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.

Intro to HBO's Rome Analysis

 

How rank and status is portrayed in the opening sequence of Rome

Visually the opening sequence is the strongest signifier in terms of identifying rank through multiple connotations. The opening narration of the story is the first depiction of rank and status through the demonstration of power in the usage of brutality and violence in the beating of men. The clothing of the generals is more opulent with the bold red coloring. This symbolises power and authority. The generals plume represents; high status, power, and increases height. His clothing also differentiates himself to the rest of the people below him through the extravagance-ness and the uniqueness of it. We see a loss of dignity and status in the consequence if it is removed with speaker ‘A’ who objects to the general. It weakens him and contributes to the loss of power he seemed to previously have before it was knocked of his head by the general. This also further attributes the generals high powered status with the fact that he firstly has the power to do so and there is no objection from the person who previously tried to go against the generals command. The most powerful and authoritative fighters take the leading position standing at the front of the army emphasising the power in terms of them being the leaders of the army. Strength of status is also emphasised in terms of possession of the winning side having appropriate necessities of defense such as the shields which the opponents do not seem to have. This is further accentuated in terms of connecting with auditory effects that it has, as we can ‘hear’ the effects of what they have. Visual associations of rank and power are portrayed with the big open spaces that they seem to possess, shown following the battle. This is also an indication that they have won as the general returns unharmed. The large amount of horses as well as the big open spaces in there possession, indicates their wealth which is conquered through their strength; which accentuates and heightens their power.  The public beating of the man is also another reminder of their strength and power, who has disobeyed the orders of this army. As a result he is publicly beaten several times with a whip and then sent to be hanged. The public-ness of the beating seems to be a way of inflicting fear on the onlookers, reinserting the power that they possess and the consequences that they face if any of them disobey, or go against Caesar’s army. A man who seems to have previously been an important figure is Stripped naked at his most vulnerable and is ordered to bow down to what the viewer presumes is an important signifier of the Amy’s assertion and power, followed by the chant of Caesar’s name, stating that he is the leading position of status and power out of everyone in the army. There are also symbolic associations of rank; such as the use of fire used on the winning team’s side which is a demonstration of man controlling natural elements to his advantage; epitomising the intended effect of power and danger. It is also a very victorious element.

The opening sequence of Rome consists of mainly diegetic sounds with no accompaniment of a soundtrack. However several references to rank can be identified with the audio effects made throughout the opening.  This is shown firstly through the use of the whistle blown a number of times during the battle, representing rank through its very piercing and powerful sound, furthermore accentuating status for the man using it; representing his commandment of order and organisation and is a supplement to his nobility. It is also a representation for strength and power on the winning team’s behalf, being able to cut through everything making a sound at that present moment. The force of the stabbings and the sounds made throughout the battle also re-iterated and re-affirm the strength of the winners who are also what the viewer presumes is the focal point of the series. The sounds of the clashing and cutting of swords and shields moreover supplement in the establishment of a more dramatic and realistic effect. The whistle blower whom the audience would presume is the leader is well-spoken which gives connotations that he is well educated and belongs to a higher rank then the people he orders at the battle. The public usage of the whip given as a form punishment to the man at the end of the sequence is a very threatening sound. We know that Caesar has the leading role of dominance not only because of the camera angling, but also because of the Chanting of his name, paid in respect by what we presume is his army.

In terms of camera angling there are several indications that can be identified with the intended effect of rank. Firstly with the Shot reverse shot from general to people, when shot returns to the general; signifying his status. This is not only shown in the battle but also in the following scenes after they return from it.  Dominance and importance of characters are also shown through the amount of camera time they individually receive. For example on the general and on Caesar. The shot held on Caesar in particular is not only for a couple of seconds but is shot from a low angle, as if viewer were to be looking up to him. This shows his dominance and power. Caesar also lingers in the focus of several shots, further contributing to the presumption that he is a leading and important central figure. During the battle, the camera work is much steadier when focusing on the generals perspective as he is clearly the most dominate fro the reasons being that he is the most ‘clear minded’.

Harry Potter Marketing and analysis’s of Posters

How Youth is represented in the opening of Skins? How is film language used in this?

How Youth is represented in the opening of Skins? How is film language used in this?

http://www.youtube.com/watch?v=S9lg5S1CwYE

The opening of this episode of Skins, revolves around Tony; who the audience presume is the main protagonist due to the fact that he is the main focus point at the very beginning of the scene featuring his morning routine consisting of exercising his youthful but reasonable physique, lustingly voyaging the his neighbor- who seems to enjoy the attention, and showing a clear perspective on his relationships with his sister and his father. One of the clearest representatives of youth that is exposed from the very beginning is the mis en scene the surrounds the characters which create a greater understanding for the particular character being portrayed. For example, Tony’s bedroom conjures a clear image of youth with his sexually explicit duvet cover and the poster above his bed.

Skins is clearly presented from the beginning as a youth orientated drama due to the fact that Tony- clearly a teenager, is the first character featured  in the scene. He is placed in the foreground of the shot with an extreme close-up of his face which attaches importance to the character as the audience’s attention is being directly appointed to Tony. It then tracks outwards from the close-up into a bird’s eye view of his bedroom and features him performing his morning routine; morning exercises, his rebellious party going sister and his positive effect that he seems to have on women in particular his neighbor who seems to appreciatingly acknowledge the attention she gets by responding flirtatiously when they catch a glimpse of each other outside. This evokes a particularly memorable and powerful first impression of Tony as it enables the audience to get a clearer insight on his lifestyle and personality.

The mis en scene manipulates the audience by building the expectation that it is orientated around youths with several indications; Tony’s bedroom conforms to the typical stereotype of a youth’s bedroom- with the sexually explicit duvet, the modern yet minimalistic in-expensive looking furniture and the various posters placed on his wall. The non-diegetic background music played is typically associated with youth with its’ modern upcoming beat which also features rap. Effie’s arrival in the morning from what has clearly been a night out partying reflects youth not only by this, but also by how she is dressed provocatively, it is unusual to see someone of an older age dressed like this and her tousled hair and smudged make up. It also conforms to the typical stereotype of youths, with the fact that they are renowned for partying long hours and returning in the early morning. Also judging by how she slyly attempts to make her way back into the house, without being seen, as she is still under the age of parental consent.

The relationship between Tony and his father strongly signifies typical youth references by how he purposely irate’s his father by rebelling and annoying him; taking pleasure whilst doing so. The diagonal lines portrayed by the camera while Tony’s Dad is yelling about the loudness of the music, shows imbalance and creates discomfort to the audience about what is occurring; yet with a humorous edge. The space between them, with the both of them being placed on the outside edges of the frame reflects the emotional distance between them at that particular point and sets the mood to how they are associated with each other from then on.

Introduction Analysis to American Psycho

                                                           American Pycho Into analysis

  Lighting:

The scene first starts of with high-key lighting flooding Patrick's apartment, to portray a natural and authentic portrayal of imagery. Subtle shadows that are generated from the high key lighting exhibit the reflection of Patrick's face onto the “Les Misérables’’ poster that contributes to the Mise en scene. During Patrick's exercising routine, although it is high key-lighting, it is more restrained in terms of brightness to formulate stronger shadows coming from the blinds. The soft lighting in this scene forms a serene and relaxed atmosphere which contributes to the overall understanding of the somewhat materialistic simplicity of Patrick's everyday unperturbed lifestyle. The atmospheric aspect is further portrayed in the scene where he is in the bathroom. The lighting in this scene, contrasts well against the black tiles in his bathroom, highlighting and making his well built body more conspicuous. The lighting used particularly in the bathroom, produces a subtle contrast of light and darker areas on parts of Patrick's face and body.

Sound and Music

The opening extract is accompanied with the non-diagetic sounds of classical background music and a narrative voice over intertwined with the diagetic sound effects within the scenario such as the closing of the fridge and the fall of water from the shower ect. The classical background music is parallel to the scene and is very gentle, yet also soothing. This contributes to the relaxed feel that seems to dominate the opening extract. The falling of water also strongly compliments to this. The background classical music can be seen as stereo-typically fitting into the idea that the main character is quite affluent and also that he is middle to upper-class. As classical music is generally associated with this type of class and idea of affluence, which these two factors certainly seem to fit in with the character (according to also to his flat and his well spoken accent). Furthermore, the background music compliments the elegance and somewhat gracefulness that seems to be portrayed in the opening extract.

Use of Camera

The scene starts of with a long shot to establish the scene setting, showing a modern yet glamorous apartment.

There is a close up of Patrick's reflection against the “Les Misérables” poster. Close-ups in general, are very intimate shots as it takes us into the mind of the character, which enables the audience to understand and read the character, in this shot, the reflection on such an iconic poster references the possible similarity- ‘The Miserables’. There is a long shot showing Patrick indulging in his fitness routine. The long shot shows the imagery in a somewhat life-size form corresponding to a realistic distance. It then cuts to a medium shot of him exercising as there is no longer a need to establish the surrounding as it was done with the long shot. The mid-shot then allows the viewer to focus more on the character and to show the detail of action. There is a long shot of Patrick in the shower that tracks inwards to a medium shot, once again to establish the surrounding and location of the scene. As well as during his shower routine and product application, there are several close-up shots to display particular reference or importance to the object being used throughout the extract. This concentrates on a specific detail of the object and draws attention to it. The close up of Patrick while he peeling of his mask,  makes huge reference to the status of his personality and conjoins with all the other products he uses for vanity purposes, which emphasises the external superficiality of Patrick as he ‘peels away’ his somewhat identity. Once the mask has been fully removed, the camera is still for a few moments to highlight the intended dramatical effect of not only his actions but also his claims and statements. “There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze…I simply am not there.”

Editing

The scene starts with an establishing shot introducing the location, giving the audience the first portrayal of Patrick Bateman’s life. There are several shot reverse shots throughout the scene that maintains the continuity of the shots and also give fine detail. This is particularly powerful when showing Patrick's usage of his products, which demonstrates the shear amount that he uses. This also enforces the idea that Patrick is incredibly image conscious and takes pride in his appearance. This can also give the idea to the audience that Patrick is incredibly vain. We see a series of elliptical editing. A prime example is while Patrick performs his exercising routine. This causes an ellipse in plot and story duration, we also see this while he is in the shower and putting on his facial products. The voice over that dominates the opening of the scene is used to introduce the character in very intricate detail as it is further knowledge to the audience aside from the establishment of the scene and the character. The voice over also ascertains the audience that Patrick’s routine (which is related to the voice over) that it is performed habitually. It is also very factual and straightforward despite the extensiveness of his routine.  The voice over is associated with the actions of Patrick.

Mise En Scene

The décor of Patrick's apartment is very modern and minimal, yet luxurious. It symbolises his wealth and a reference to the time it is set in. The emptiness and the reduced white colour scheme amplify the dominant mood of the film, stressing the sterility and impersonality that is closely linked to Patrick character himself. There are several frames containing black painted canvases. This objectifies the possible indifference of Patrick's style and personality, and can be seen as a linked-element to Patrick's mental state of mind; filled with darkness and bleak imagery in comparison to the minimal modern space that surrounds him. His intensive and detailed routine is also complimented by the organised state of his house, such as the neatly placed towels in his bedroom, and contributes to the idea that Patrick is a perfectionist. Patrick bears only White Calvin Klein boxers throughout the scene, excluding when he is in the shower. This further justifies his vanity. With his well sculpted body, this has obviously taken a lot of effort to maintain- (such as daily fitness routine). His haircut is modernly styled yet it also ceases to preserve a business like attribute as it is carefully gelled back.  His facial expressions right from the outset is very serious with a hint of confidence and self assurance.