Saturday, 31 October 2015
Wednesday, 28 October 2015
Monday, 26 October 2015
Sunday, 25 October 2015
Exploring unseen continents and unlocking the mysteries of the world, documentary expeditions in the early 20th century where cataloguing foreign cultures and aesthetics bringing the “armchair traveller” to the western worlds population, letting them escape into new worlds from the great depression of the 1930’s. Merian C. Cooper and Ernest B. Schoedsack, 1933 action-adventure blockbuster “King Kong” blends the ever popular documentary explorer, with the spectacle of turning scientific belief on its head and finding a 60ft ape, extinct dinosaurs, unseen African magic and sacrifice.
Willis O’Brien special effects artifice impressively creates a engaging environment of size and stature. Where man and beast can occupy the same space in a seamless plane. “In adhering to the proper perspectives the technical crew has never missed. The illusion of comparative size is splendid”
King Kongs political racial underpinning provides some uncomfortable viewing in today’s social conformities, referring to miscegenation and the slave trade. I’m not sure how to word this section, so a selection of quotes will explain the racial difference at the time of King Kong.
“Carl Denham’s introductory speech here highlights the uncomfortable parallels this film draws with the US slave trade, and the ensuing years of civil tension between black and white Americans. Released 35 years before the end of segregation and the passing of the Civil Rights Act, the film offers up a disturbing portrait of the dominant white racial ideologies of the time, implying that the idea of America (as represented by Manhattan’s iconic topography) would be destroyed if the black man were given total freedom.”
• Woods, P. A. (ed.) (2005) King Kong cometh!: the evolution of the great ape. London: Plexus Publishing
• Fig. 1. http://cinentransit.com/el-cine-a-ojos-de-un-nino/king-kong-1933
• Fig. 2. http://www.wearemoviegeeks.com/2013/09/king-kong-turns-80-a-retrospective/king-kong-1933-granger/
Saturday, 24 October 2015
Thursday, 22 October 2015
Wednesday, 21 October 2015
Tuesday, 20 October 2015
Thursday, 15 October 2015
Tuesday, 13 October 2015
Sunday, 11 October 2015
|Figures 1, 2, 3|
“Metropolis employed vast sets, 25,000 extras and astonishing special effects to create two worlds: the great city of metropolis, with its stadiums, skyscrapers and express-ways in the sky, and the subterranean workers’ city, where the clock face shows 10 hours to cram another day into the work week” (Ebert, 1998)
Ebert, R (1998) Metropolis At: http://www.rogerebert.com/reviews/great-movie-metropolis-1927 Accesed on: 29/09/2015
Saturday, 10 October 2015
Wednesday, 7 October 2015
Thursday, 1 October 2015
The Horrific events of the first world war caused grusome injuries and deep deppresion over Germany. Suffering a hummilinating defeat and now stark and gloomy living conditions, for many Germans they where looking for a sense of escape from the anxieties of their new lives. From the ashes of war appeared two ex-soilders, scarred by the German goverment and that acts they where forced to commit. Carl Mayer and Hanz Janowitz decided to write a expressionist screen play on how the masses can get hypnotized by the goverment and commit awful acts for them. “The Cabinet of Dr. Caligari” was born.
The first psychlogical horror genre film of its time, Caliagri used artificial set designs that looked twisted and eerie combined with stark lighting and harsh shadows producing an unearthly, nightmarish location. These expressionist set designs where forward thinking at the time and has been “Branded as the first “art Film” the first movie to bring the ideas of Picasso ,Braque and Duchamp to the screen” - “ the first significant attempt at the expressionism of a creative mind in the medium of cinematography”
Creepy characters enhanced by outrageous make-up and jerky manourisms, dwarfed by the twisted, dark set designs with their quirky veiwpoints and perspectives, bring together a sense of paranoia of this nightmarish world. Everything about the film throws you off balance not knowing if you are in a interior or exterior world of who done it and is this real.
These techniques have been adapted and recreated in recent hollywood films, such as Tim Burton’s, “Edward Scissorhands” and “BeetleJuice”, which use all the formula’s and essence of Calgari, making it such a iconic film.