a new position and click a camera shutter closed. This, you deduce, is the art of creating movement by barely moving anything at all.
Control is the theme of the week: daylight is blocked with cardboard and artificial lights secured in place, the tripod is taped to the ground, and the onion-skin function on Dragonframe allows you to position objects a splinter away from where they sat in the last frame. In this cave of control, you will the animation to be smoother than before. Tickled by the irony, you decide you want the animated character to jiggle wildly, uncontrollably, about the set. You want to present a personality. If moving the figure a minimal amount per picture creates realistic movement, it follows that significant movements between frames create an exaggerated, crazed impression. You experiment, improvise and make spontaneous decisions that allow your animation, and your interest in it, to thrive.
It’s easy to become disgruntled and frustrated with this odd filmmaking form – you spend hours shifting fractions of objects to produce half a second of material, easily neglected in a blink. You lose time and sleep, sanity and social skills; there is nothing healthy about a control this obsessive. Yet, in a strange twist of logic, there is nothing more satisfying than coercing an inanimate creature into a frenetic routine. Ultimately, oddly, as bruises blossom on your femurs, you’re content within the secluded euphoria of your imaginary world, and your tiny telephone box.
31 March 2013
29 March 2013
Woody Allen – Director
“The talent for being happy is appreciating and liking what
you have, instead of what you don't have”.
-Woody Allen
While almost
all of his films have an ‘independent’ label, he has still managed to find mass
success as a director. Indie films are
generally becoming more popular although there are more films that have
branched out from Hollywood labels, and this may be good news for current film
students or aspiring directors. Some may
describe Woody Allen as a Jewish American man with lofty ambitions and a quirky
sense of humour, but the reality is that he is as clever as they come,
cinematically speaking.
Without getting too deep into biographical detail, Allen was
born in New York City in 1935 but he was not called “Woody” (b. Allen Stewart
Konigsberg). Annie Hall (1977)
became one of his most famous films and its merit for academic study still remains
in the modern day – with good reason. Midnight
in Paris (2011) saw Allen’s directorial flare rise once again in a film
filled with imagination and an admiral disregard for impossibility. These two films may have been released nearly
35 years apart, but make no mistake that both are the typical Woody Allen work
that has come to define his touch as a director. One could go as far to say that Allen is an auteur. There are many filmic elements that are
trademark to Allen’s style and some of them can be seen in the following
clips. Please watch and enjoy.
^^The above clip is, in a word, ridiculous. Woody Allen is frequently known to appear,
and often star, in the films that he directs.
The fellow wearing glasses and nearly having a hemorrhage from listening
to the other man in the background talk is the director – this man had a
vision. When he breaks the fourth wall
(film technique), the audience is taken off guard and made to feel like they
are important, which is exactly what Allen wants to convey. Furthermore, this reminds the audience that
they are simply being entertained. While
a common technique in his films, it is far more uncommon in many Hollywood movies
where the director’s goal is to hold the audience captivated. The camera position is simple and this allows
Allen to focus more on the mise-en-scene
and character dialogue containing trivial irony and an air of expectation:
something has to happen. “Boy, if life
were only like this.” Boy, does he know
it.
^^Woody Allen also has an undoubted fascination with people. The opening scene from Midnight in Paris
supports this, but Allen’s introduction is suitable and sets the stage well for
a story to be spun. The voiceover of
actor Owen Wilson during the final leg of the credits is purposeful; after
seeing a brief tour of Paris the audience is ready to meet the film’s
characters. Nothing overly special with
it, just a pinch of characterisation and background information, but Allen has
successfully made a memorable opening scene.
Along with films such as the recently released To Rome With Love,
Allen creates films that have a European feel for a predominantly American audience.
^^Enter the scene that could be effectively known as the
scene Owen Wilson’s character’s fiancée thinks he’s finally fallen off his
rocker. (Did I mention that the plot is
satisfying as well?) And then there is
that moment of magic when the clock strikes midnight. The conversation with Hemmingway was insightful
and eye-catching, while at the same time a sort of homage to art in general and
artists in particular.
Well done, Woody.
20 March 2013
China and Hollywood: BFF?
Even if it means cutting/changing grand parts of their films, Hollywood is bewitched by China’s box
office.
I came across an interesting and captivating article
concerning Hollywood’s interest in making a bigger cinematic breakthrough in
China, not in terms of ‘filming making’
but in terms of profit. Marsh investigates China’s cinematic success within fast growing cinemas and ‘daily’ box
office smash; additionally highlighting that there is an increase of cinemas
being built.
Films now screened
within China must first be reviewed by the S.A.R.F.T [state administration of
radio, film and television], attending then an approval or rejection. Whether
filmmakers submit their scripts before hand or include any reference to
China/Chinese culture or wish to film within the territory, it is preferred if an
official member assists/report the production (particularly on Chinese
locations). Furthermore, if these films
involved Chinese actors and story lines it would be more appreciated.
This article had me expand my research and I encountered
further information regarding Chinese censorship on Hollywood films,
simultaneously references to particular movies that have undergone certain adjustments.
Obviously, it’s hard
to truthfully and adequately portray certain elements of a culture which is not
your own or eventually inappropriate to portray those cultures within a
particular stereotype. The Karate Kid
(2010) was initially discarded because its villain was Chinese, more than 10
minutes were cut from Men and Black 3 (2012)
as it showed an “alien” Chinese waitress, in Skyfall (2012) a scene displaying the shooting of a Chinese guard
was cut out. Surprisingly even Kate Winslet’s ‘portrait scene’ was censored
when Titanic (1997) came out in 3D
(2012).
“For American’s, the hard part is knowing what might suddenly
cause trouble – initial approvals notwithstanding”, (Cieply & Barnes,
2013). I found that films such as The
Departed (2006 - remake) and Pirates
of the Caribbean: at world’s end (2007) were both banned in China. The
reasons concerned references about Chinese people which weren’t much esteemed,
in other films issues are also ‘religious-related’ (i.e. Life of Pi, 2012).
There was also a period in which, not too long ago, the
S.A.R.F.T imposed a blackout of foreign films in the cinemas: its main aim was
to connect the audience with ‘domestic movies’ of Chinese Culture. This did
raise some controversy for those who love watch Hollywood films, due to the
Communist Party’s [who control the S.A.R.F.T] excessive ‘censorship power’.
Although it may be argued that,
to an extent, certain cuts may not be drastic: many of those that I have read
about Chinese censorship involve excluding cynical
images. This brings me to highlight that in many Hollywood films, foreign
individuals, such as Chinese and/or Russians, are set as villains against the
American hero, but alternatively not all are portray in the same way. Let’s not
forget our favorite Chinese kung-fu
hero Jackie Chan. 
“There is a lot of frustration about the rules and censorship
and hurdles and difficulties of getting a film made and distributed in China”,
(Cain in Marsh, 2013). This statement particularly made me think about
Hollywood’s remakes of foreign films: Let
me in (2010), Quarantine (2008), The Grudge (2004), The Ring (2002) and so on. It’s a very increasing tendency of
Hollywood to remake an overseas film, whether it is successful or not; O’Neil
explains that some filmmakers fear that producing something original [in a
studio] could be risky and expensive and simply, Hollywood remakes effective
foreign films for American audiences to enjoy.
"My advice to audiences is go see
the proven hit to appreciate it. Chances are, with the remake, Hollywood is
just serving up re-fried beans that aren't very tasty."
- O’Neil
AG
Bibliography
Marsh, J. (2013), Hollywood
rolls out Red carpet, Metro in focus, London
Articles
8 March 2013
A very handy documentary.
'The
hands are a man’s outer brain'.
- Kant
Finally, a practical module! It’s a great
opportunity to be able to produce [your own] short documentary as part of your
degree; surly a bonus for a show reel/CV.
I’d been brainstorming various ideas since I first picked the module
last year but when this year’s semester began, it hit...
no it slapped me! I [randomly]
thought about a compliment I had received a long time ago regarding my hands,
so I stopped to think about hands in general. What is it that we do (everyday)
that doesn’t involve the usage of our hands? Practically nothing and we tend to
take them for granted. To be truly honest I initially thought that the idea wouldn’t
be approved, but before the pitching I did my research. As I’ve learnt,
researching is an essential part for any type of filmmaking and it will help
build up a firm argument. The aim is to convince people that it’s a makeable
film!
The pitching went well and I am now
directing [OMG] a documentary about hands. Once formed a group and allocated all the
tasks, already done the research, it was time to look into more depth on what documentary
style I was going to approach. Nichols’s 6 types/modes can be reassumed into:
- Poetic
- Expository
- Observational
- Participatory
- Reflective
- Performative/Interactive
I must admit that after viewing Pockets, I felt even more confident in proceeding
with my idea and decided to take inspiration from its mode: poetic and
performative. In some why I actually thank James Lee, the director, for the
inspiration and hopefully this documentary Hands
can be nearly as good.
- Against the early forms of fiction film, poetic documentaries assemble images of the world, through time and space, “by means of association and patterns”. This fragmented and impressionistic mode made people appear simply as entities.
- Subjective experience and emotional response are key aspects of the performative/interactive documentary style. “... might include hypothetical enactments of events designed to make us experience what it might be like for us to possess a certain specific perspective on the world that is not our own”.
I then sat down and watched the various documentaries for each mode. These films tend to create a creative connection between music and images (Regen; Play of light: black, white, grey; N.Y, N.Y), some use narration/voice over (San Soleil; Night and Fog) and there is no or hardly any interaction with a specific subject. San Soleil begins with a quote, which foreshadows my idea of starting with two citations, while Night and Fog uses voice over; I considered deviating slightly from the main aspects and involving people [interviewees] so that the audience may share their personal experiences/thoughts. Their statements will potentially be a voice over for certain images; the aim is also to have people reflect upon this neglected body part, make us thing how throughout time society has been able to use hands as “a symbol, a tool and a weapon”.
AG
Research Paper
Clips
2 March 2013
5 Things People Love about: Hot Fuzz
“If we don’t come down hard on these clowns, we’re going
to be up to our balls in jugglers.”
I’m just going to presume that you have seen this
film. If you haven’t seen it, I suggest you stop lying to me.
The following is my list of characteristics that audiences love about the film Hot Fuzz.
The following is my list of characteristics that audiences love about the film Hot Fuzz.
ONE: The shooting (camera angles, shots etc.)
There are numerous examples of shots in the film Hot
Fuzz that are inconspicuously clever, far too many to count. The jump cuts stand out brilliantly during
the action scenes and make even the most mundane chore seem more intense. An example of this is when the beer is poured
into the glass at the pub. It brings the
audience’s attention to the next setting in a way that actually establishes
links between the different settings.
The transition between shots is simply excellent. Another film technique that is employed
consistently in Hot Fuzz is the match cut. This was the technique that brought the red
colour of blood to the blinking red signal on Sgt. Angel’s alarm clock. And the audience enjoys this because it is
unique and clever. Finally, close-up
shots are another very common feature in the film that draws the audience
nearer. This is used particularly during
conversations, almost as if director Edgar Wright wanted the audience to feel
and understand the connection between all of the characters. Who could forget the shot at the end of the
film of Sgt. Angel standing facing a gravestone with the last name of
‘Butterman’? The audience cannot see the
first name, and it is only revealed when Danny steps into the frame and says
how lovely the flowers are.
TWO: The dry British humour
What can be said of the dry British humour in Hot Fuzz? Some viewers may not understand the full
extent of the humour because it is so well concealed behind other layers. That Sgt. Angel actually gets the boot from
the London Met police because he was too good is a master class in irony. It’s a difficult thing to describe, British
humour, but for those of you who find it funny, it’s funny because of its
dryness, so to speak. George Merchant,
the ‘fridge magnet’, “spends his whole life devoted to the refrigerator and
gets killed by an oven”. Oh, and the
swan happens to be “Sandford’s most wanted”.
THREE: The plot (for its impossibility, mainly)
This film is as entertaining as it is not only because of
the humour, but also because of the plot being so fantastical that the audience
forgets to doubt it. This is of course
mixed with the film having elements of the truth and what is right and wrong
(human interest). The progression of the
film works very well because the suspense grows as soon as Sgt. Angel realises
that something isn’t quite as it should be in the sleepy old village of the
year. The moment in the film when the
police officers switch their allegiance from the Chief Inspector to the
idealistic Sgt. Angel is one twist that really adds to that air of satisfaction
that the plot provides. The many moments
of laughter are scattered throughout the film.
One of them was when Sgt. Angel yelled “Punch that shit!” as he and
Danny were chasing the Chief – right before the car pulls away to reveal the
judges for the best village competition and the banner reading the typical “Welcome
to Sandford” becomes parted from its friends the walls. The chasing of the swan was another hilarious
episode because of its absurdity. Well,
it may be absurd but it is also possible – police officers could in theory make
animal sounds to call their not-so-human suspects.
FOUR: Symbols/Themes
Added to the current list of compliments for Hot Fuzz
could be that the film is bloody clever.
Its symbols and motifs that appear throughout are meaningful and never
random. If anything, for a film that has
such a twisted plot (twisted in a good way), it is strikingly anti-random. Nothing is without reason. The inclusion of other films such as Point
Break and Bad Boys II are effective homages to the films that were
all so entertaining to a wide audience because of their foundations in pure
action and suspense. Hot Fuzz
took this level and topped it because of the added humour and dramatic elements
in the plot. One of the symbols in the
film is the Japanese peace lily – an escape mechanism and mode of focus for
Sgt. Angel because he “can’t switch off”.
In fact, the name “Angel” is equally symbolic for obvious reasons. Some of the effective motifs are obsession,
the moral value of the law, perfection, and, more debatably, everything
starting at the pub. “The greater good”
lines also added character to the film and popularised the saying in
general. This article will not go as far
as to explore the central themes of the film in depth, but it should be noted
that one of the overlooked yet brilliant motifs is simply that of balance. Sgt. Angel is a character that many of us can
probably relate to – that workaholic try-hard who doesn’t seem to have a life
outside his experiences in the public sphere. Except that with the kind of business he had in
Hot Fuzz, I think he does enough with his life. And that leads into the amiability of the
characters.
FIVE: The ‘Bromance’ Film
Hot Fuzz is essentially a ‘bromance’
film. What does that mean? It means that the film has an absence of
traditional love. The two men in the
film are nothing more than best mates – two brother-types who watch each other’s
backs until the end. It appears to be a
very modern genre. More than that, Sgt.
Angel never gets back with another woman after leaving London and splitting
with his girlfriend. That goes a long
way to say that friendship helps a lot.
And these two actors do work undeniably well together, not only in this
film but also in Shaun of the Dead, Paul, and Run Fatboy Run
(Simon Pegg). In Hot Fuzz, Danny is
a comic character for what comes out of his mouth and his bumbling appearance. The ‘bromance’ seems to work very well for
audiences as a break from the status quo.
This may not have been the first of its kind entirely, but it will go
down as one of the better ones.
So, that’s all from me – explanations for why people are
fans of this film. Each is more
enjoyable than the rest. “Punch that
shit.”
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