Friday, 13 October 2017

Perspectives: Sherrie Levine



Sherrie Levine
In the late 1970s and early 1980s, a group of conceptual artists—including Richard Prince, Cindy Sherman, and Sherrie Levine—known as the Pictures generation, began using photography along with appropriation techniques to scrutinise the strategies of visual representation. In 1981, while many of her coevals got their inspiration from everyday life images and the mass media, Levine began re-photographing abstracting or digitising reproductions of photographs by canonical male modernist photographers like Edward Weston, Walker Evans, and Alexander Rodchenko. Levine says "I want to put a picture on top of a picture, This makes for times when both disappear and other times when they’re both visible.” Sherrie Levine


(Left) Walker Evans,"Alabama Cotton Tenant Farmer Wife," 1936
(Right) Sherrie Levine, "Untitled" (After Walker Evans) 1979 

Levine has injected herself into the heroic male dominated world of photography. As a woman Levine is appropriating around the critique of art with a feministic point of view, adding a parasite meaning. Levine is using a postmodern manoeuvre to bring the discussion around to what is art? by removing the boundaries of expectations. 

"I try to make art which celebrates doubt and uncertainty. Which provokes answers but doesn’t give them. Which withholds absolute meaning by incorporating parasite meanings. Which suspends meaning while perpetually dispatching you toward interpretation, urging you beyond dogmatism, beyond doctrine, beyond ideology, beyond authority." Sherrie Levine  




Marcel Duchamp - Fountain 1917,
Right Sherrie Levine, Fountain (After Marcel Duchamp: A.P.), 1991


Marcel Duchamp's Fountain can be considered as one of the most postmodern pieces there is as he is denoting that art doesn't have to have a meaning or skill behind it, art can be something as mundane as a toilet if i say it is. Levine has interpreted herself as a parasite, turning something as tedious as a toilet into something which looks like it costs millions, also critiquing the market.







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Thursday, 12 October 2017

Perspectives: Postmodernism in Scream

Scream Poster
Scream is a pastiche of many other prevailing horror movies, although scream acknowledge's this by showcasing the overabundant horror genre where the heroine is a virgin who always ends up being the final girl while her hard partying friends are slaughtered. A quote from The heroine Sydney about the genre reads "What's the point? They're all the same. Some stupid killer stalking some big-breasted girl who can't act who is always running up the stairs when she should be running out the front door. It's insulting."  

The characteristic of defining the horror genre in Scream where the leads know horror movies inside and out makes Scream fresh and innovative and is one of the substanstoul reasons why Scream is adored by critics and fans as it has moved away from the horror trope's. 

Scream is avant-garde as it moves away from mimicry in the horror genre as it transformed the slasher movie into the Art of murder, something that Scream has taken inspiration from the Hickcock classic "Psycho". 

Scream paved the way for the horror genre as it made millions Hollywood latched onto the notion of telling the horror genre in a more pastiched and avant-garde way.







Wednesday, 11 October 2017

Perspectives: Lecture 4 - Key Words



•  Avant-garde - The French word for vanguard. A group or work that is innovative or inventive on one or more levels: subject, medium, technique, style, or relationship to context. An avant-garde work pushes the known boundaries of acceptable art sometimes with revolutionary, cultural, or political implications.


•  Nostalgia: Something that relates to a diachronic remembering of the past. 


•  Appropriation: In regards to art "appropriate" is to take possession of something. Appropriation artists deliberately copy images to take possession of them in their art. They are not stealing or plagiarising, nor are they are passing off these images as their very own. Yet, this artistic approach does stir up controversy because some people view appropriation as unoriginal or theft" (ThoughtCo, 2017) An example is the pop art by Andy Warhol entitled campbells soup which depicts this mass produced food as Art (Pictured).


Campbells soup by Andy Warhol



•  Pastiche: Cultural artefact composed from ealements appropriated from other works; the term can be used in a derogatory sense to indicate lack of originality, or to refer to works that involve a deliberate and playfully imitative tribute. The frequent resort to pastiche is a characteristic feature of postmodernism.


•  Parody: A comical pastiche of something where the style of an artist, writer or genre is appropriated. E.g Scary movie directed by Keenen Ivory Wayans which parodies Scream directed by Wes Craven.


•  Irony: The use of words/images to express something different from and often opposite to their literal meaning. 


•  Ideology: the science behind ideas and the study of their origin and nature.


•  Genre: A style of something usually art, music, media or literature that defines the characteristics that art form.

Bibliography:
ThoughtCo. (2017). Is Appropriation Art Theft or Commentary?. [online] Available at: https://www.thoughtco.com/appropriation-appropriation-art-183190 
[Accessed 11 Oct. 2017]
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Harry Potter: A Hero's Journey and Archetypes Review








Hero: Harry is the reluctant hero in Harry Potter as he is visited by Hagrid he learns that he is a wizard and will face against Voldemort who is out to destroy him.


Shadow: Voldemort is the shadow archetype as Harry Potter is the boy who lived after Voldemort killed his parents, Voldemort's quest is to destroy Harry and anyone else who gets in his way.


Herald: Hagrid is the herald as he tells Harry that he is a wizard while announcing  him of the call to adventure.


Threshold Guardian: Hagrid is also the threshold guardian as he introduces Harry to the wizarding world while leaving the mundane muggle world behind him.


Trickster: Draco Malfoy is the trickster as he is constantly tormenting and harassing Harry at any given moment.


Mentor: The Mentor is Dumbledore as he is an old wise gentleman that Harry looks up to as his greatest source of inspiration as Dumbledore is extremely intelligent and always has Harrys best interest at heart.

Allies: Ron and Hermione are the allies as they are Harry's best friends and they fight along side him at every obstacle as Voldemort tries to tear his world to shreds.


Mother: Professor McGonagall is the mother figure Archetype in Harrys world as like Dumbledore Professor McGonagall has Harrys best interest at heart and cares and natures for him.


Shapeshifter: Snape can be seen as the shapeshifter as he is mysterious and it is a constant dilemma for the viewer to guess whether Snape is for or against Harry.


Father: It could be argued that Dumbledore is Harry's father figure as Harry's father was killed by Voldemort and Dumbledore does represent power as he is the headmaster of Hogwarts and he does show a serious nature when it is needed.


Child: Hagrid is the child Archetype as he represents innocence, even though he is a big hairy man it feels as though he wound not harm anyone and is a gentle giant that gets himself into some funny childlike situations.


Maiden: Hermione or possibly Ginny are the Maiden Archetype's as they both represent purity and sexuality,
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Toolkit 2: Life Drawing Session 4


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Monday, 9 October 2017

Collaboration// Influence Map

Collaboration// updated ideas

OGR part 7 Overall structure of film:

For the overall structure of our animation for "The worst person to.. start driving" we are going to have three characters enter into the driving instructors car, the characters are as follows:


The Instructor: An upper crust serious man who is all business and doesn't like when his authority is faltered.

The Granny: An elderly woman who is extremely hot-headed, loud and brash. She thinks she knows everything about driving and is completely deluded and oblivious to everything.

The overly anxious lanky character: A man who is extremely lanky and gangly and who can barely fit in the car. He is very nervous about driving and makes mistakes along the way,

The blind man: A blind man that starts driving but the audience doesn't know he is blind as we are using expectation against them.




In Detail:

We want to use expectation against the viewer so that they do not see the joke coming and to make sure that they laugh out loud. The structure of the characters will be along the lines of either the granny or the anxious person first with the blind man last,

As for how the jokes will play out we are thinking about possibly having the joke evolve over time to an extreme with cuts back and forth between the different characters so that towards the end of each skit it shows the most extreme version of the joke for each character, for example-

The blind man is driving the car but the audience doesn't know he is blind yet, he runs somebody over the scene cuts to the granny character shouting forbidden words at the driving instructor then the scene cuts back to the blind man but this time there is multiple people hanging on for dear life on the bonnet of the car as he yawns, the instructor is horrified.

We were also considering having the instructor visually looking more haggard over time with bags under his eyes and his hair jutting out showing the stress of the worst type of person to start driving. The car could also possibly take a beating with possible dents appearing and the inner environment of the car changing as the animation evolves,


After the climax of each joke has happened we were considering using a "Failed" stamp (pictured) over the scene with a hard knock sound effect to determine that that character has failed at driving when the most extreme version of the joke has been told and to move on to telling the climax of the next characters skit.


We want to frame our animation using the passage of time by possibly using a letterbox view and having either the days of the week or months on the letterbox just under the video with possibly 
having the characters name along side the time (pictured) Seasons could be a possibility too and how the weather would affect the character and their delusion towards driving,




As for camera angles we want to keep it as less fussy as possible so that the attention and humour is on the characters with the main camera being at the front of the car showing both characters and possibly another camera for the side of the instructor to show the characters entering the car. Another possible camera could be a top view of the car from a far distance to show the granny character turning the wrong way after the driving instructor told her to turn the opposite. 

We want to keep the overall art style along the lines of Muareens Driving school with everything reflecting the early nineties, so plain, muted dated colours and nothing too modern as that could retract from the humour. We want the car to reflect the time period too with it feeling like a bit of a banger but not too old as it is a car for learning to drive so it should be in working order. We do want the car to be relatively small as to bring out the humour in all the characters, especially with the tall awkward man. 


8) Set/Background Ideas

From watching many animated shows when the characters are driving in a car the houses and such pass them in the loop, we were thinking about using the same method in our animation. We are not quite sure how to achieve this yet, possibly using a plane and painting a texture on top of it and just moving it across the x or z axis and possibly combining 3D elements such as houses with this so that the plain doesn't look too flat. We are not sure yet what the background could entail and if we choose different seasons how this would effect the background. 

Props needed include the following:
The car, A dog, A walking stick, A clipboard, Along with all the various accessories, clothing and hairstyles that the characters will have. 

Sunday, 8 October 2017

Collaboration// Acting Class #1

Acting class was a lot of fun. We have really cemented our ideas for our characters for the animation and through Dan's help we have a much clearer idea of where we are going to go with them. Our character ideas for "The worst person to... start driving" are first the driving instructor who is a serious upper crust type who hates having his authority questioned, Second is a nervous lanky person who can barely fit in the car and third is a brash temperamental Granny who thinks she knows everything.



The upper crust instructor 


The lanky,gangly, nervous person


The brash, temperamental granny

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Saturday, 7 October 2017

Perspectives: Postmodernism in Mulholland Drive



Skitzoid: Mulholland Drive directed by David Lynch is a fragmented skitzoid vision of the unconscious with a non linear narrative which does not have a clear idea of who's story is being told or who's head the viewer is in throughout the film:

Aleatory: Lynch's directorial vision for Mulholland Drive has random stories and scenes from different characters that are hard to make sense of and are intertwined with a bricolage for the Meta Narrative showing stories within stoires which makes the viewer question if everything is connected or not at all.

Pastiche: Mulholland drive is very pastiche in particular with Betty's view of Hollywood as being this magical world where dreams come true and stars are born, something that is often depicted in Hollywood in Cinema.




Hyper reality: Hyper reality is superabundant in Mulholland drive as its unclear who's reality is being told. It seems as though the main protagonist Betty is unable to decipher what is real and what is in her subconscious, or if her subconscious is bubbling to the surface and manifesting with her reality jilting her mind and skewing her perspective.


Lynch makes it clear to the viewer that Mulholland Drive is abstract and determining what the story means to the viewer is left up to interpretation. Parts of the film dictate that Lynch is telling the viewer that it is a movie and he makes it known, in particular when Diane and Betty are in the theatre a trumpet is heard but it doesn't show while the magician states its "all in your imagination". The question is why is the viewer shown this?

Friday, 6 October 2017

Perspectives: Lecture 3 - Key words




Metanarrative: A more comprehensive idea behind the story.  In critical theory, and particularly postmodernism, a metanarrative (from meta-narrative, sometimes also known as a master- or grand narrative) is an abstract idea that is thought to be a comprehensive explanation of historical experience or knowledge. According to John Stephens it "is a global or totalizing cultural narrative schema which orders and explains knowledge and experience". The prefix meta- means "beyond" and is here used to mean "about", and narrative is a story constructed in a sequential fashion. Therefore, a metanarrative is a story about a story, encompassing and explaining other "little stories" within totalizing schemes.

Essentialism: The metaphysical view that in reality there exists not only individual objects, but also essences.

Utopian: Opposite of dystopian, A heavenly place or state of things in which everything is perfect.

Axiomatic: Self Evident or obvious

Dystopian:  A place or state in which everything is troubling and appalling, typically a totalitarian or environmentally degraded one.

Scepticism: To be sceptical of something, to question the truth.

Relativism: The Denial of absolute truths or absolute facts, and the claim that the truths and facts achieve their "truthfulness" or "factualness"  only relative to other "truths" or "facts" which are themselves relative to yet other "truths" or "facts".

Pluralism: refers to a society, system of government, or organization that has different groups that keep their identities while existing with other groups or a more dominant group. Rather than just one group, subgroup, or culture dictating how things go, pluralism recognizes a larger number of competing interest groups that share the power.



Toolkit 2// Moom weightlifting poses

Extreme pose 1

In between pose 1

Extreme pose 2

In Between pose 2

Extreme pose 3