Film Review - Submission Post

Myth and Storytelling 

https://alexomartin.blogspot.com/2020/11/moana-heros-journey.html

Archetypes and  Storytelling 

https://alexomartin.blogspot.com/2020/11/rango-character-archetypes.html

Structural Theories and Storytelling 

https://alexomartin.blogspot.com/2020/11/titanic-structural-theories-and-story.html

Time and Storytelling 

https://alexomartin.blogspot.com/2021/01/pulp-fiction-time-and-storytelling.html

Character and Storytelling 

https://alexomartin.blogspot.com/2021/01/black-panther-character-and-storytelling.html

Quality and Storytelling (B-Movie)

https://alexomartin.blogspot.com/2021/01/the-giant-claw-quality-and-storytelling.html

Quality and Storytelling (Exploitation) 

https://alexomartin.blogspot.com/2021/01/mad-max-quality-and-storytelling-part1.html

Reflective Statement 

I found his project informative. I learnt lots about the process of storytelling structure and the positive and negative examples of good story writing. The ideas behind story structure and character narrative are complex but these lectures and film reviews defiantly gave me a better understanding of the process. I also find that when watching other films I am now able to pick out these techniques and devices, making it much easier to analyse films. This is also useful for future projects as I will be able to objectively look at my own work use these techniques to better my work. I must admit I found the actual writing of the film reviews a bit tedious and lengthy, I know that this has bettered my grasp on story. Although I am interested in the story aspect of the pipeline I know that my writing could be improved so hopefully this project has helped that. I think that I need to improve my research skills and set time to read through sources properly. Like the essay writing research and academic reading is something I nee to improve on. 

The Giant Claw - Quality and Storytelling Part1 (B-Movie)

The Giant Claw

 B-Movies are typically described as low budget monster movies of the 1940/50's with poor special effects and sometimes regarded as badly written. There are some modern B-Movies of a higher quality, however, generally speaking B-Movie are unsuccessful. The 1957movie 'The Giant Claw' is a good example of a B-Movie. The special effects are awful (even for it's time) and the monster looks horrendous, almost like a deformed chicken. The idea is that there is a giant object which is believed to be a UFO. It turns out that the object is actually an extra-terrestrial bird made of anti-matter which leaves a trail of death and destruction in it's wake. 

Five Redeeming Qualities 

• The acting is of a high standard. The actors has to imagine this creature and their imagination was evidently more creative than the props team. The actors, specifically the female lead, Sally diverts the attention from the 'extra-terrestrial bird'.
• The storytelling works in some ways. You can see what the writer's were trying to achieve and the base work for a good monster movie is evident however the execution did not hit the mark. 
• The cinematography works well. The people in charge of how the film was shot clearly knew what they were doing and had some experience with shooting black and white film as all of the shots were lit right and everything contrasted nicely. 
• The plot is entertaining. Whether it's intention was to be scary or thriller does not matter as, at the end of the day, cinema is a form of entertainment and it was definitely entertaining. 

Mad Max - Quality and Storytelling Part1 (Exploitation)

Mad Max: Fury Road 2015

Mad Max is a perfect example of a modern exploitation film, with it's strong violence and excessive use of explosions and car crashes. There is sexualisation of female characters, Joe's escaped wives have limited clothing and are dressed in white to suggest purity and innocence. The film represents the worst possible outcome of a dystopian future. There are themes of gang violence, natural disaster and appeals to both audiences of bike/car culture and those nostalgic for the original Mad Max. 

The Five Wives

The definition of exploitation cinema is a film based on a current theme, trend, subject matter of genre that is specifically relevant to the time. Common themes in exploitation cinema include violence, sex and romance. Mad Max: Fury Road applies to all of these. B-Movies commonly use these tropes, however, unlike a B-Movie, Mad Max had a high budget and as a result of the a-list cast and favour of practical effects over CGI the film was relatively popular in cinemas. The five wives are initially presented as weak with not much personality, however as the film progresses their characters become more developed and you beginning to see more intelligence and strength.

Black Panther - Character and Storytelling

Black Panther (2018)

For this lecture we looked into character and how a character f its into storytelling. Specifically plot vs story characters, do the events cause the characters to respond, or do the characters cause the events. A characters value changes throughout the story also. For example, in the film we watched titled 'Moon', the main character Sam Bell's (Sam Rockwell) adjective is to finish his contract so he can make it back home to his wife. However, as the story unfolds Sam finds out that there is no home, that he is a clone of someone else and his purpose is to fulfil his role and die so the process is repeated over again. By the end of the film he realises that there is no hope for himself and that he needs to sacrifice himself to stop the process from starting again. So at the beginning of the film he is hopeful, but after one scene he is now fearful/ hopeless. This creates an interesting character dynamic between Sam and his clone self. 

In 'Black Panther' both T'Challa and Killmonger start their story relatively the same and there are so many parrlells throughout from character choices down to costuming. T'Challa starts his story shadowing his father, Killmonger the same. The characters are the same but one single event causes the two to diverge down entirely different paths. 

T'Challa (Black Panther)

T'Challa grows up wealthy surrounded by family and in his native country where his people have not interacted with the outside world. His personal world view is to help people, and bring peace and equality to his nation. His inherited world is that of his alter ego the Black Panther, this role was passed down to him after the death of his father. His wants/ goals are to be successful in his role as king. His father left a big legacy which he will struggle to live up to. His needs are to put things right, to fix other people's problems. His internal traits are humility and power, his external traits both strength and weakness. His flaws are a constant need to prove his worth against others and blind faith in the people around him. As an overall story arc he starts off opposed to the idea that his country should be helping the outside world, he has never lived with the struggle that others have suffered and prioritises his thriving people over those truly in need. By the end of the film he realises that there must be a balance between the two, no longer blindsided he is able to do the right thing. A value change in a scene for T'Challa is when he enters a sleep state and is able to talk to his father. He enters that scene proud and strong from winning his right to be king. By the end of the scene he realises that he has been lied so and feel cheated out of the truth.

Killmonger

Killmonger is T'Challa's cousin and although his father was a prince he never grew up in his native country. His father was killed by his uncle and he grew up in America in a poor neighbourhood. His personal world view is that people of colour have suffered too long and he can change the norms, however his world view is radicalised as he believes that forcing people under his rule will bring justice. His inherited world is Wakanda. His wants/ goals is to see equality for people of colour. His needs, although his disguises them as a need to create freedom he actually needs answers and justice for the death of his father. Internally he has traits of fear and hatred. His external traits are that of power and strength. His biggest flaw is that he wants power but for all the wrong reasons. He begins the story smart and ahead of the game, he has a clear plan. By the end of the film he has lost control and becomes power hungry. There is a clear value change is his final scene. He enters the scene ready to kill T'Challa, he has lost sight of his end goal. By the end of this scene he realises that he has lost and wants nothing more than to see his vision of peace. 

Pulp Fiction - Time and Storytelling

 

Pulp Fiction (1994)

During this lecture we looked into time and storytelling. 'Eternal Sunshine of a Spotless Mind' is a perfect example of the theories and the method blocks of narrative. The film begins somewhere towards the end of the narrative, however as an audience it presents itself as the first interaction between the two main characters. Throughout the film it becomes more clear that the events are non-linear, and happening inside the head of Joel Barish (Jim Carrey) and in the midst of all the confusion the audience is able to piece together the events of the story. At first it Joel's character comes across as an unreliable narrator (much like what you see in 'Joker'), however it soon becomes apparent that his thoughts are being twisted. 

Another film that demonstrates non-linear storytelling and time is Quentin Tarantino's 'Pulp Fiction'. It includes a mixture of events of different characters that eventually join up towards the end. This could be considered as Syllepsis (thematic groups connecting narrative) or Achrony (randomly ordered events). However, looking at the film as a whole it also presents; Zigzag (jumping between events that occur in the same period), Chronicle (Linear Storytelling), and Prolepsis (flashforwards). The film as a whole is non-linear, however, if you were to spilt the events up by character it would be linear. The film also jumps between events as the entire narrative happens over a short amount of time, and there are also moments throughout the film that are not necessarily flashworwards but resemble the technique. Pulp fiction clearly breaks the overused linear structure of going from point a, to b, to c. There are a few examples of this in the 90's as film-maker's started to challenge storytelling norms and create new ways of presenting narrative. 

The Martian - Structural Theories and Story Telling

After watching Gravity, we were tasked with finding another linear film that uses the act structure. Films like this are more commonly plot driven with little story. I decided to look at the Martian.

Exposition 

This stage is the introduction to the film's main characters, essentially setting the scene. In the Martin, this is when the audience is introduced to Mark Watney and the rest of his crew. 

Inciting Incident 

The inciting incident is when the crew realises that the storm will prevent them from leaving Mars safely. 

End of Act: Plot Point 1

Mark is struck over the head during the storm and the crew wrongly presume he is dead and make their way back to Earth. Mark wakes up and returns the the groups 'Hub' to avoid running out of oxygen. 

Mid Point 2 (Act 2)

This is when the main character faces their biggest obstacles, for Mark this is a limited supply of food and now way to contact Earth for a rescue. 

Plot Point 2 (End of Act 2)

This stage is when Mark is able to contact Earth and create a food source for him to live off whilst waiting to be rescued. However, a ship launch sending supplies to his rescue crew is destroyed and he now believes his death is inevitable. 

Race to the Climax 

With all of the main issues resolved, Mark rushes to another station on Mars to retrieve a device that will essentially sling shot him to his crew mates ship. 

The Twist?

As Mark finally reaches the atmosphere, his crewmate fails to catch him and he is left unable to reach the ship. He pierces his pressure suite and uses the escaping air to push him towards the ship.

Denouement End

Mark reaches the crew and they return to Earth. Mark becomes a survival instructor for astronaut candidates. The film concludes with scenes of his crew members in their current lives. 

 

This film has an Arc Plot. Although there are scenes in which the main character is not followed, the plot still remains linear. I believe the ending to be closed as there is no more story left. Although the film is heavily plot driven, there are not a large amount of questions left for the audience to ask. 

 

Rango - Character Archetypes and Storytelling

 After watching 'The Princess Bride' this week we were tasked with finding the same character archetypes in a film of our choosing. I chose to watch Rango a it follows the traditional Hero's Journey. 

The Hero 

Rango is the hero of the film, hence the films title. He follows the traditional archetype, however there are some grey areas in the film (lying to the towns people) that don't follow a traditional hero's journey which could present Rango as more of an anti hero. He seems to get out of most situations through luck. 

The Shadow 

The Hawk is introduced at the begging of the film and plays a strong role throughout, even after it's death Rango uses its shadow to scare Rattle Snake Jake. The Hawk's only priority is to hunt other animals and seeing as the audience are first introduced to the bird through it's shadow it fits this archetype well.

The Herald

The Mariachi Owls narrate Rango's journey from beginning to end, much like a Greek Chorus, however Rango can see and hear them so in many ways they are the call to action. It could also be argued that Road Kill could be the Herald as he represents the call to action. 

The Threshold Guardian

The Hawk/ Frog Creature when Rango first walks into the desert. It is one of his first trials and almost causes him to turn back. The idea of the other side and the road could also represent this archetype. 

The Trickster

The Mayor of Dirt is technically the shadow or 'Big Bad' of the story', but the audience does not learn this until later on, he presents himself as an ally to Rango therefore he is the trickster. 

The Mentor

Road Kill is the first living animal Rango meets on his journey and when he is at his lowest point he brings him back to save the town. He gives him useful advice therefore he is the Mentor. The Spirit of the West could also be considered Rango's mentor as he is referred to often throughout the film. 

Allies

Most of the townspeople quickly become Rango's allies, these include: Doc, Mr. Merrimack, Priscilla, Spoons, W.B and Mr Timms. 

The Mother

I found this difficult to find as there is no real mother type in this film. I decided that the water or walking cactus could represent this role as both guide Rango in times of need. 

The Father

There is no real mention of fathers, other than Beans' father, however the Spirit of the West seems to be the only other character to fit this role. 

The Child 

Priscilla fits this archetype well. Rango meets her when entering the town of dirt and she becomes an ally. 

The Maiden

Beans fits the traditional maiden archetype in a sense, this film follows a western story structure, however she aids the group more than hinder's them. Usually the maiden is helpless and constantly needs saving, but Bean's contradicts this role. 

The Shapeshifter 

Rattle Snake Jake is a fierce villain throughout this film until very late on when he realises he has been tricked by the Mayor of Dirt. He soon swaps sides and vows to leave the townspeople alone for good. Rango himself could be seen to fit this role. He changes his backstory throughout and often lies, only to come out with the truth near the end of the film, he is also a literal shapeshifter as he changes colour. 

Moana - Myth and Storytelling

 After last weeks lecture we were tasked with finding the hero's Journey story structure in an existing animation.

The Ordinary World

In the introduction to the film Moana's grandma sets the scene with a story introducing some key characters. Moana is introduced to the audience through a song which literally describes here world and way of life. The ordinary world (the known world) is Moana's island. 

The Call to Adventure

There is a hint at this step when Moana is given the heart of Te Fiti by the ocean, but the main call to arms is when the fish start dying and it becomes apparent that the island is dying. 

Refuse the Call

There is a brief period in the introduction when Moana gives up on the idea of leaving and decides to focus on her duties, and again when she crashes her canoe and decides that the journey is too difficult. 

Supernatural Aid (Mentor)

Moana's grandmother acts as her mentor in the into to the film but her main mentor/ supernatural aid is when she meets Maui a demigod with shapeshifting abilities. 

Crossing the Threshold 

Moana literally crosses the threshold when she jumps off of the ledge into the underworld. Before this her surroundings are fairly normal, when she jumps she becomes surrounded by all manner of spirits and supernatural creatures. Crossing the threshold could also be argued as the scene in which Moana decides to leave the island.  

Belly of the Whale 

When Moana enters the cave of Tomatoa. This is when she and Maui are almost outmatched. 

The Road of Trials

This is when Moana begins to learn how to sail. As well as this she comes across various creatures which she must defeat and throughout the film she takes over Maui and takes control. 

Meeting the Goddess

This moment is at the end of the film when Moana meets Te Fiti. It could also be argued that Moana's meeting with her grandmother's spirit resembles the stage also. 

Women as Temptress

When Te Fiti is in her volcano form and destroys Maui's fish hook, she gives Moana a reason to give up and go home. The great thing about this film is that there is no love interest to drive the story so in some ways Moana is her own worst enemy. 

Atonement with the Father

Maui is somewhat of a father figure to Moana. When he tells her the story of his creation they strengthen their bond immensely. This stage also occurs when Moana sees her grandmother's spirit as she gets some closure.  

Ultimate Boon

This is when Moana returns a second time to Te Fiti to try and defeat her. She and Maui settle their argument and work together to save Te Fiti. 

Refusal to Return

Moana has a few moments when she almost gives up but the most poinient is when she is almost beaten and throws the heart of Te Fiti back onto the ocean. 

Magic Flight

This is when Maui returns as an actual bird to help Moana after his fish hook is almost destroyed.

Rescue from Without

This same as the last stage, this is when Maui returns to help Moana. This stage could also be when Moana comes to a realisation that Te Fiti is the volcano and returns her heart. 

Crossing the Threshold 

This is when Te Fiti's heart is returned and she begins to grow back all of the lost plant life. 

Apotheosis

When Moana and Maui are properly introduced to Te Fiti and she holds them in her hand. She forgives Maui and thanks Moana for returning her heart. 

Master of Two Worlds 

This is the moment when Moana realises that she is the one that will save her island and is able to use everything she has learnt on her journey to restore the heart. 

Freedom to Live

When Moana returns home and leads a group of canoe's to the ocean. She changes how her people feel about the ocean and instead of placing a stone in the pile of past rulers she paces a shell, symbolising the new begging. 

Space Oddities Film Reviews - La Belle et la Bete

Fig. 1. 'La Belle et la Bête' Poster. 

'La Belle et la Bête' is a 1946 French film directed by Jean Cocteau. The film creates a visual spectacle that remains beautifully twisted to this day. The premise of the film is based from the well-known tale of Beauty and the Beast but manages to warp the narrative that modern audiences know so well. The film is close to the original fairy tale written by Gabrielle-Suzanne de Villuneuve (written in 1740), however, over the years some characters have been cut and the overall story simplified to suit a younger audience. 'La Belle et la Bête' mainly focuses on the design, costume and overall look of the film. 

'La Belle et la Bête' was part of the early users of sound in cinema, before this, films were accompanied by music usually played by a live orchestra with no speech. The film had a sound score that added to the confusion and mystery of the picture. The characters style of clothing seems to indicate that the film is set in the 16/18th century France (a nod to the original narrative). In the opening scene, Belle (Josette Day) wears a simple outfit, which is then swapped for an elaborate detailed dress when she is with the ‘Beast’. The styling of the costumes also emphasised different features for each character. Belle’s upper body is fitted throughout the film with a corset, from the waist down the costumes are loose and her hair is pulled back to create this ghostly and ethereal silhouette, as well as drawing focus to her face. Belle’s sisters (Félicie and Adélaïde) contrast her style, the pair wear stiff clothing with harsh outlines that reach past their face to suggest that they wear these clothes so that they can feel as beautiful as belle. It is also apparent that the protagonists are dressed in ruffles, jewels and detailed embroidery. The carefully considered lighting also interacts with the jewels sewn into their costumes to create this hazy/ dreamlike glow. Cocteau uses the elements of costume to recreate the beauty of the French aristocracy’s clothing in the 16/18^th century, as Geoffrey Macnab explains, “The costumes and some of the settings are ornate, but Cocteau is capable of suggesting luxury and splendour simply through the use of sheets and mirrors.” (Macnab, 2014). Cocteau uses a mixture of costuming and set design to create this dreamlike world that would have created a break from reality for its audience, of which were experiencing the aftermath of World War II.

Fig.2. Still from  'La Belle et la Bête'.

Fig. 3.Still from  'La Belle et la Bête'.

The set design is unbelievably detailed, stylised and thought out. There is a strong sense of world building, from the moving statues, to the hands that hold the candles throughout the castle. During a slow-motion scene in which Belle walks down a long corridor, the flowing curtains create movement that adds to the illusory scene. The extensive set design creates a visually appealing film on a cinematography level, something that many films today have tried to create through CGI but seldom seem to achieve. The lighting, or lack thereof, creates this emptiness within the castle, as if is abandoned and derelict. However, the use of the moving arms and statues seem to breathe this eerie sense of life into each scene. When Belle is reunited with her family and tries to give a necklace from the Beast to her sister, it turns into rags, reiterating the idea that Belle’s time in the castle was all a dream and anything from there ceases to exist. Peter Bradshaw recalls this idea of a dreamlike state in his review, “Its special effects are prehistoric compared to those of our digital 21st century, and yet they are deeply disturbing. When bodies appear through walls or fly up into the air, it is almost as if Cocteau's camera has miraculously recorded a dream.” (Bradshaw, 2014). As well as the set design, the special effects makeup (although outdated to a modern audience), would have created a fully realistic ‘Beast’ for its audience at the time.

Fig. 4.Still from  'La Belle et la Bête'.

Fig. 5. Still from  'La Belle et la Bête'.

The story line is close to the original fairy-tale, still presenting the dark underlying tones that seem to escape the more modern adaptations of this narrative. Belle sacrifices her own freedom to live with the Beast, even though she rejects his offers of marriage she still grows to like him, essentially an example of Stockholm syndrome. Although it was a part of the original fairy-tale, it could be argued as relatable for the French audience of the time as they would have had a similar experience with the German control of their land during the war. For some it may seem odd that Belle falls for the Beast as he threatened to kill her father. Even though it is noticeable that Belle grows to like the Beast, she suddenly falls in love with him once he turns human. Belle is presented as this character who is pure of heart but seems to like the idea of fearing the Beast. Although this is all speculative, Freudian principals can be seen creeping into to this film. Whatever the audience takes away from the picture, Cocteau was trying to present a message of sorts, something Roger Ebert explores, “Cocteau wanted to make a poem, wanted to appeal through images rather than words, and although the story takes the form of the familiar fable, its surface seems to be masking deeper and more disturbing currents. It is not a "children's film." (Ebert, 1999). Ebert suggest that Cocteau was trying to give his audience a deeper meaning through a straight forward narrative.

Illustration List:

-Cocteau, J. (1946). Figure 1. 'La Belle et la Bête' Poster. https://www.pinterest.com/pin/143411569355028882/. (Accessed 20/11/19)

-Cocteau, J. (1946). Figure 2. Still from  'La Belle et la Bête' https://mediartinnovation.com/2014/08/11/jean-cocteau-mythopoeic-movies-la-belle-et-la-bete-1946/.  (Accessed 20/11/19)

-Cocteau, J. (1946). Figure 3. Still from  'La Belle et la Bête'. https://www.pinterest.co.uk/pin/380554237248428205/?lp=true. (Accessed 20/11/19)

-Cocteau, J. (1946). Figure 4. Still from  'La Belle et la Bête'. http://www.thehunchblog.com/tag/la-belle-et-la-bete/. (Accessed 20/11/19)

-Cocteau, J. (1946). Figure 5. Still from  'La Belle et la Bête'. https://www.tumblr.com/tagged/la-belle-et-la-b%C3%AAte. (Accessed 20/11/19)

Bibliography

-Bradshaw, P. (2014). theguardian.com. https://www.theguardian.com/film/2014/jan/02/belle-et-bete-review. (Accessed 20/11/2019). In text citation: (Bradshaw, 2014).

-Ebert, R. (1999). rogerebert.com. https://www.rogerebert.com/reviews/great-movie-beauty-and-the-beast-1946. (Accessed 20/11/19). In text citation: (Ebert, 1999).

-Macnab, G. (2014). independent,co.uk. https://www.independent.co.uk/arts-entertainment/films/reviews/la-belle-et-la-bete-film-review-cocteaus-forties-fantasy-is-still-a-thing-of-real-beauty-9035506.html. (Accessed 20/11/2019). In text citation: (Macnab, 2014)

Space Oddities Film Reviews - King Kong

Fig. 1. 'King Kong' Poster. 

'King Kong' is a 1933 film directed and produced by Merian C. Copper and Ernest B. Shoedsack. The film was widely considered as the first Hollywood blockbuster, which in turn, changed the course of cinema towards large budget films. The film itself is based around a director, Carl Denham (Robert Armstrong), who hires an actress, Ann Darrow (Fay Wray), to travel to an island in the Indian Ocean to capture location shots for his new picture. The story is essentially a twisted version of the well know tale of Beauty and the Beast. Throughout the film there are many metaphors and stereotypes that were unchallenged at the time, which seem absurd to a modern audience. However, there is no doubt that the picture had a large influence on cinema for better or worse. 

Fig. 2. Still from 'King Kong'.

1933 was the peak of the American Great Depression. The public was poor, many were homeless and without jobs as a result of large companies going out of business. With a similar effect to many other countries throughout history taking solace in the arts during a rough period, films like ‘King Kong’ offered a sense of escape from the American public’s everyday lives. Many of these films related to social situations of the time, making the viewer feel as if they had a solution to their problems. However, with such a vast audience, these large-scale Hollywood films made it easy for certain groups to spread their propaganda. During the 1920's, Klan groups began to produce feature length films, such as 'The Toll of Justice'. Like the posters, the films presented ideas and themes that furthered their cause against minority groups, their main target being Jewish people. At the same time, many Jewish directors and companies were gaining power in the film industry. As a result, groups like the Klan looked at the industry and decided that it was the source of their problems. They started to promote this idea in their films and some of these themes can be seen creeping into 'King Kong'. However, with an average sum of funding to create this picture, for its time, it's audiences were astounded at the visual aspects presented before them, as Roger Ebert explains in his review, "Although it has the scope and feel of an expensive epic, "Kong" had a relatively moderate budget of about $600,000. Sequences that would take weeks these days--such as when Kong shakes a log to dislodge the men clinging to it--were done in two days". (Ebert, 2002). The actual process of making this film was fairly forward thinking in terms of visual aspects. 

Fig. 3. Still from 'King Kong'. 

Fig. 4. Still from 'King Kong'. 

Alongside other controversies, Hollywood was ignoring the problem with the racial politics of the time. 'King Kong' reflected these ideals, which were sadly extremely racist. This was clear in many other Hollywood films being produced at the time, and although things are slowly changing, it can still be seen to this day in cinema. The film presents the stereotypical view white-Americans had on black people at the time. As a result of the ban of slave trade, many of those who had been taken from their countries now found themselves on the streets without jobs. This led to the largely white-American public labelling the black community in a bad light. Although many state that 1920-30's was the 'Golden Age' of cinema, you don't have to dig to far before you see all of these important issues that were unchallenged. The clearest example of racism in 'King Kong' is Kong himself. There is an obvious connection between Kong being captured and the Trans-Atlantic slave trade, the imagery produced in the film resembles old drawings of slave auctions. Kong is taken from his native home and placed on stage like an object. Again, in the first shot we see of the villagers of Skull Island the racial stereotypes are sure to make a modern audience uneasy. After Kong escapes and is shot down Denham states "Oh, no, it wasn't the airplanes. It was Beauty killed the Beast". Although Denham is referring to the idea that Kong sacrificed himself to save Ann from the planes, it becomes rather absurd to a modern audience as he was the one who took Kong from his home and caused him to be captured in the first place. "It’s a straightforward enough adventure story, but historically “King Kong” has been viewed by some film critics as a kind of racist allegory, symbolically depicting white America’s view of black people at the time. Critics have drawn connections between the capture of Kong and the Trans-Atlantic Slave Trade, with Kong’s disastrous escape in New York symbolic of the perceived “disaster” of granting black people in the U.S. true freedom." (Blay, 2017). The film continually presents racist, misogynistic and stereotypical views on the world. 

Fig. 5. Newspaper clipping. 

'King Kong' uses a mixture of live actors and stop motion and man-made special effects to create an action-packed film. Through projections and other techniques, the film makers managed to create a monster that the actors could interact with. Although there were some continuity errors with the actual size of Kong throughout the film, the process and outcome were ahead of its time. It gives the audience a sense of adventure, showing an enthusiastic group travelling to a far-off land to fight an evil monster. There’s no doubt that the film jump started the future of cinema, it influenced the idea that characters could be a part of other worlds (e.g. ‘King Kong vs Godzilla’). “Through multiple exposures, processed "shots" and a variety of angles of camera wizardry the producers set forth an adequate story and furnish enough thrills for any devotee of such tales.” (Hall, 1933). 

Illustration List:

- Copper, M. & Shoedsack, E. (1933). Figure 1. 'King Kong' Poster.  https://collectibles.knoji.com/ten-valuable-1933-king-kong-movie-collectibles/

-Copper, M. & Shoedsack, E. (1933). Figure 2. Still from 'King Kong'. http://www.popculturecast.com/2017/03/king-kong-1933-movie-review.html

-Copper, M. & Shoedsack, E. (1933). Figure 3. Still from 'King Kong'. https://www.pinterest.co.uk/pin/257057091200895660/

-Copper, M. & Shoedsack, E. (1933). Figure 4. Still from 'King Kong'. https://www.listal.com/movie/king-kong-1933/reviews

-Edwards, G. (2013). Figure 5. Newspaper clipping. https://cinefex.com/blog/king-kong-or-not/

Bibliography:

-Blay, Z. (2017). huffingtonpost.co.uk. https://www.huffingtonpost.co.uk/entry/this-video-breaks-down-the-racist-history-of-king-kong_us_58c19101e4b0d1078ca4d309?ri18n=true&guccounter=1&guce_referrer=aHR0cHM6Ly9jb25zZW50LnlhaG9vLmNvbS8&guce_referrer_sig=AQAAAAVYqBu93vXwTuK0CsdhIJmDHEPeYhw5uCW5bHzM8ooO70rdGPLkcn3XOi9ekZNi0s1bS_-aDGMewu9M790qYk-1Rz7ObF8iorVRoUtEMpy4U55qd50_Wwur5rINMg9HtwNtNNmhpqpdF1Yrb-j7hdKzJgTJfxPYgzLrqofPVxBZ

-Ebert, R. (2002). rogerebert.com. https://www.rogerebert.com/reviews/great-movie-king-kong-1933 

-Hall, M. (1933). nytimes.com. https://www.nytimes.com/1933/03/03/archives/a-fantastic-film-in-which-a-monstrous-ape-uses-automobiles-for.html

Space Oddities Film Reviews - Metropolis

Fig. 1. Metropolis poster. 

Metropolis, (1927) is an incredibly influential German silent film by director Fritz Lang. Both the original story and screen play was written by Lang's wife at the time Thea von Harbou. The film itself is about a young man Freder (Gustav Fröhlich), who discovers that the people living under the city are overworked and treated like slaves so that those above may live a privileged life. Freder falls in love with a teacher from below, Maria (Brigitte Helm) and the pair aim to help the workers, much to the dismay of his father. This results in a strange turn of events that ultimately leads to a happy ending for both sides. The film introduces many common tropes that we now expect to see in cinema, such as, a fight between good and evil, a damsel in distress, an evil scientist, and the climax of the film in which good triumphs over evil. Ideas like this influenced and changed the course of cinema as a result of Metropolis being so ahead of it's time. 

Fig. 2. Illustration of Director Fritz Lang. 

 Metropolis was created at the pinnacle of German Expressionism, a movement which saw the artist's emotions influencing the end product, focusing on the artists reality rather than what the artist really saw. This movement had an interesting affect on cinema, for example, long shadows, artificial sets and unusual angles which gave the audience a new perspective. These principals are clear in Metropolis. All the buildings are structured with lots of contrast to emphasise the feeling that the characters that live below are almost in a prison like space, where as Freder's home is open and light with lots of soft edges. There is use of unusual camera angles and long shadows. Alongside the fact that it was part of the German Expressionist movement, it was also widely considered as the first science fiction film, influencing films such as Blade Runner. Lang was working with and developing brand new concepts never seen before on film. The set design directly relates to the art style of the time. "They are controlled like hands on a clock. And when the machinery explodes, Freder has a vision in which the machinery turns into an obscene devouring monster." (Ebert, 1998). Roger Ebert explains the first moment in the film when reality becomes twisted. Freder sees a vision, the structured machinery before him morphs into a monster, linking back to the idea of German Expressionism and the break in reality. There is a focus on time, the every day monotony of the working class against the repetition of the bells chiming. The imagery produced in these scenes was futuristic looking at the time whilst still keeping different elements that the audience would recognise. The buildings are heavily influenced by the architecture in New York.

Fig. 3. Cityscape in Metropolis. 

Metropolis was made during the time of the Weimar Republic and the hyper inflation in Germany as a result of the First World War. The population was extremely poor, the government  essentially printed more money in a bid to resolve this, which then lead to the devalue of their currency. This had an impact on cinema in a number of ways, one being that when people were going to the cinema they wanted to escape their everyday lives, which film makers then responded to by making films with a heavily driven story with a happy ending. The film has key themes such as; Capitalism, role of religion in modern cities, utopia and dystopia, and motherhood. I this case the theme of motherhood stems from the character Maria, who acts as a mother like character to the working class children. She is also responsible for the element of religion, she is depicted like a saint standing in front of a cross preaching down to the workers. 
There are many subtle religious references throughout the picture. This includes the stories the Maria tells, and the reference to the seven deadly sins. As well as this symbols like the upside down pentagram can be scene through the scientists home and work space suggesting the things he has created are unholy. When the scientist Rotwang is transferring Maria's likeness to the robotic man, the star represents ideas of satanism. Once created, the robot like creation represents the duality in human nature. The scenes showing the people working a ten hour day would have been relatable to the audience of the time. During the time Lang was creating this film there was a rise in fascism as well as the country being between two world wars. The director, Lang also had Jewish heritage which made him a target for the Nazi regime, a group who had heavy control over propaganda and film being produced at the time. "Fredersen’s city is designed to malnourish its inhabitants. The workers’ city is strictly utilitarian, its streets completely deserted with no signs of life save for when the grunts trudge home from work." (Abrams, 2010). Simon Abrams explains the imagery in the film which is arguably not that far from the reality of the audience that would have watched it. All of these contextual elements had an affect on the creation of Metropolis. The picture shows class divide and a 'Mediator' otherwise known as 'Mittler' finding the middle ground between the two groups. The more you read into the film, the more you realise these elements of propaganda creeping in. 

Fig. 4. Maria's double. 

Fig. 5. Rotwang creating Maria's double. 

                       

Fig. 6. The Seven Deadly Sins (Death).

The scale of the production was unbelievable for it's time. All of the sets were built slightly bigger than the actors to create the realistic effect portrayed through the screens. The use of special effects in a time where technology was limited. Metropolis uses various different techniques to achieve these realistic effects, such as the layering of film to create a double exposure like effect. This film has created a captivating visual experience for audiences of it's time as well as the modern age. The processes and style of Metropolis has influenced modern science fiction cinema continuously, making directors think about the effects of science on society and the idea of robots living around us. It also introduced ideas of dystopian societies. Johnathan Romney goes in to detail about how revolutionary the pictures concepts were. "The film's futurism is still breathtaking, from its Art Deco titles to the neon spiral in Rotwang's lab: this is surely must the first film to imagine people communicating by video screen." (Romney, 2010). 







  
Illustration List:
- Lang, F. (1927). Figure 1. Metropolis poster. https://davinciemporium.com/metropolis-1927-3-sheet-
movie-poster-lithograph/
-Lang, F. (1927). Figure 3. Cityscape in Metropolis. https://www.the-philosophy.com/metropolis-fritz-lang-review
-Lang, F. (1927). Figure 4. Maria's double. https://www.jonathanrosenbaum.net/2017/12/unified-theory/
-Lang, F. (1927). Figure 5. Rotwang creating Maria's double. https://imgur.com/gallery/kkVP6/comment/1113470439
-Lang, F. (1927). Figure 6. The Seven Deadly Sins (Death). http://www.scifiwright.com/2011/01/metropolis/

-Marszalek, A. Figure 2. Illustration of Director Fritz Lang. https://thedissolve.com/features/career-view/222-the-sprawling-obsessive-career-of-fritz-lang/?page=all

Bibliography:
-Abrams, S. (2010). slantmagazine.com. https://www.slantmagazine.com/film/metropolis/
-Ebert, R. (1998). rogerebert.com. https://www.rogerebert.com/reviews/great-movie-metropolis-1927
-Romney, J. (2010). independent.co.uk. https://www.independent.co.uk/arts-entertainment/films/reviews/metropolis-fritz-lang-145-mins-pg-2076981.html

Space Oddities Film Reviews- The Cabinet of Dr. Caligari

‘Das Cabinet des Dr. Caligari’ directed by Robert Wiene shows a perfect insight into the birth of modern horror in film. Whilst there had been examples of horror in both literature and film before this, Wiene shifted and moved this genre further into his own vision. The piece is twisted and warped from start to finish making the viewer question reality and sanity. The piece opens with a man called Francis, as he tells the unlikely set of events that took place in the town of Holstenwall during the annual carnival. As Francis begins to explain, the viewers focus is shifted back in time, where they are introduced to Dr. Caligari and the enigmatic somnambulist Cesare, who predicts that Francis’ friend Alan will be dead by the morning. This leads to a murder, kidnapping and a series of strange events that leave the viewer to question if any of these things really happened, or if it was just a figment of Francis’ imagination. As Roger Ebert explains in his review, “Caligari creates a mindscape, a subjective psychological fantasy. In this world, unspeakable horror becomes possible.” (Ebert,2009). The film is very much about a world that looks as if it had been taken from a nightmare.

Fig. 1. The Cabinet of Dr. Caligari poster. 

There are many different elements and film techniques that have been used throughout The Cabinet of Dr. Caligari to fit to the theme, creating tension and suspense. The heavy makeup to exaggerate the actor’s facial expressions plays a large role as there is no speech due to the film being produced in 1920. Although there is text to inform the audience, their facial expressions are saying what they cannot. For example, Cesare’s makeup elongates and highlights certain parts of his face to emphasise the idea that he is drastically different to the other people around him. As the film is silent, the music creates the mood throughout, building tension. Every character has a distinctive costume to show the viewer exactly who they are without introduction. For example, Cesare wears tight fitting clothes that are all black, which accentuates his long limbs and emphasises the idea that he is strange and un-human like. In contrast, the female lead (Jane) wears mainly white flowing garments through-out which give a soft and ethereal glow around her, representing her purity and femininity. This is typical for female characters of this time, although she is presented in this way, Jane is still an object with no free will of her own. Each character’s costume clearly shows who they are, their status and their physicality.“Cesare is first glimpsed as a life-sized drawing outside Caligari’s tent at the local carnival, which makes a caricature of Veidt’s slender face, to the extent that his cheeks are exaggeratedly shrunken in, perpetuating an effeminate stereotype indicative of photographic, physiognomic depiction. Cesare’s face is feminized because he’s merely a vessel for Caligari’s hegemonic control.” (Dillard, 2014). Clayton Dillard gives a perfect example of how the actors physicality can have an effect on the entire tone of a scene. Fig.1. is of a poster depicting Cesare as he kidnaps Jane. His face is slim and creature like again showing that inhuman aspect to him. 

Fig. 2. Still of Francis and Jane. 

The set is something that plays a key role in making this film look so warped. All of the streets and walls are at angles and create shapes that almost look like shards of glass. Painted lines have also been used to intensify this. The windows and doors are all misshapen and resemble cubist and surrealist paintings of the time. Lines have also been used on the ground and upstairs to establish a longer visual distance, when in fact limited space would have caused set designers to create these optical illusions. This technique was also used when the characters were outside, walking down a long road. However, Wiene has used many of these technical aspects in a non-traditional way to play with the viewers perception. The establishing shot of the town shows the fairground as a backdrop, however they are all jumbled together to create a space with no conventional structure. During the scenes in the asylum, there is a duality, from when Caligari is there, to when Francis is there. There are subtle changes to the set (e.g. the paintings on the walls) which make the viewer question if Francis is the insane one, and not the people around him. He over exaggerates when explaining the asylum, which becomes dull and muted when he is taken there. 

The leaning walls are nightmarish and look as if they are being pushed and pulled out of frame. Only someone going insane could make up such place. The streets are also tight and claustrophobic like cell walls. The lighting also creates these long eerie shadows that bring out the sharp distorted edges. However, some characters are an exception to this. In Jane’s room, all of the walls are upright with soft edges and lots of light. Towards the end of the piece, before Francis is taken away, the set is circular, and stripes have been painted on the ground to mimic the circus which was featured at the beginning of the film. This gives a circular motion to the film, reiterating the idea of insanity.“The film draws on the eerie, occult experience of early cinema itself, whose flickering ghostly images – such as Caligari's cabinet, and all kinds of fashionable table-rapping and fortune-telling – were often to be presented in fairground tents...” (Bradshaw, 2014) 

Fig. 3. Still of Dr. Caligari. 

It is clear from the start that The Cabinet of Dr. Caligari has had a major influence on not only horror,  but all modern cinema. It challenges many social norms including a focus on a character who is going insane (mental health issues being a taboo subject still to this day), as well as creating characters that an audience of this time would not have been used to, like the somnambulist Cesare. Tim Burton seems to have taken inspiration from Wiene in both his films and animated work, keeping the stylised costumes, makeup and environment. Burton’s film The Nightmare Before Christmas has similar slanted buildings and warped structures throughout. Wiene has used environment to emphasise to the audience the dreamlike/nightmarish state that Francis is in. It demonstrates chaos and insanity through a traditional yet slightly distorted narrative. Michael Borah goes into detail in his review of the film about the many technical aspects used throughout,“The use of grey landscape, distorted set-geometry, chiaroscuro lighting, bizarre set design and obviousartificiality of the environment all reflect the directorvision of expressionism in the movie and it alsocontribute to the story-within-a-story narrative toenhance the overriding theme of The Cabinet of Dr. Caligari.”(Borah, 2018)

 Illustration List:

-Wiene, R. (1920). Figure 1. The Cabinet of Dr. Caligari poster. http://www.openculture.com/2013/10/the-cabinet-of-dr-caligari-see-the-restored-version.html

-Wiene, R. (1920). Figure 2. Still of Francis and Jane. https://www.thetimes.co.uk/article/the-cabinet-of-dr-caligari-1920-t3ftwlp80

-Wiene, R. (1920). Figure 3. Still of Dr. Caligari. https://www.slantmagazine.com/film/the-cabinet-of-dr-caligari-1920/

Bibliography:

-Borah, M. (2018). Medium.com. https://medium.com/@michael.b_64216/thoughts-on-the-cabinet-of-dr-caligari-3c442e4248db

-Bradshaw, P. (2014). Theguardian.com. https://www.theguardian.com/film/2014/aug/28/the-cabinet-of-dr-caligari-film-review

-Dillard, C. (2014). Slantmagazine.com. https://www.slantmagazine.com/film/the-cabinet-of-dr-caligari-1920/

-Ebert, R. (2009). Rogerebert.com.  https://www.rogerebert.com/reviews/great-movie-the-cabinet-of-dr-caligari-1920