4.18.2013

Claudine (1974) Critical Response

In Film History we've been going over Black exploitation films and a myriad of other film genres around it. In the midst Keith said this one was exceptional and I liked the poster so I had to check it out.


The devise of the bus is a really clever one to introduce the character, it's a place no one really likes but everyone has to be in and tolerate each other even if just for a little while. The lighting on this shot is "meh" but there's not much you can do to light a bus well and make it look logical to an actual bus.


This character introduction is interesting, at first she declines and declines to go out with him but he basically blackmails her and threatens to call the welfare office if she doesn't go out with him. This will be a stark contrast to what happens later in the film.



I really like this shot, it's very subtle but we really understand how James Earl Jones feels here without John Berry having to smack it over out heads.

Great compositions and choreography used in this shot, the deep focus really pushes it and separates their relationships with the kids and their current antagonism. This sho


 

This is a great shot, lots of nice bokeh, it's the magic hour we seldom get to see in films- dawn. It was a good addition to the story and shot structure, but what's problematic is this is supposed to be a "comedy" in the eyes of the Academy, really it's so much more than that.


See we have shots like this, where she watches over 4 of her kids sharing beds in the middle of the night, it's really more than a comedy in both tone and execution and it gets more and more real for every scene after this.


Here's another shot somewhat echoing the earlier one, Claudine always on the edge of trying to balance her own happiness and her kids however she can.



Another good location simple and effective with lots of things breaking up the background and making things interesting but not distracting.


Really nice understated shot here and a great use of location spotting.


This was a pretty powerful and interesting scene. The environment really looks sterile and uncomfortable color-wise.



Really strong acting in this scene, now that


This scene was crazy, so basically the eldest son got a vasectomy and everything is really going wrong in Claudine's life at this point, it kind of looks like the lowest point but it could of been rearranged but it wouldn't make since plot wise.


Interesting scene here, it may be hitting on something that is beyond my understanding for this time. Did Gospel groups really migrate around to different bars and what not? Not exactly sure. Either way this scene is partially a piece of the climax as the eldest son comes and whoops Rupert telling him off and whatnot. 


Rupert comes back to get closure saying that either way he would never



Keith was really right about this being a good film, it was solid and had a full range of emotions where I thought there wouldn't be.

3.16.2013

Last Tango in Paris (1972) Crirical Response

So, I was first introduced to this movie mostly because of the controversy surrounding it in Film History II, and wanted to delve deeper into watching Marlon Brando act. I had never really seen it until now if you don't count Burn! which seems to be a totally different actor from what I've seen. That is probably a good thing, however, seeing as that's the point of acting. Anyway, this movie was interesting to watch or moreover, sit-through. There was lots of sex that seemed to be punctuated by quieter and long and within these moments were tiny gems of who the characters really were. I liked that, but not necessarily in this film. The story was very beginning and slowly but surely trudged to the end. I felt the tension of it getting closer but my attention did waver numerous times.

Anyway let's get to the shots.




This is one of the first shots to really set off the film, it's accompanied with a huge orchestral gesture and really swells the emotions of the viewer. Very nice the opening of the blinds and you know it's 1972 so that cityspace ain't no CG bull, it's real and the timing is right. One thing I've seen in this movie, recurring are overhead lights that are really awesome but such a pain to set up. It really pays off though and accents all these nice lines... 

 They have this great mirror/window thing recurring in this film as well, it's really interesting and I'm sure it means something symbolically or subversively but it's working really well for the Rule of thirds here, that could easily have been just a dark hard shadow on that right side but the mirror pushes it and makes it a little more dynamic.

Nice silhouette and just enough information to make it dramatic but interesting.


So this is one of the most iconic shots of the film, really telling of the story in a way too but let's just go into the visual, you got maybe 3 lights in this scene tops, the daylight helps and makes it nice and soft right where it needs to be coming from the right and maybe another light in that hallways to give it just enough to look natural. You have a deep focus and can see everything you need to as part of the audience and this ladder coming out- that's where she's trying to escape to theoretically- this apartment is her ladder to reaching adulthood? Something crazy like that. Anyway, I should use more deepfocus in my shots.




Overhead lights again.


Beautiful shots could of been had here but I'm beginning to realize that beautiful shots cannot always be had if the story doesn't call for them. This isn't a bad shot but it's not a super standout to me, not like the other ones are.







 Look at this mirror thing, they do this for like 3-4 seconds tops and it's so small but very considerate of keeping the audience interested, unfortunately this is just before Brando get's kinda rapey.



They utilized the location (whenever they were out of the apartment) to the fullest and it shows in shots like this which get repeatedly echoed throughout the movie.




2.28.2013

BFA Progress


BFA Progress!

So this is a majority of the scenes re-edited and scenes we haven't seen yet. I think it's inevitable that I get typos nowadays in my title card for some reason.

2.14.2013

Artist Prompt

1. What is your name, where are you from, where do you live now?

Kaitlyn Chandler. Nashville, TN. Memphis TN, but really gonna be a drifter soon, saving to move to New York.

2. What medium(s) do you work with?

I like to work with time-based media of all sorts. I especially like to work with film and video. 

3. Tell us about your technique/creative process.

My technique would probably be the synthesis of numerous ideas and to pick and choose which I would like to refine and which I don't. When not in the middle of a big project I try to record 5 ideas a day. I try to expand my network of actors and crew all the time, although I think smaller crews are easier and work better for my pieces because of mobility and better ownership of the output. I do this so that once I get a dull moment, I can develop these ideas a little further and eventually act on them. The best practice is doing. I may not be very good, but I'm probably a little better than I was yesterday.

4. What is your background (education, career, etc.) and how does it contribute to your art?

My education as a creative person started early in high school  I started to draw from life and pictures and found that if I worked hard at it- I got better and better. This is also when I began to write extensively due to the type of school I was attending- it was a literature magnet. My teachers there forced urged us to write every day, and I wasn't the best writer but I did write everyday. I feel it was necessary in my journey to be a good writer/screenwriter now. I started in animation because I like to draw and illustration was boring- a single picture can't hold my interest. I eventually fell out because it wasn't really something I was immensely passionate about- not as much as film.

5. How did you learn about this position?

(Not sure how I answer this question)

6. Tell us about your larger body of work.

My larger body of work is largely inspired by music and coincidentally interpersonal relationships, but I record a lot of science fiction ideas and would love to pursue them. These ideas are suited for small pictures and have more of  "physicological thriller" element. I've recently been heavily induced to watch more Hitchcock

7. What are you currently working on?

My BFA piece is what I am currently working on.

8. How has your work changed over time?

The general concepts around my work have not changed that drastically but I feel I have become a lot technically better and overall have a greater sense of what I am trying to do with each story I tell. I feel that I have grown to like my work a lot more, when previously I could not stand to watch it- I can happily say I enjoy it now.

9. Tell us about a seminal experience you've had an artist.

I think a seminal experience I've had as an artist was went I was making something for my own enjoyment and not for class, it started as just something to fill time after I did the real editing for class but before I knew it I looked at the clock and it was 5 AM. It felt like no time had passed at all and I really didn't mind cause I liked what I was doing. That's when I realized I could do it all the time, anytime; I'd do it for free.

10. Who is your favorite artist?

Don't exactly have one.

11. If you could work with any artist (past or present) who would it be?

Spike Lee, Shamim Sarif, Me'shell Ndegeocello on score.

12. What is your favorite artwork?

Don't really have a favorite artwork

13. What inspires you?

Music, performance, pretty women, life sometimes. 

2.07.2013

Promo Video Research

Here's some research I've been doing on different college promotional videos. Some of them have really great elements to them, but none of them overall have what I'm going for.

SVA student made promo:



Art Center College of Design

MICA



RISD

2.05.2013

Chinatown (1974) Response

I chose to do Chinatown in favor of more contemporary films because I've heard a lot about it and haven't really seen any early Jack Nicholson films. I remember in Digital Cinema 1 when me and a few people got together to watch Taxi Driver and seeing how starkly different De Niro acted and looked then as opposed to now. It's like night and day but that was his role. So, I decided to do this film to see how Nicholson was back in the day and to pick up some tricks in regard to lighting from the noir influence.


Here is a shot that definitely sets the tone of the film from the very start. The lighting, the somewhat deep focus, the set design. It's the most concentrated form of tone and execution in the film produced in one frame.


Some of the long shots in this movie are especially brilliant. This one in particular definitely adheres to the rule of thirds. This is actually a pan that eventually lands on Jack Nicholson's face as he investigates finding out if this man is cheating on his wife. I think the shot structure in that way is very motivated-  it's very much a story of cat and mouse in the beginning.




This shot is ingenious. If you look at it long enough you'll see that the horizon line matches from foreground to background ever so slightly. It's also a very good contrast and has very little apparent lighting. The film knows it's not your usual noir film. It is however, one that can deliver.


The overall staging of this shot is interesting to me. Although it's got a lot going on in it, we can really tell what the focus is on and the acting is extremely well if you saw it yourself. Nicholson doges the camera pretty artfully with not only his eyes but his demeanor.


This shot has some very soft and low key lighting going on which isn't usual for noir films but I think it works for this scene. It's a good depiction of not every shot can have the very hard lighting and contrasting because it would make the mood very dramatic everywhere and the audience wouldn't get a break. This is actually that break in tension in the entire film thematically and really the first time we see the female lead smoke instead of the men.


This is one shot that is coming towards the end of the film. I think it's the most noir out of any of the usual and is so apparent. It shows that the film can be both noir and in color with this shot and how maginificent that effect can be.

2.01.2013

BFA Progress 2/1

Shower Girl Master Shot List


Shower Girl Alt. Titles

Shower woman

Showerdance


Brewing and Singing


Espresso Shower


Shower Mist


Brewing Mist


Shower Singers


Basic Brewing


Latte’s and Sandwiches 


Shower Illusions


Not really happy with any of these names. They could be a lot betaer but I don't know how. Something I've noticed is a very blatant lack of shower synonyms or adjectives that can go in front of shower without it sounding kinda ridiculous.

Vision Board 1

I like the idea of the vision board I just hope I can make a good one. I don't want it to be too much like inside my head, that would make no sense to the viewer. At the same time I want it to be evocative  of everything I think my project can be and be awesome. What I'm mainly worried about is that I really hope I can get the viewer interested in my film and show the premise in a single image.