Sunday, 18 November 2012

Poster Design

Below are a collection of notes leading up to the final design of the poster. To establish the posters style I had to be sure of what I was setting my self for the essay. To help me aline my ideas I attended an open office meeting, there I was able to set out a plan for my essay and list the critical approches and references I will be using.


Once I decided on a layout I designed my poster on Photoshop, starting with the background, then adding layers of text on top. After peer review, I darkened the background and brightened the text layer so that the text would read clearer. I also reduced the size of the opposing Perseus' on either side to fit more formally into the composition, by being framed by the text. 

 



Saturday, 10 November 2012

Essay Idea 1

The essay will compare the production of the original 'Clash Of The Titans' and the contemporary version. Theories addressed will be representation of male and female roles, psychoanalysing the way in which they act, how they look and what they wear. The development in technologies, how the original was produced (stop-motion) compared to the contemporary version (CGI). The interpretation of mythology, how each film cherry picked what they would include and why.

Essay Idea 2

The cultural text I will be analysing is 'Clash Of The Titans', comparing both the original and contemporary version. The essay will focus on the different definitions of a 'hero', what is a 'hero' and how a 'hero' is represented. Critical approaches will address the antagonists (Perseus) in both versions of the film, psychoanalysing their portrayal and how this is reflected in their heroic status.


List Of References 

http://www.youtube.com/watch?v=3BnlU_gvSJw&feature=relmfu
http://www.youtube.com/watch?v=lklNRyJT8Hg
http://www.youtube.com/watch?v=t4K4I59jUTs 

http://www.nobleworld.biz/images/A_G.pdf
http://www.asu.edu/courses/fms504/total-readings/mulvey-visualpleasure.pdf
http://onlinelibrary.wiley.com/doi/10.1111/1542-734X.00065/abstract
jt097eqPL5dI8nBxGpe8ExhA4#v=onepage&q&f=false
http://flightline.highline.edu/tkim/Files/101_PalmaMLAessay.pdf
http://www.barrypurves.com/Achilles
http://tvtropes.org/pmwiki/pmwiki.php/Main/TheHero
http://www.questia.com/read/96277756/the-study-of-sociology
http://www.gutenberg.org/files/1091/1091-h/1091-h.htm#2H_4_0002
http://0775776.student.wdka.nl/herothousandfaces.pdf
http://www.sacred-texts.com/cla/bulf/bulf14.htm

http://www.youtube.com/watch?v=PGDJJohiomw
http://www.youtube.com/watch?v=aGx4IlppSgU&feature=related


Key Words - Eurocentric (location shooting), Representation, Notion, Semiotics,
Voyeurism, Scopophilia,

Friday, 2 November 2012


Task 5 - Preparation for Week 6

Disclaimer - I did not attend this weeks lecture or seminar because I had go on a trip to Wales, as organised by Animation BA.

Notes

  • The author has a feminist biased and focuses on the symbology of castration of the male within film. 
  • The introduction makes hints that the author may have a feminist agenda by informing the reader that the rest of the article will address the image of the woman in film. 
  • 'Part 2' references Freud in correlation to how audiences perceive erotica on screen. The author draws upon two contradictory ideas (scopophilia and active scopophilia) of how audiences react towards film in a cinema space.
  • 'Part 3' opens with a false premise, stating that the pleasure of looking is split between the active male and passive female. This ignores films the don't objectify women, generalising that mainstream film is only targeted towards the pleasure of men.
  • The power of the gaze is very well explained by the example of Hitchcock's Vertigo, in which Mark Rutland's gave seduces Marnie into confessing her secret.
  • The author makes a bold claim in the summary, illustrating that the female for is 'fetishised' on screen for the purpose of pleasing the male ego. 
--Laura Mulvey, originally published - Screen 16.3 Autumn 1975 pp. 6-18


Questions
  • Is it not wise to suggest that since 1975, with the assumptions made by Mulvey at that time, that film, in terms of technology has evolved to a point that some of her ideas have become outdated? 
  • "The male figure cannot bear the burden of sexual objectification" generalises that all heterosexual men are egotistic and insecure about their body image. Do you agree with this statement?

Task 4 - Preparation for Week 5

 



Monday, 15 October 2012


3 Practitioners - Key Words


Ray Harryhausen

Ray Harryhausen was a stop-motion animator from 1939 - 1980. During that time he contributed to special effects, in the form of model animation, to films such as 'The 7th Voyage Of Sinbad' (1958), 'Jason and the Argonauts' (1968), 'The Golden Voyage Of Sinbad' (1974) and many more. 
During his career, Ray created and manipulated a wide array of miniature puppets, that he animated to live action footage. This technique became known as 'Dynamation', the projection of live action footage onto a screen behind the animation model(s). This method provided a live feed which Ray could animate against. 
Ray's core influences came from animator Willis O'Brian (King Kong) and writer Bradbury. Originally an enthusiast in fantasy fiction, Ray was introduced to science-fiction through Bradbury when they joined the 'LA Science Fiction League' in 1939. Ray expressed his interests in fantasy and science fiction through films such as 'The Beast from 20,000 Fathoms' (1955) and 'Earth vs. The Flying Saucers' (1956). His models were inspired by fairy tales, science fiction-literature and mythology. 
Ray's work was shown on the big screen from the late 40's to late 70's. His animation helped produce a revival in the giant monster cinema craze, mostly at drive-in theatres. Because of this trend, his work became part of post-modernist mainstream film culture.

Dalton, TD. (2010) Ray Harryhausen A Life in Pictures. London: Watson-Gubtill.

Harryhausen, RH (2005) The Hollywood Walk of Fame. Ray Harryhausen The Early Years [DVD]. London: Sparkhill.


Barry Purves

Barry Purves is a famous, british born, stop-motion animator. Since the 1980's Barry has specialised in model animation, animating a large variety of different puppets, mostly humanoid. Like his influencial predecesors (Ray Harryhausen), he uses the same traditional techniques and methods to animate models to create emotion and the illusion of movement.
Barry's ideas and inspiration come from his passion for theatre, this is demonstrated by films such as 'The Infinite Variety Show' (1989), 'Screen Play' (1992) and 'Rigoletto' (1993).
Films such as 'Screen Play' were featured on the 'British Animation Classics Volume One' DVD, published by the British Animation Awards. Barry's work also features on 'His Intimate Lives' (2008), a DVD that includes all his short films released before 2007.
Apart from being a renowned animator, Barry also travels across the globe to teach, show and demonstrate his talents. His animation is also distributed on television, often show for educational purposes in the case of 'The Infinite Variety Show', providing an entertaining re-telling of Shakespeare's plays.

Purves, BP. (2010) stop-motion. London: Thames and Hudson (ex-North America).


Adam Elliot

Adam Elliot has been an independent animator, director and writer since the 90's, producing a series of short films titled 'Uncle' (1996), 'Cousin' (1998) and 'Brother' (1999). Adam became internationally famous in 2003, the date when he released 'Harvey trumpet', an award winning short film depicting the hard life of a mentally handicapped chap named Harvey. Due to this success, Adam released his first feature film, 'Mary & Max' in 2009, a tale of two pen friends that exchange letters and gifts.
Adams narrative structure is based on character development, focusing on one or more main characters that would be considered outcasts, they are also mentality handicapped to express and exaggerate their naive attitude.
The reason for this is because Adam was born with an hereditary phycological tremor, this is also expressed through his art style, there being no even or symmetrical designs in his work.
Adam's main distribution channel still circulates around popular film festivals, such as the Sundance Film Festival. His feature film 'Mary & Max' can be bought from retail.

Purves, BP. (2010) stop-motion. London: Thames and Hudson (ex-North America).

Sunday, 14 October 2012

Task 1: Preparation For Week 2
30 Practitioners - https://docs.google.com/file/d/0B6w6kHkhhXoCdlJ6TG04LVZzMWc/edit

Task 2: Preparation For Week 3 
Audiance, Spaces and Consumption -






Task 3: Preparation For Week 4 
Set Up Blog - http://visualculture-rmarkland.blogspot.co.uk