Video Planning - Visual Moodboard
Friday, 8 January 2016
Thursday, 7 January 2016
Film Studies - Design Brief
For my own production, I intend to show influence from Lacan's theory of lack and the Freudian concept of the structure of the human psyche. I find that both theories would prove beneficial when composing a film based upon desires and the conflict that one suffers when trying to repress needs that are deemed unconventional or irrational in social terms. Hence, showing conflict between the id and the superego, as the subject attempts to refrain from attaining desires.
My initial plan is to portray this internal opposition by following a subject with a series of tracking shots, through a desolate location which reflects the unstable nature of their mind. They will be exposed to various temptations along the way, such as: alcohol, cigarettes, sexual attraction and violence. Whilst showing elements of their 'neutral self' (aka the ego) witnessing these allurements, I plan to intersect with sequences that reflect them indulging in these desires; consuming alcohol, smoking, committing violent acts etc. To enhance the perplexity, I will use jump cuts in these sections.
I also intend to manipulate sound, overlaying dialogue to reflect the mental struggle of the subject will also project a sense of disorientation. Both visually and conceptually, this will represent conflict between the id and superego, whist also presenting aspects of Lacan's theory of lack, showing how the subject is striving to fill empty voids in their life, with materialistic objects and irrational desires.
In order to make the concept clear visually, I plan to show a direct contrast between the two oppositions, by utilising colour and lighting. For the mundane routine segment, I intend to use predominantly natural lighting and conventional colour, whereas the instinctive desires will be illustrated in a dark manner, using low key lighting and various colour filters, to show some sort of abnormality. Almost creating a delusion and making it clear to the audience that such events are only occurring within the mind of the subject and not in reality.
In addition to this, I would also like to make use of handheld camera techniques, in order to further enhance the disorientation that is manifested during sequences which reflect the activity of the mind. This will create an unsettling ambience that clearly distinguishes between the two sections of the film.
My initial plan is to portray this internal opposition by following a subject with a series of tracking shots, through a desolate location which reflects the unstable nature of their mind. They will be exposed to various temptations along the way, such as: alcohol, cigarettes, sexual attraction and violence. Whilst showing elements of their 'neutral self' (aka the ego) witnessing these allurements, I plan to intersect with sequences that reflect them indulging in these desires; consuming alcohol, smoking, committing violent acts etc. To enhance the perplexity, I will use jump cuts in these sections.
I also intend to manipulate sound, overlaying dialogue to reflect the mental struggle of the subject will also project a sense of disorientation. Both visually and conceptually, this will represent conflict between the id and superego, whist also presenting aspects of Lacan's theory of lack, showing how the subject is striving to fill empty voids in their life, with materialistic objects and irrational desires.
In order to make the concept clear visually, I plan to show a direct contrast between the two oppositions, by utilising colour and lighting. For the mundane routine segment, I intend to use predominantly natural lighting and conventional colour, whereas the instinctive desires will be illustrated in a dark manner, using low key lighting and various colour filters, to show some sort of abnormality. Almost creating a delusion and making it clear to the audience that such events are only occurring within the mind of the subject and not in reality.
In addition to this, I would also like to make use of handheld camera techniques, in order to further enhance the disorientation that is manifested during sequences which reflect the activity of the mind. This will create an unsettling ambience that clearly distinguishes between the two sections of the film.
Wednesday, 6 January 2016
Lacan - Theory of Lack
Desires are ultimately a strong sense of wanting, and are responsible for driving an individuals actions and motives. The subject of desire may vary, but Jacques Lacan suggests that all desires are simply unrealistic fantasies which every individual strives to achieve. And when one is successful in attaining their greatest wish, they can not be satisfied for very long, for they have only ignited the fire of wanting 'bigger and better' things. Lacan states that desires derive from lack in the human mind and this lack may lead to addictions or obsessions.
This concept has been presented numerous times within cinema in films both new and old. It can be seen in texts such as Misery (1990), Whiplash (2014), Panic Room (2002) and Vertigo (1958).
A passion or love for something/someone often leads to a form of obsession. In Misery (1990), the central protagonist Annie Wilkes forms an obsession with the literature of author Paul Sheldon, leading to a violent downfall when she discovers Sheldon is ridding of her favourite character from the series. This stands as a perfect example of Lacan's theory in action, when fantastical desires lead to dangerous fixations and one of the key aspects of Wilkes character that relates to Lacan's theory of Lack, is her obsession with the Misery novels she reads and the ideals of fantasy that she derives from them.
Similarly, Whiplash (2014) sees a passionate music student with an ambition to rise to the top of an elite music conservatoire. However the compelling nature of his passion soon leads to him becoming overworked and loosing the authentic drive he once possessed so dearly.
It appears that many cinematic pieces have been constructed upon the foundation of innate human needs and instincts which inevitably evolve into desires. In various genres: action, adventure, romance and even horror, the plot often revolves around the wants of a specific character or group of people.
However, the need to fulfil this desire may progress into an obsession or addiction, perhaps even leading to new desires, once the initial wish has been satisfied.
Hence Lacan ultimately suggested that desires can never truly be met, as a person will simply keep wanting more.
This concept has been presented numerous times within cinema in films both new and old. It can be seen in texts such as Misery (1990), Whiplash (2014), Panic Room (2002) and Vertigo (1958).
A passion or love for something/someone often leads to a form of obsession. In Misery (1990), the central protagonist Annie Wilkes forms an obsession with the literature of author Paul Sheldon, leading to a violent downfall when she discovers Sheldon is ridding of her favourite character from the series. This stands as a perfect example of Lacan's theory in action, when fantastical desires lead to dangerous fixations and one of the key aspects of Wilkes character that relates to Lacan's theory of Lack, is her obsession with the Misery novels she reads and the ideals of fantasy that she derives from them.
Similarly, Whiplash (2014) sees a passionate music student with an ambition to rise to the top of an elite music conservatoire. However the compelling nature of his passion soon leads to him becoming overworked and loosing the authentic drive he once possessed so dearly.
However, the need to fulfil this desire may progress into an obsession or addiction, perhaps even leading to new desires, once the initial wish has been satisfied.
Hence Lacan ultimately suggested that desires can never truly be met, as a person will simply keep wanting more.
"What does it matter how many lovers you have if none of them gives you the Universe?"
- Jacques Lacan
- Jacques Lacan
Vertigo (1958)
Laura Mulvey's theory of the male gaze can easily be identified on numerous occasions in Hitchcock's 'Vertigo'. The exposition of the film itself is a vivid sequence of fragmentation, specific to the face of a female.
There are shots which particularly feature, eyes and lips, however the significance of the fragmentation almost hints towards the lack of identity and independence of the women in the film. Within the first scene, it is made clear that the film has been portrayed from the perception of the central protagonist. The use of proxemics is also a clear indication that there is a very male dominated theme throughout the film.
When the central character encounters Judy Barton, the editing techniques used, highlights the use of male gaze; the shots cut between the spectator and the spectacle, suggesting the camera has some male characteristics in the way that it has been used.
In this scene, we see that female character is perceived through the eyes of Ferguson and she is almost portrayed in an angelic manner which is enhanced by the ambiguous use of lighting; as she first emerges from the bathroom her identity is almost concealed in a shroud of soft and hazy light.
Once again, the use of shot reverse shot has been incorporated as a technical indication of the male gaze. In addition to this, it is enhanced as the shots range from mid shots, to close ups of both subjects, developing intimate connotations.
Another theory that can be applied to this film is Lacan's theory of lack. John Ferguson is faced with a grasping desire to attain the love of Judy Barton. This soon turns into an obsession, which is foreshadowed within the opening credits of the film. There is a close up of an eye from the very onset, suggestive of fixation in some form. This is cleverly enhanced by the manipulation of colour; a red filter is used to connote towards love and danger, both key aspects in relation to obsession.
There are shots which particularly feature, eyes and lips, however the significance of the fragmentation almost hints towards the lack of identity and independence of the women in the film. Within the first scene, it is made clear that the film has been portrayed from the perception of the central protagonist. The use of proxemics is also a clear indication that there is a very male dominated theme throughout the film.
When the central character encounters Judy Barton, the editing techniques used, highlights the use of male gaze; the shots cut between the spectator and the spectacle, suggesting the camera has some male characteristics in the way that it has been used.
In this scene, we see that female character is perceived through the eyes of Ferguson and she is almost portrayed in an angelic manner which is enhanced by the ambiguous use of lighting; as she first emerges from the bathroom her identity is almost concealed in a shroud of soft and hazy light.
Once again, the use of shot reverse shot has been incorporated as a technical indication of the male gaze. In addition to this, it is enhanced as the shots range from mid shots, to close ups of both subjects, developing intimate connotations.
Another theory that can be applied to this film is Lacan's theory of lack. John Ferguson is faced with a grasping desire to attain the love of Judy Barton. This soon turns into an obsession, which is foreshadowed within the opening credits of the film. There is a close up of an eye from the very onset, suggestive of fixation in some form. This is cleverly enhanced by the manipulation of colour; a red filter is used to connote towards love and danger, both key aspects in relation to obsession.
Tuesday, 5 January 2016
Freudian Interpretation of Enemy (2013)
Psychoanalytical Reading
Initially, this film is one that poses many unanswered questions. It is enveloped in a veil of ambiguity, expressing its content through surreal metaphors.
It is easy to decipher that the central protagonist was simply projecting two dimensions of his psyche and there is no identical opposition in reality. A Freudian interpretation of the film would suggest that the two predominant characters are representations of the Id and the Superego.
The character we are initially introduced to, Adam Bell, is subject to a rather mundane and repetitive lifestyle, suggesting from the onset that his character is nothing extraordinary. However, as the narrative progresses, we begin to understand that there is a lot more depth to his character. The second dimension of the protagonist, who is presented as Anthony St Claire, illustrates some minor differences, in terms of appearance and personality, yet on the whole it becomes clear that both individuals represent two sides to the same person.
The id, can be identified as Anthony St Claire, who had previously pursued a rather unstable career of acting, engages in an affair and struggles to control his primitive desires. Freud suggests that this part of the human personality revolves around the pleasure principle, hence it is delivered with clarity that Anthony is a manifestation of the id.
Conversely, Adam's character is a depiction of the superego, as he strives to regulate the impulsive nature of the id. His life is simply a routine of mediocrity and his occupation as a lecturer is the most conspicuous hint towards his connection to the super ego; he is an obedient and respectable character, showing signs of practiced discipline.
One of the most pivotal scenes of the film, gives us an understanding of what is going on in the character's mind. The 'car crash' scene is full of metaphorical definitions, ultimately suggesting that this is where the protagonist destroys the id part of his psyche. However, it has also been suggested that in actual fact this scene occurs in reality.
Although this scene is featured toward the end of the film, it has been argued that the crash actually happens at the beginning of the story. We see that Adam/Anthony receives his scar from this crash, which is referred to earlier on in the film, when his wife questions if he is "seeing her again?". This also suggests that his wife is informed of his affair because of the accident. Again reinforcing the idea that the crash does in fact happen, however not in relation to the chronology of the film.
Whether Adam is attempting to diminish the commands of his id, or is simply reflecting upon past events, this scene gives us a direct insight into the conflict he is experiencing between two very dominant aspects of his psyche.
Clearly, the film is projecting from the mind of the protagonist, as he attempts to erase an ongoing internal conflict between his primitive self and his moral self.
It is easy to decipher that the central protagonist was simply projecting two dimensions of his psyche and there is no identical opposition in reality. A Freudian interpretation of the film would suggest that the two predominant characters are representations of the Id and the Superego.
The character we are initially introduced to, Adam Bell, is subject to a rather mundane and repetitive lifestyle, suggesting from the onset that his character is nothing extraordinary. However, as the narrative progresses, we begin to understand that there is a lot more depth to his character. The second dimension of the protagonist, who is presented as Anthony St Claire, illustrates some minor differences, in terms of appearance and personality, yet on the whole it becomes clear that both individuals represent two sides to the same person.
The id, can be identified as Anthony St Claire, who had previously pursued a rather unstable career of acting, engages in an affair and struggles to control his primitive desires. Freud suggests that this part of the human personality revolves around the pleasure principle, hence it is delivered with clarity that Anthony is a manifestation of the id.
Conversely, Adam's character is a depiction of the superego, as he strives to regulate the impulsive nature of the id. His life is simply a routine of mediocrity and his occupation as a lecturer is the most conspicuous hint towards his connection to the super ego; he is an obedient and respectable character, showing signs of practiced discipline.
One of the most pivotal scenes of the film, gives us an understanding of what is going on in the character's mind. The 'car crash' scene is full of metaphorical definitions, ultimately suggesting that this is where the protagonist destroys the id part of his psyche. However, it has also been suggested that in actual fact this scene occurs in reality.
Although this scene is featured toward the end of the film, it has been argued that the crash actually happens at the beginning of the story. We see that Adam/Anthony receives his scar from this crash, which is referred to earlier on in the film, when his wife questions if he is "seeing her again?". This also suggests that his wife is informed of his affair because of the accident. Again reinforcing the idea that the crash does in fact happen, however not in relation to the chronology of the film.
Whether Adam is attempting to diminish the commands of his id, or is simply reflecting upon past events, this scene gives us a direct insight into the conflict he is experiencing between two very dominant aspects of his psyche.
Clearly, the film is projecting from the mind of the protagonist, as he attempts to erase an ongoing internal conflict between his primitive self and his moral self.
Monday, 4 January 2016
Little Brother - Feedback
Feedback Report
‘Little Brother’ animated film
Nuneaton Museum & Art Gallery
Project planning
The purpose of the project was to work with members of the Museum team and students from King Edward VI College, to create a short animated film based around the concept of how someone might legitimately protest about something that concerns them. This could be through the students working as individuals, sharing personal concerns, or in small groups exploring wider ideas.
The students would be working with a professional animation artist, Chris Bradley, in the conception and final production of the film.
The film could be informal and fun but must include, as its central learning point, the concept of how an individual might find their voice when considering making a protest and discovering how their protest might make the most productive impact.
The film was to form part of a museum temporary exhibition focusing on the history of protest.
The project brief was outlined to students in October 2016. The timetable for completion was challenging, requiring 7 workshops and a final completion for early December 2016.
Strengths
Strong and encouraging ‘buy in’ to the project from the beginning from the teaching staff who were quick to vision how the project would benefit their students.
Generous allocation of teaching time and flexibility to allow students and teachers to attend workshops.
The challenging timescale of the project gave the students an authentic taste of producing material in a ‘client based’ scenario.
The professional animator, Chris Bradley, was exceptionally skilled in keeping students focused on the project. At times the rate of production slowed, due often to the intricate nature of stop motion film production. Chris, with his experience, was key in keeping things running to a timetable with a completion date looming ever closer.
Despite a small drop out rate, the students working on the project were committed and hard working, many spending their own time in completing elements of scriptwriting or model making in their own time to avoid over run.
Weaknesses
A great deal of the initial allotted workshop time was taken up deciding which direction to go with the protest theme. In hindsight it may have been better to get the group to decide this at the initial brief stage and come to the workshops with a consensus.
The delay in deciding the nature of the ‘protest’ to be animated inevitably pushed back time on developing a script and model making. This put pressure on the remaining time and inevitably led to
an over run. In retrospect, as the concept of ‘protest’ was quite wide and complex, it might have been better to give the students some pre selected areas or suggestions in order to make adoption of the theme for the protest far quicker and easier.
Production
The initial problem with production was establishing the concept and vision for the film. I think there had been an underestimation of how complex the students might find this. Once this was resolved, script writing and model making could commence.
Chris was instrumental in keeping students focused and the commitment of the students was great, particularly once they could see the direction the project was taking.
The tight timetable for the project was ambitious. If we were to do this again a few more workshop sessions would be programmed in. As it was the students showed wonderful commitment in giving their own time to ensure things were completed on time.
I believe that the students benefited from their work with Chris. Working with a professional animator they could see the amount of planning and production required for a successful project. Chris was skilled at developing a bond with the students, helping them with planning and designing all elements of the project as well as demonstrating how to achieve a professional result.
For the students to be involved in a project from conception to launch, I believe, was very rewarding. I also believe that the practical skills gained were significant, from model making, script writing, sound recording and stop motion photography. This was certainly a broad base of practical skills with a wide application for the future.
Project launch
It was fantastic to see so many of the students attending the launch in their own time. They obviously felt real pride in what they had achieved. The quality and significance of their work was echoed by Councillor Ian Lloyd, Portfolio Holder for Arts and Leisure at Nuneaton & Bedworth Borough Council. The film was enjoyed within the exhibition it complimented and appealed to a wide audience, both children and adults. Many visitors commented on the high production values of the film which I think is testament to Chris Bradley and the students involved.
For the Museum & Art Gallery it was an important project. We wanted to engage with a traditional ‘non service user’ audience, using our collections in an inspirational way and getting students involved in a meaningful project. I hope their experience was equally positive and rewarding.
Postscript
The Museum & Art Gallery were delighted that Jakob Morrison created a small exhibition of the props used in the production of the film within our Community Showcase. We can conclude with his words:
“Working on this project was really rewarding and taught both myself and the other members of the group so much about film production. The museum team gave us the brief for the film and a deadline for completion which was really challenging. Working with the artist was amazing because we got to see all the different layers that go into film production, from developing a practical story, script writing to designing sets and sound editing.
The level of detail that goes into a production like this went beyond what I’d imagined. The filming of the stop motion, making the tiny adjustments for just one shot took ages and this was just for a 4 minute film.
Everyone benefited from the project and I’d like to see how I can use what I’ve learnt by doing my
'Little Brother'
During the course of 6 weeks, we were given the opportunity to work with a client to produce a stop motion animation, whilst working to a brief. This presented me with a chance to strengthen my organisational skills, by working to a preplanned schedule. This project was also an opportunity to work collectively as a group, allowing me to develop communication skills and time management.
The planning process consisted of selecting a topic that related to the given theme of 'protest'. Together, we chose to create a piece around surveillance in the UK. We developed a narrative, then began story boarding. Following this, we developed a script and created each set and the characters themselves, ensuring that everything was designed to fit the scale of the filming area.
When constructing the props for each set, we carefully considered colour and placement, so that each element authentically reflected the narrative and characters that they were associated with. In groups we were allocated a set to design and build, whilst others were designated the role of creating the main characters. To manage our time efficiently, we sub divided our groups, with some pairs working on props and others assembling the backdrops.
During the production process, I was also given the opportunity to assist in recording the voiceovers of the characters.
The actual filming and animation was a lengthy process and required upmost attention to detail. We were allocated time slots in the same groups we had worked in during the creation of sets and props.
We worked accordingly to the script, to create movement that corresponded to the dialogue. This was the most time consuming process, as every detail had to be matched in the consecutive frame.
Overall, it was a beneficial opportunity that provided me with the experience of working to a clients brief in unfamiliar context. It also allowed me to develop communication and time management skills as we worked in small groups to accomplish the tasks.
During the production process, I was also given the opportunity to assist in recording the voiceovers of the characters.
The actual filming and animation was a lengthy process and required upmost attention to detail. We were allocated time slots in the same groups we had worked in during the creation of sets and props.
We worked accordingly to the script, to create movement that corresponded to the dialogue. This was the most time consuming process, as every detail had to be matched in the consecutive frame.
Overall, it was a beneficial opportunity that provided me with the experience of working to a clients brief in unfamiliar context. It also allowed me to develop communication and time management skills as we worked in small groups to accomplish the tasks.
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