Friday, 24 October 2014
Thursday, 23 October 2014
The cabinet of Dr. caligari
“Csare! Do you hear me? It is I calling you: I, Caligari, your master.Awaken for a brief while from your dark night”,(Dr. Caligari).
The cabinet of Dr. Caligari was made in 1920. Directed by Robert Wiene and cinematography by Willy Hameister. The film stars Conrad Veidt (Cesare), Werner Krauss (Dr. Caligari), Lil Dagover (Jane Olsen), Friedrich Fehér (Francis) and Jan's Heinrich Van Twardowski (Alan).
This film is about a mysterious character whose job is to perform and entertain people all in the comfort of his cabinet. He makes prediction of any audience member and it always comes to pass, which made him the prime suspect for all the homicides that occurred in the area. This story is a narration From a young man named Francis, recalling his horrible experience he and his fiancee Jane went through.
This film has a unique style of look to it, using dynamic brush strokes to the films landscape and environment making them jagged with sharp edged and tilting walls on a two dimensional plane.
“I'm afraid. I'm afraid, Dave. Dave, my mind is going. I can feel it. I can feel it. My mind is going...”(Hal). This is new world where machine feels human emotions, put on the table, once again, the question of what makes us human.
This film is set in a spaceship which is ruled by a artificial intelligence computer which the crewship heavily relies upon. Artificial intelligence is seen to be a perfect source of information and reliability, which is then questioned later in the film.
The film is originally comes from a series of science fiction novels by Arthur C. Clarke, which was then made into a film directed by Stanley Kubrick. starring Keir Dullea(Dr. Dave Bowman), Gary Lockwood(Dr. Frank Poole) and William Sylvester(Moon-Watcher) .
The director uses a lot of sounds and music to tell the story.
The use of sound in heightens all your sense and puts you into a trance like state whilst watching the movie. As the artificial intelligence travels through the past ,present and future the director use a lot of bright colour imagery, infused with sounds creating a psychological morph through time. This gives the film is own unique identity , along with the smooth cut set design and architure.
figure 2: http://static.rogerebert.com/redactor_assets/pictures/52449bed96d0e71e71000006/936full-2001-a-space-odyssey-screenshot.jpg
figure 3: http://www.collativelearning.com/PICS%20FOR%20WEBSITE/stills%202/2001_a_space_odyssey_movie_image__3_.jpg
Metropolis a city reborn, “It was their hands that built this city of ours, Father. But where do the hands belong in your scheme?” (Freder).”In their proper place, the depths.”(Joh Frederson).
This film is staged in the 1927,a lot of people would refer to it as the genius of special effects and cg work. Directed by Fritz Lang and starring Brigitte Helm(as The Machine man/Maria), Gustav Frohlich(as Freder), Rudolf Klein-Rogge(as C.A Rotwang/ the inventor) and Alfred Abel(as Joh Fredersen/ father of Freder).
This film is about a man who is not satisfied, with how the work force, (the driving bone of the city) is unnoticed and extremely exploited. He is determined to make some changes to how the current affairs are dealt with; whilst in pursed of a breath taking beauty which stole his heart at first sight.
Freder immediately falls in love with Maria, after spotting her giving the workers children a tour of the city. In his quest to find Maira, Freder discover the inhuman working condition of the factory worker, which are down below and immediately goes to his father, a very wealthy and influential business man in the city of metropolis. He address working condition of the worker, but his father isn’t interested in the matter. So Freder took it upon himself, to trade places with one of the factory worker so he can have a hands on approach on dealing with the situation. Ather hours of tedious labour, he discovers a notes, in the workers pocket which plans a rebellion of the working force against the leaders of the city.
The directors uses symbols and camera shots/angles really gives the film its own unique identity. From the largely out of proportioned stage, which gives emphasis on the enormity of the of the city.
To the pentagram and the crucifix, representing the theme of good and evil throughout the film.
I would say, Metropolis is a very good reference point as to where the use of special effects and cg originated from. in order for me to really enjoy this film I had to erase everything I've seen regarding cg and special effect and place myself back in 1927, to really appreciate and love this movie.
Freder,Joh Frederson, Metropolis film."Metropolis Quotes." Quotes.net. STANDS4 LLC, 2014. Web. 23 Oct. 2014. <http://www.quotes.net/mquote/61785>.
Figure 2: https://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0CAUQjhw&url=http%3A%2F%2Fpyxurz.blogspot.com%2F2011%2F10%2Fmetropolis-page-3-of-6.html&ei=quhIVL6sJ7PLsASgvYDIBw&bvm=bv.77880786,d.ZGU&psig=AFQjCNF_hiZsHwmyaMIOhFGihjePIr18KA&ust=1414145925180379
KING KONG 1933
“Some big hard-boiled egg gets a look at a pretty face and bang--he cracks up and goes sappy.”(Carl Denham ).King kong is classic tale of beauty and the beast and the pursuit for happiness.
King kong 1933 is the ‘godfather,’ some could say, of alot fictional tales becoming a reality. The birthplace of two worlds colliding. The domination of white oppressor and the oppression of the black native. This is quite fitting, for the times in which the film was made.
The slavery era, how black people were viewed as barbaric animals.
This film is directed by Merian C. Cooper, Ernest B. Schoedsack. starring Fay Wray (Ann Darrow), Robert Armstrong(Carl Denham), Bruce Cabot(John Driscoll) and Frank Reicher(Capt. Englehorn).
The film is about a hollywood director, who is in search of a great picture. Due to popular demand the audience desired a viewing of a beautiful woman on film, so that what he wanted to give them.The director sets out, with his crew, to a hidden island where a mythical creature lies. Carl scouted that location, because it had never been seen, and that combined with a beautiful lady would make for a spectacular film. ‘Beauty and the beast,’ is how Carl Denham first describe Ann Darrow nurturing affection toward the monkey which was a pet. It is a story where the beast is seen, not as a monster but as a creature that in its own way wants to do the right thing
Merian use of tunneling camera angles was integral in the storytelling of King Kong, capturing the special effects by synchronising two screens into one.
The shots lead you through the whole scene, starting from the foreground then leading you eye to far background. His attempt of capturing the people and the dangerous creature was executed with technicality and precession for its time.This made the whole movie more authentic and believable.
he also used light as another medium of telling the story, bold contrasting light to give you a dramatic scene.
King Kongs storytelling methods worked well with the inter movie. The film is ever easy to follow and evokes a curiosity in the behind the scene production, which I enjoyed because it demands a deeper understanding of the film.
Alien is a film made in 1979, screenplay by Dan O Bannon and directed by Ridley Scott. Starring Sigourney Weaver(Ellen Ripley), Tom Skerritt(Dallas), Veronica Cartwright (Lambert), Yaphet Kotto(Parker), Harry Dean stanton(Brett) and Ian Holm(Ash).
Alien is about a space crew, which crashed landed on a planet after receiving a distress call from a alien planet. Things quickly becomes interesting, after an alien larva attaches itself onto the face of one of the curious crew member.
The alien starts killing the crew one by one, whilst lurking the vast shadows of the ship.
In this movie, the alien evokes a lot of terror to the view even though we seldom catch sight of it. The mysterious nature of the alien created a sense of anticipation and anxiety, which create a lot of excitement when out of no where it appears on the screen, jolting me you out of the set.
Ridley give the viewer a first person experience when watching the film, with his use of very close up angles, putting us inside the characters head and reliving the terror through that character; and flout the camera along, giving you an eerie feeling, almost as if you the only one there.
The storyline is very simple to follow along, this allows the viewer to get drawn into the film then Ridley snaps you out of it with a spontaneous shot which keeps you on your feet throughout the movie.
Jesse Van Dijk
Jesse van Dijk (the lead concept artist at Bungie) originally from Amsterdam, now living in Seattle. He specializes in world design for the entertainment industry.
Throughout his career, he’s worked for several game development studios, including Guerrilla Games on the Killzone franchise. His tenure in the industry has won him numerous awards, and he was recognized in 2013 by Kotaku.com as “one of the best video game concept artists on the planet” for his concept artwork on Destiny.
I choose him because I can easily relate to his work. He influenced my work in this project with his brutalist architecture style and his surreal approach to his environmental creation.