Comparison and contrast to the way that horror is created in ‘The Shining’ and ‘Halloween’

Both ‘Halloween’ and ‘The Shining’ contain two young boys which conventionally are seen to signifying innocence and naivety, however Mike Myers from ‘Halloween’ becomes the perpetrator of horror and Danny Torrance from ‘The Shining’ becomes the victim of horror. This can also be relatively linked to the two females; Wendy Torrence who becomes the perpetrator of violence in defense and Laurie Strode who like Danny Torrence, becomes the victim of horror as well as going on to attempt perpetrating horror at the end of the film in self defense. This potentially suggests that victims of horror can end up perpetrating the horror whether or not you end up inflicting it in order to defend ones self. This particularly can reference to Wendy who uses a baseball bat and locks her husband in a food cupboard. In comparison to the two boys, it suggests that Mike Myers is beyond evil and Danny Torrence is psychic.

Both films can be seen alike through the collapse of human morals and the reactions to the demonstrations of seeds of evil, that the audience can identify with the idea that of ‘psycho’ in Halloween. Although we see the beginning of Mike Myers inhuman values and the deterioration of his mental state, the audience is unable to identify why he has come to his current state of mind. ‘The Shining’ differs in some ways to this as the audience can get a small insight as to why with the solidarity and isolation that surrounds the characters in ‘The Shining’ becomes factors that suggest his mental state.

The concept of malevolence and evilness in young children used as a convention in horror.

The concept of malevolence and evilness in young children used as a convention in horror that stemmed the idea for my Horror film trailer, is discussed in the Guardian article by Joe Queenan, where he states that “small children are often evil in horror movies…when they are not evil, they are troubled loners who consort with invisible playmates who are evil”. It can also be seen to relate to The Shining, with Danny’s imaginary friend ‘Tommy’ linking to ‘Loners who consort with invisible playmates who are evil’. This is particularly relevant to when Danny uses the perception of ‘Tommy’ to repeat ‘redrum’ which is then revealed to be ‘murder’ backwards through the reflection of the mirror which represents ‘truth’.

Le Manoir du Diable- The Manor of the Devil

Le Manoir du Diable- The Manor of the Devil is a three minute long french film directed by Georges Melies. Le Manoir du Diable is considered to be one of the worlds first horror films and rather with the intended element of generating fear- typically expected in the genre of horror, the film is rather seen as comical and humorous as opposed to ‘scary’ with somewhat exaggerated and ‘over the top’ dramatical actions portrayed by the actors in the film. As suggested in an article titled ‘horror films part one’ on the web sight filmsite.org, despite the connotations of humor portrayed in the film, Le Manoir du Diable contains several “familiar elements of later horror and vampire films: a flying bat, a medieval castle,a cauldron, a demon figure (Mephistopheles), and skeletons, ghosts, and witches - and a crucifix to dispatch with evil.” The conventions of horror such as the enigmatic nature and the surreal/ paranormal elements of the film can be seen imitated in several other films following the release of Le Manoir du Diable.

Peter Pilotto's Spring/Summer Collection

The moment I saw Peter Pilotto's Spring/summer collection during Fashion week, I have been completely entranced by his unique and what I believe to be; his soon iconic style. Whilst browsing through Oxford circus today, I saw elements of Peter Pilatto's charismatic style imitated in almost all of the high-street brands, ranging from Topshop, Zara and even New Look.

The bold and strong colouring integrated into a series's of tribal-like prints with the slim waistlines and the gorgeously shaped and situated prints not only look wonderfully unique and eye-catchingly beautiful, but it is seems unusual for such boldly statemented clothing; particularly in Pilotos brave choice of colouring and design ranging from landscapes of Fauna and Leaf print in Neon shades, to unexpectedly be able to accentuate a range of body shapes.

The spring summer collection is stated to of been inspired by a recent visit to Indonesia described by the designers to of been "an incredible journey that have us the opportunity to experience the awesome natural environment of Java; the lush Jungles; the tea, coffee, cacao, and clove plantations, and to see the volcanic craters and sulphuric plumes of smoke first hand." Which is seen accountable for the brilliant creation of their signature dresses.

As suggested by British Vogue, "Peter Pilotto is one of those labels that right now leads the new wave of fashion Lights."

I really do wish this incredibly talented designer all the best and well-deserved success. Most indefinitely one to watch in coming seasons.

Till next time
Julia x

Sophie Calles exhibition 'Blind'

"Green is beautiful. Because every time I like something, I'm told it's green. Grass is green, trees, leaves, nature too... I like to dress in Green" (Extract from 'Blind')

A few weeks ago, while browsing in the Whitechapel book shop, I came across one of Sophie Calle's many fantastic collections of work exhibited in a coffee table book, entitled 'Blind' that she collaborated in 1986. Although I wasn't fortunate enough to see 'Blind' in an exhibition, The publication was enough to completely en-captivate me into trance of sheer beauty and admiration for such an incredible group of inspirational people as well as further admiration for one of the most innovative and interesting photographers of my time; Sophie Calle.

Sophie Calle exhibited 3 different types of people who contracted their condition; people visually impaired from birth, people that lost their sight over a gradual process and people who became blind in a short period of time. The book consists off series of portrait photographs with a narrated description aside each one accompanied with a further picture of what they defined as beautiful.

Their responses to what their take on ‘beauty’ was, consisted of incredibly intricately detailed and touching responses and in addition to Sophie Calle’s powerful photography, it was enough to completely blow me away, and further question my own take on what beauty was.

I am not one to constantly conjure moralistic values from frequent occurrences in life, but Sophie Calle’s exhibition of ‘Blind’, enforced me to further support the well know statement that ‘Beauty’ is stronger ‘within’ rather then things that may appear to be ‘visually beautiful’. I am by no means undermining the existence of visual beauty however ‘Blind’ just distinguishes the fact that beauty can exist in all aspects of life; beyond our conceptions. Beauty is only a perception that can be seen in so many different perspectives.

"I saw my son in a dream. He was 10 years old. He was in pagamas. He looked at me and smiled. He walked towards me. I thought it was very beautiful." (Extract from 'Blind')

Here are a few other interesting articles that also discuss Sophie Calles exhibition 'Blind'

http://articles.latimes.com/1995-10-20/entertainment/ca-59024_1_sophie-calle

http://www.guardian.co.uk/artanddesign/2009/jun/14/tate-liverpool-colour-chart-exhibition

Is fashion a competition or an attempt at an exhibition of originality?

While being intrigued, looking for inspiration and influence with the ongoings of Fashion week, I started to think about what is considered as 'fashion', and what it takes to successfully become part of the ever growing fashion industry today that has such a huge and influential impact on so many of us.

My view on the influence of fashion at present, is that there seems to be a consistency in the fashion industry of strict limitations that are seemingly enforced in order to achieve a desired outcome. A prime example of this would be the implementation and discussion of what is 'trending' or what is 'in' at that present moment in time. Now, I say this with caution, as every designer is unique in his or her own way and I am by no means criticising curators of the fashion world, as for so many of them, I have such admiration and respect for, such as Karl Lagerfeld, Mark Jacobs, Alexander McQueen ect. However my point is, is that I sometimes see followers of fashion losing there sense of individuality, and seemingly consuming a market followed by somewhat identical characters attempting to conform to what fashion represents at that particular time of year/ season.

Now every garment in its own right, possesses a sense of complete individuality, and what I find; is one of the sole purpose s in taking an interest on the ongoings of fashion, is not just the acknowledgement and admiration of beauty, it is how we as consumers, can find a way to replicate aspects that we have favoured or what has been seen as popular and well received during the course of fashion week. A particular example of a trending element that has appeared in numerous collections such as Mary Katrantzou's, Proenza Schouler's, Erdem and Peter Pilotto's is the use of exotic, floral and ethnic prints that are the centre points of the garments exhibited. So what we then find, is that an array of what was seen as a design concept, that was originally intended to be seen as unique, has been transferred into all parts of not only high-fashion but also down to high-street brands such as Zara's new collection imitating the use of floral digital prints and array of garments in delicate pastel tones such as Calvin Klein collection.

So the thing I find myself questioning, is that are these design concepts an attempt at originality? (As who knows who came up with the original idea to implement it in the fist place) Or is it a competition in beauty on who can do it best through original and unique means?

Till next time

Julia x

Art of the title: To Kill a Mocking bird

 

The opening of the film is effective in numerous ways; compressing many of the key themes and issues into the opening credits. This is shown firstly; through the constant child-like flow of the camera movement and effects, the narration that is vital in setting the tone of scene for the audience, the symbolical objects and also the introduction of the characters, which are all pivotal in exposing many major themes and issues which prove to be significant in the film.

In particular, the strong focus and selection of the objects applied in the opening credits of the film, are one of the most predominate signifiers of the story's symbolism and themes which increase in meaning as the story unfolds. The items that emerge behind the opening credits comprise of; a pocket watch, safety pins, coins, stationary,  marbles and a child's illustration of a bird. The drawing also seems to comprise of a sea wave which then emerges into the next shot of a beaded chain. The child-like sketches can be distinguished as detached lines typically in the split of the mockingbird, a chasm.

The camera seems to move in a child-like perspective from firstly; the repeated use of extreme close-ups, used continuously throughout the opening sequence; possessing a sense of lyricism resulting in the viewers association of somewhat honesty. The extreme close-ups track from left to right displaying the cautiously arranged possessions. The type-face used is similar to the font used in a type writer; commonly associated with police reports, this highlights awareness that the film has an underlining basis involving the law and equality- as one of the reasons as to why the law is enforced, is to create justice.

The non-diagetic soundtrack enables the viewer to undergo an aural experience. The playing of the classical piano generates a vintage atmosphere. The melancholy piano music and the diagetic sound of the humming of the child, contribute to the overall disposition and mood reflected throughout the film. There is also the incessant ticking of a watch featured diageticly in the sequence. This constructs a notion of time passing. Furthermore, the melody can be seen in association with the camera shots used in the opening credits reflecting the emphasis of various significant issues in the film. A unaccompanied flute is also featured in the opening sequence of the soundtrack which; then leads on to the birds-eye view all of the objects shown in one frame, where a full orchestra the starts to play. This can be seen as symbolically representing all of the themes being depicted at once.