Premise - OGR, Proposal

Artist Toolkit 2 - Life Drawing (19/01/18)

Paprika - Film Review

fig. 1 film poster

Based off Yasutaka Tsutsui’s novel of the same name, ‘Paprika’ is a 2006 film directed by Satoshi Kon. The Japanese film takes cultural roots of its origin encompassing NEET culture, Maneki-nekos (lucky cats) and variation in character proportions. While the film’s plot is easier to follow the animation creates a more complex and confusing story. Never the less the style proves to be one of the defining features of the film. ‘Paprika’ follows Doctor Atsuko Chiba who must recover several stolen devices that allows one to enter another’s dream.

With the plot in mind it is possible to seed several themes into the story, one of which is more evident. In the words of the antagonist of the film, the chairman, “the dreams are horrified… that their safe refuge is destroyed by technology.” While it is clear that the chairman disapproves of new technology it also highlights the potential fear. There have been many films before that have explored technology getting out of hand, one of the more famous examples being ‘Terminator’ (1984). Despite being a far stretched technophobic example its represents a similar concept shown in ’Paprika’. The device while invented for the betterment of humanity proved powerful and in the wrong hands capable of great damage. This falls into the long and arduous debate of whether or not technology should become so powerful. The device itself proves so, without limitations it can merge both reality and dreams. The dream aspect is well portrayed though kon’s choice in medium.

fig.2 an example of the dream world

The story is portrayed through the use of animation in the style of anime (synonymous to Japanese culture), mixing 2D and 3D elements. This form of animation is a product that is commonly associated with NEET culture as mention above. A culture that has been recognised as a rising issue in society as industry targets mostly males of ages up to 30. Due to the harsh circumstances and expectations of Japanese society it is easier for some to find escape in media and indulging in animation and its associated products. Despite this the anime style has been able to portray a number of individual and unique styles. Variation in character proportions, movement and design gives anime a large expanse in ways of expressing itself.

Tsutsui’s world is presented in a manner of various playful colours mixed in with a large amount of morphology. This is heavily present throughout the dream sequences as inanimate objects come to life and the abstract begins to intrude the real world. Animation has been used to tell many stories some more ordinary than others, in the case of ‘Paprika’ the medium is used to great effect in shaping and describing the dream world. The style is also well known for the 1988 film ‘Akira’ which proposes a number of mad and explosive moments. ‘Paprika’ is not too dissimilar in this manner. The two worlds of reality and dreams are well defined with reality being far more mundane contrasted by the dramatic dream world. Critic Alex Naylor describes kon as ‘an engineer of delirious, dizzy trips through the psyche, but a spiky, tough social critic too’ (2008) which is evident in this particular piece of work.

Since the 2006 film there was plans of a live adaptation, directed by Wolfgang Petersen. However the animation provides a unique style to the story that a live-action retelling cannot recreate, limiting the amount of creative choices possible. This became evident when Christopher Nolan’s ‘Inception’ (2010) was released during the early stages of development of Petersen’s film. It appears that due to the similar natures of the concepts Petersen stopped progress as its success as a more original film would have been restricted. This further provides support that animation played a pivotal role in the film.

The director, Satashi Kon sadly passed away in 2010 before he could complete his next work ‘Dreaming Machine’. Never the less it is clear that Kon has a strong image that he has planned for each of his work being able to execute and direct his team to fulfil his dream. Critic Paul Jackson comments on this ‘renowned for injecting a staggering level of lived-in detail into each of his compositions’ (2008) moving on to describe how much detail each shots contains.  

Bibliography 

Jackson, P. (2008). Paprika. [Online] Available at: http://www.midnighteye.com/reviews/paprika/ [Accessed: 28/01/18]

Naylor, A. (2008). Paprika: the stuff of dreams for. [Online] Available at: filmgoershttps://www.theguardian.com/film/filmblog/2008/jun/17/paprikathestuffofdreamsfo [Accessed: 28/01/18]

Illustration list

fig. 1. Film Poster [Online] Available at: http://img.moviepostershop.com/paprika-movie-poster-2006-1020689313.jpg [Accessed: 28/01/18] 

fig. 2 An example of the dream world [Online] Available at: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-VCQcLnj4q8UlUstfIHjNlXlZtLnmyPNEh_eTSsvnQ-njBWSDZQVq7z9bEdV5rLrQDaj496tsAmTN5ie-4BdqyF91K-hB4Iaduciycs1NQ_zXB1kL7FyFmXmV6QNsudHnxCXnJBQrLoov/s1600/paprika.jpg [Accessed: 28/01/18]

Toolkit 2 - Graphic design, A Meal to Die For

In today's class exercise we were tasked with creating several title cards using a number of black and white clip art images. The imaginary film title that I have chosen is 'A Meal to Die For' and matching images, font and colour scheme had to be picked. Multiple factors also had to be taken in consideration from the lesson in terms of graphic design.  

Premise - Concept

For the sleep paralysis concept there are a number of stories that go into the individual experiences of being trapped on one's own body. However it leaves a lot of room for interpretation e.g. the dream world could exist as a black plane as seen in the example below. Never the less sound design will play an important role in the animation.

For the tank idea there are many documentaries that focus on wartime stories, one particular film that uses animation to describe the war stories of multiple people is 'Waltz with Bashir'. I find both the animation style and how the individual stories told. 

Alongside other war stories 'Paths of Hate' is one that puts two fighter pilots against each other. The animation style is something that I may try to replicate and is reminiscent of Waltz with Bashir.

Artist Toolkit 2 - Life Drawing (22/01/18)

Mary and Max - Film Review

fig.1 film poster

“Mary and Max” is a 2009 Australian film directed by Adam Elliot. The film starts in 1976 and runs throughout the 70s and 80s, presenting an important factor to the story. While the piece contains moments of laughter the story remains bleak evoking powerful emotions. Even the colour scheme itself reflects this with greys and muddy browns. But never the less Elliot’s film could be described as a potent one.

There is a unique quality in Elliot’s film thanks to the sound design chosen. Over the duration of the animation there are very few spoken words by the characters. Instead action speaks louder than words with each character model capable of portraying a wide range of expressions including anger and embarrassment. Accompanying the footage is the playful and contrasting sound track helping to prepare the audience ahead as the film begins to evoke melancholy feelings.

The film covers a number of themes including loss of family, friendship and mental disabilities. However one particular theme that stood out was ‘coming of age’. It can be debated that this is not the core theme of the film; perhaps ‘coming of age’ is not the complete and correct term. It is more accurately described as maturing and finding one’s place in the world. It may seem strange that this is what could be taken from “Mary and Max” as there are numerous underlying themes, some of them more adult than others.  

Mary and Max could be seen as children who never grew up but retain adult privileges. As Max’s past is delved into it is apparent that he was always lonely, isolated and shunned. At the age of 44 this has not changed. He indulges in his two guilty pleasures chocolate and ‘Noblets’ a child’s television show that exists in Elliot’s universe. Mary also has a similar indulgence of sweet treats and the show hinting towards the child-like innocence shared between the two. It is because of these common traits the two are able to get on so well forming the strong bond even with the physically distance between them. 

Max only matures when he is able to make the realisation that people are ‘imperfect’, his gift to Mary of children’s toys resembles Max moving beyond his child-like fascination. This theme is more apparent for Mary as the film takes place over her physical change from a child to an adult. Ultimately she finds her place in the world as a responsible mother. Other themes support the ‘coming of age’ as ‘death’ challenges the characters and ‘friendship’ helps both Mary and Max find where they belong.

This is reflected in the medium used for this film. Rather than opting for live action or traditional hand-drawn animation Elliot used Claymation, a style often related with “Wallace and Gromit”. Alongside being synonymous to “Wallace and Gromit”, Claymation is often related to children’s cartoons. The innocence in the style mirrors that of the main characters. Despite the nature of Claymation there is a rather eerie sense that is applied in the form of the dark colour schemes chosen.  Film critic Andrew Pulver describes the style as “sickly-cute, alarmingly grotesque, and right-on at the same time – often in the very same scene” (Pulver, 2010). It is obvious that Mary and Max belong to separate worlds, (somehow making the all-important connection as friends) as Max’s world is grey and Mary’s muddy tones of brown. Even the use of a narrator in this particular fashion also harks back to old childhood cartoons.

fig. 2 Max’s grey world and Mary’s muddy brown one

One of the other important themes presented in the film surrounds mental disabilities in particular Asperger’s. As Max has Asperger’s during the 70s he is often looked over by society. Psychology was a comparatively recent science when compared to the likes of physics and biology. With the current understanding and wide spread knowledge it is hard to imagine how such people were dismissed.

Film maker Adam Elliot has received over 100 film awards and for good reason. The majority of his works have a bittersweet tone which is true in “Mary and Max”. Refusing to work with major film companies, each of his films require a long process and shot independently. His first known film ‘Uncle’ (1996) had a total run time of around 6 minutes. With each passing film Elliot extended the duration of his animations with ‘Harvie Krumpet’ his 2003 film having 23 minutes of run time. Alongside the duration Elliot also pushed the way his content moved his audience emotionally. This is evidenced in an interview where he stated, “After Harvie Krumpet, I wanted to tackle something longer and meatier” (Desowitz, 2009) and as the interview continues it is clear that Elliot is not driven by money but instead passion. He wants to provoke the audience and engage them. 

“I try to make films with depth, substance; films that deeply engage, move and make the audience think” (Desowitz, 2009)

While the film retains strong elements it is restricted to being screen at film festivals. In the end “Mary and Max” is a sad tale that has received positive reviews from both critics and audience alike winning several awards. 

Bibliography

Desowitz, B. (2009). ‘Mary and Max': Elliot and Clayography. [Online] Available at: https://www.awn.com/animationworld/mary-and-max-elliot-and-clayography [Accessed 19/01/18]

Pulver, A. (2010). Mary and Max – review. [Online] Available at:
https://www.theguardian.com/film/2010/oct/21/mary-and-max-review [Accessed 19/01/18]

Illustration list

Fig. 1 Film poster. [Online] Available at: http://img.moviepostershop.com/mary-and-max-movie-poster-2009-1010550958.jpg [Accessed 19/01/18]

Fig.2 Max’s grey world and Mary’s muddy brown one. [Online] Available at: https://agoodmovietowatch.com/wp-content/uploads/2013/08/mary-and-max-together.jpg [Accessed  19/01/18]

Artist Toolkit 2 - Mudbox, Fruit Bowl

Mudbox is an Autodesk package that allows models to be shaped, textured and painted in greater detail. For the task today the class had to create a fruit bowl with a texture that reflects a specific material. I have chosen aged brass replicating an old artifact. More precise shapes were also added in the design including various shapes and a Celtic wreath through the use of stencils that could also be used to help create a more authentic texture. 

Artist Toolkit 2 - Character Design, Final Design Task

For our final design task the class was split into several groups and given the job of designing a character each for an existing franchise. The franchise given to our group was 'Bob the Builder' (2015). The character that I have chosen to design was based upon a recent construction vehicle called the walking excavator, something that the show did not already have.  

What We Do in the Shadows - Film Reivew

fig.1 film poster

“What We Do in the Shadows” is a 2014 comedy directed by Jemaine Clement and Taika Waititi. The film follows four vampires in documentary style footage. It centres itself on observing on how the traditional vampire fits into modern society. The use of documentary style footage in this fashion can be referred to as a mockumentary, essentially a documentary based on fictional events.

This allows the camera to follow rather odd and supernatural situations which opening up new ways to create comedic effect. This ‘what if’ scenario would not have the same success that it does without the use of wild imagination. It is simply absurd to think that blood sucking vampires mange to cooperate in a rational house share, the modest home acts as a contrast to the castles and mansions that we normally associate to the creature. “What We Do in the Shadows” has a serious, informative tone that is held throughout, reflecting the nature of a documentary. Normally this is used to convey insight into rare spectacles and present new knowledge. In terms of “What We Do in the Shadows” there is no exception (although the footage is fictional).

The film represents the concept that a good idea is more important than funding and is done so exceedingly well. Jokes are well thought out and perfectly timed often reflecting the difficulty with the vampires’ ability to adapt to the modern world. At the end of the day the directors are able to make good effect of the concept as the story remains relatively simple. These collective beings have a simple of task of taking each day as it goes. Without the supernatural factors the story could be described as normal (maybe even plain).

The use of camera crews operating on a closer level gives insight to a rather dark, gory if not creepy world of vampires. As a result, film makers are able to set up satirical and macabre jokes ensured to challenge anyone’s perception of the mythical creature. The design of the characters has them retaining their old eccentric clothes. Alongside their wardrobes their mind set is also out-dated requiring the assistance of servants which breaks down the powerful and fearful image that a vampire might have once held.

“While one vamp uses a modern convenience like eBay to "do my dark bidding," the rest rely exclusively on their limited intelligence and human servants. So it's only fitting that they've only recently become the subjects of a "Real World"-style reality show documentary.” (Abrams, 2015) 

This comes out as amusing as an audience can relate to the characters to some degree. What the characters go through are mostly tasks that ordinary including washing dishes, having house meetings and going to clubs. These experiences are amplified with extraordinary elements adding a layer of complexity to the situation. The characters themselves are presented in an amusing manor and develop as the story progresses making it easy for the audience to sympathise with them. The primary vampire Viago seeks love but also cannot stand mess, ironically creating one whenever he feeds. 

fig.2 Viago after feeding on his 'guest'

With a relatively small budget of 1.6 million US dollars the film was able to make a profit of 6.9 million and earn a number of critic’s approval.

Bibliography

Abrams, S. (2015). WHAT WE DO IN THE SHADOWS. [Online] Available at:  https://www.rogerebert.com/reviews/what-we-do-in-the-shadows-2015 [Accessed: 17/01/18]

Illustration list

Fig.1 film poster [Online] Available at: https://d32qys9a6wm9no.cloudfront.net/images/movies/poster/18/185e48a43c7f63acf74b1bd58827b510_500x735.jpg [Accessed: 17/01/18]

Fig.2 Viago after feeding on his ' guest' [Online] Available at: https://moviesfilmsandflix.files.wordpress.com/2015/05/what-we-do-in-the-shadows-blood.jpg [Accessed: 17/01/18]

Proposal - Initial Ideas

For the next project that will be spanning over the next year an animation of a professional level will have to be designed and created. In order for this to come to fruition the concept of the animation requires a lot of thought and time to iron out any issues while also being meaningful in some way. After looking through a number of ideas and talking two ideas have been left to put forward.

Both concepts focus on the feelings of being trapped and because of such will share a lot of traits. At the same time they are very different from each other. 

The first idea for the animation is representing visually the sense of sleep paralysis. It is something that we will all experience or hear about at some point. People have also been know to have varied experiences such as seeing monsters or feeling a strange presence. This is on top of the feeling of being unable to move one's body despite screaming in their heads. What if they never wake up?

The second idea was inspired by war stories during the Korean war where over whelming Chinese solders in the thousands over ran British tanks, immobilising them, trying to get access inside. The unknowing of what will happen once they get inside. The sounds and cramp conditions of the tank essentially acting as a metal coffin. Not being able to see or get outside. How would someone in that situation react?

Both of these ideas require further development and present difficulties in terms of imagination of expressing such feelings both visually and in terms of sound design. 

Mad Max: Fury Road - Film Review

fig.1 Mad Max: Fury Road Poster

Directed by George Miller “Mad Max: Fury Road” is an Australian/American film standing as the fourth instalment in the “Mad Max” series. Set in an alternate universe, Australia is decimated with people trying to survive in the after math of an unexplained post-apocalyptic event. 

“Mad Max” is a film that has been typically related with crazy, action-packed road wars. “Fury Road” in particular has been praised for its increased use of practical effects. In a time where it is cheaper, faster and safer to use CGI to recreate practical effects it is clear why audience found this niche appealing. This feature has also received positive response from critics such as Brian Tallerico, 

“Upping the stakes with promises of vehicular mayhem on a level commensurate with what modern CGI audiences have come to expect.” (Tallerico, 2015) 

Even without reading the reviews it is clear a great emphasise has been put of arrangement and coordination of practical effects. This ranges from the acrobatics of the war-boys (who were added on top of the real action) to the cars being crushed and scrapped. 

fig.2 Furiosa and Max Ready to shoot

“Fury Road’s” origins can be found far from the million dollar film it is today. Miller’s first “Mad Max” film was completed in 1979, set a few years into the future where Australia is on the verge of collapse. The setting justified the seeming mad stunts pulled by the team with little to no regards to safety. Its budget was estimated at a meagre 350,000 to 400,000 Australian dollars (around 280,000 to 320,000 US dollars) in comparison to the 150,000,000 US dollar budget of “Fury Road”. The original piece can be placed within the B-movie bracket as it relied heavily on its concept rather than using a large amount of funds.

“While the first Mad Max was essentially a stripped-down Roger Corman revenge movie (high on concept, low on budget)” (Kermode, 2015) 

This proved successful and moved the “Mad Max” into the big pictures resulting in two sequels. 

Over the course of cinema, exploitation of various subjects of film has been used to draw in a larger audience in an attempt to reap greater profits. Exploits include those of nudity, monster horror, slasher horror and so on. Due to the nature of these exploitation of cinema it is popular to use such tactics in B-movies. This is due to the low budget that B-movies often have, making it difficult to create profit through the use of well-known and relevant cast, exotic locations or even impressive CGI. These exploitation allow smaller companies to produce relatively cheap films that could create a profit.  

The use of cars to draw a bigger audience in has been regarded as ‘carsploitation’. More so in the past, cars (especially the rugged ones from “Mad Max”) have been related to male culture. Typically seen as an icon of masculinity, cars play a pivotal role in the “Mad Max” series transporting survivors in the wasteland. It is only in the latest rendition of “Mad Max” that challenges this view with Miller making the progressive choice of having a female protagonist. This choice could be described as a bold one with long-time fans of the original three films expecting Max to once again rise to the status of road warrior. The story rotates around the female protagonist, Furiosa rather than the supposed Max. It is suggested that Furiosa’s position is either equal or higher than that of Max proving that she could take on opponents larger than herself. While this one female character partakes in the blood and violence the wives have a different appearance at the start being sexualised and seen as ‘breeders’. It definitely raises eyebrows due to the sensitive nature of rape and helps to bring light to an often avoided area in society. 

Overall “Mad Max: Fury Road” brings back use of traditional means of effects forming authentic and adrenaline filled scenes. The narrative of the film remains simple; it has the cast drive out and back again however it is the complexity of the situations and characters that bring the needed layers to the film. “Fury Road” is a welcome remake to the series that has helped to open and challenge gender issues. 

Bibliography 

Kermode, M. (20

15). Mad Max: Fury Road review – beware of battle fatigue. [Online] Available at: https://www.theguardian.com/film/2015/may/17/mad-max-fury-road-review-mark-kermode [Accessed: 14/01/18]

Tallerico, B. (2015). MAD MAX: FURY ROAD. [Online] Available at: https://www.rogerebert.com/reviews/mad-max-fury-road-2015 [Accessed: 14/01/18]

Illustration List

Fig.1 [Online] http://www.joblo.com/movie-posters/2015/mad-max-fury-road#image-32807 [Accessed: 14/01/18]

Fig.2 [Online] https://disabledpeoplesassociation.files.wordpress.com/2015/09/furiosa-mad-max.jpg [Accessed: 14/01/18]

Artist Toolkit 2 - Character Design, Production Bible

The final submission for the character design project in the form of an art bible