I read the article “Miss Peregrine’ and Tim Burton: The Making of a Film Fable” By MEKADO MURPHY. You can read it here, http://www.nytimes.com/2016/09/25/movies/tim-burton-interview-miss-peregrines-home-for-peculiar-children.html?rref=collection%2Fsectioncollection%2Fmovies&action=click&contentCollection=movies®ion=rank&module=package&version=highlights&contentPlacement=1&pgtype=sectionfront. The article is about how Tim Burton brought this story “Miss Peregrine’s home for peculiar children”, which began as a book, to life. The movie is about a fifteen year old boy named Jacob who goes off to an unfamiliar island in search of answers to a family mystery. There on the island he comes across a home full of peculiar children with superpowers and strange deformities with whom he travels back in time with to help solve an ongoing problem and get answers to his mystery. The article states that Burton was initially drawn to the story because of the similar themes it shared with his previous films, “Misfits struggling to be understood and tales that blend the comic and the tragic.” Tim Burton sketched out characters props and other ideas during production which helped him come up with ideas and express his thoughts. Burton explains in the article that he didn’t do too many sketches of the children because he didn’t want to have to try to cast the actors according to his sketches; however, Burton’s sketches and doodles played a large role in the creation of the film and helped Burton stick to the idea of making the film a “children’s folk tale kind of horror story.” Burton gave the monsters in the film human qualities like clothing for example so that they didn’t seem too much like real monsters. Rather than going for the classic look of an old disney movie, Burton wanted to stray away from a cartoon motif. Tim Burton’s water color drawings helped to map out the movie and add creative ideas to make the film original. The article states that Tim Burton doesn’t make as many story boards as he use to but “it was necessary in this case.” The article explains how Burton uses these sketches throughout the film making process and goes into detail about how certain scene, characters, and themes were created. The article compares the animation to two of Burton’s previous films “The nightmare before Christmas” and “Corpse bride.” This article is an overall interesting read, especially for those who are familiar with Tim Burton films and the dark yet light hearted theme that is present in many of his films.
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This week I watched a video about the history of color in film. You can watch it here https://www.youtube.com/watch?v=lRheZ_MUYiY The video was about the science and history that allows us to experience color in film. The video begins by defining what color really is and talks about Issac Newton in 1966 experimenting with optics. In the video color is described as our psychological reaction to a very narrow band of the electromagnetic spectrum also known as light. The video touches on the beginning of color in film, when filmmakers would go in and add color after the fact. Filmmakers would higher workers to hand tint films. In 1905 director pathe created what he called "pathe color" which is a stencil process. By 1910 Pathe has hired 400 women to work in his factory. However, stencils could not meet the demands of production. The next discovery was "tinting and toning" which entailed dipping the film in a bath of dye. Tinting was dipping an entire film in a bath of dye which would turn the whole frame that particular color. Toning colored the dark parts of the frame with chemical conversions. In the 1920's 80-90 percent of all films were suing some kind of finding or toning technique to alter the spores ace of their film. Directors would use these techniques based in the mood of the film, or sometimes would apply color randomly for effect. However once sound was introduced later in this technique caused technical difficulties. Directors began using additive and subtractive techniques. The first truly successful color system for film was subtractive technicolor. In 1939 technicolor was in 36 major releases. The Wizard of oz and gone with the wind are examples of the use of technicolor. Monopack, eastmanicolor, digital color, beach bylass, digital intermediary. We are still moving forward into the digital re and the possibilities for color manipulation are endless
This week I read Emma Stone And Ryan Gosling’s ‘La La Land’ Tops $300M: Why Musicals Are A Solid Box Office Bet by scott Mendelson. You can read it here https://www.forbes.com/sites/scottmendelson/2017/02/14/as-la-la-land-tops-300-million-why-musicals-are-a-solid-box-office-bet/#78fb96f370cf The film lala land, Directed by Damian Chazelle has crossed the $300 million mark worldwide. The film has surpassed some of the greatest modern hits such as the hunger games, twilight, and divergent. The film has the potential to top everything summate and lions gate has produced. The article compares La la land to successful musicals form the 1950s and 60’s, otherwise known as the musical era. Mendelson compares the musical to the success of musicals such as mary poppins and the sound of music. The success of this musical has created inspiration for other upcoming musicals such as Beauty And The Beast and Mary Poppins Returns. Although musicals have not been popular throughout the 2000's there were a couple successes such as Highschool Musical and Enchanted. Mendelson argues that the reason for the recent flow of musicals is that they feel like a communal event "in an era with comparatively compartmentalized demographic tastes." La la land is a hit particularly because it is a live action musical. A big musical based on a classic seems important enough to people to get out of the house and go to the theater. "If you build it, they will come."
“When people tell me they thought the film was beautiful, then I know that I failed. Good cinematography is invisible.” This week I read "The art of cinematography" by Patrick Keating. You can read it here, http://www.trinity.edu/departments/public_relations/magazine/issues/10_january/cinematography.htm Patrick Keating is assistant professor of communication at trinity magazine. In this article, Keating discusses aspects of cinematography, defines what it is that makes cinematography art, and draws attention to the overlooked craft. Keating begins his article by talking about the Oscars. He says how the best cinematographer award is usually the high point of the ceremony for him. Keating states that, "the Oscars usually reward splashy, spectacular films like Memoirs of a Geisha or The Aviator." but goes on to say that most cinematographers insist that cinematography is not a spectacle. Keating describes good cinematography as "invisible." Decades ago, cinematographers defined cinematography as the art of story telling. Rather than drawing the audience's focus into the real cinematography cuts, effects, camera angles a cinematographer's goal is to keep the audience's attention on the plot. "All stories are about change; as the stories change, the style should change." A well made film should switch smoothly with the plot. The cinematography should always stay on track with the fluctuating mood of the plot. If no one notices the cinematography, it is because the images have set the right tone for the story. Although the tools of cinematography have changed over time, the basic principles set during the studio era still apply. Keating uses the film "Atonement" as an example of this. He describes how the movie depicts three different time periods and the cinematography shifted as each time a new era was shown. The director altered aspects such as focus, filter, and effect to suddenly enhance this change in plot. Keating divulges that the audience is not supposed to notice the change. It would distract them from the plot. When it comes to modifying an image, cinematographers have a range of variables to consider such as, lighting, editing, and film stocks. Keating expresses the importance of lighting to cinematographers, it's a priority before the camera is even rolling. the film, "The Godfather" is credited as one of the most important contributions in the “look” of contemporary American cinema. Rather than using the glamorous front lighting the was so popular during the classic studio period, the characters were lit from above, casting dark shadows on their facial features. "Digital technology has revolutionized a cinematographer's ability to secure a desired look." Cinematographers can now use digital technology to enhance an image and intensify the moods. Keating stresses that the smallest aspects of film style can have a large impact on the meanings of the picture. The purpose of this article was to draw attention to the hidden art of cinematography and show how subtle changes can have a profound impact on a film.
“Availability of products or services necessary to change behaviors.” I read the article Are public service announcements effective? by ZAK KOESKE, and you can read it here, http://www.upi.com/Are-public-service-announcements-effective/48611288695517/ The article is about the effectiveness of public service announcements, analyzes elements that make PSAs lucrative, and which PSAs are most successful. a group of researchers led by Melanie Wakefield, the director of the Center for Behavioral Research in Cancer at the Cancer Council Victoria in Australia, questions whether public service announcements were effective or not. After reviewing the results of hundreds of mass media campaigns published in the medical journal Lancet in October- the answer was yes, they do. But some are far more effective than others. The group found overwhelming evidence that smoking ads were beneficial; Especially when aired with tobacco control strategies. Unlike smoking ads, alcohol and drug prevention ads have little effect. The research concluded that most anti alcohol and drug ads were confusing and didn’t have a clear message. "They're at once promoting alcohol use and then saying, 'Don't drink so much.' It’s not a clear message.” Research deduced that ads targeted towards improving nutrition,physical activity, and cancer screening were “moderately helpful”. The study concluded that an ad is likely to be more affective if it is advertising a one time act (like getting a vaccine or cancer screening) rather than something that requires habitual continuation. Availability of products and services also plays a role in the effectiveness of a service announcment. Availability plays a crucial role in persuading people to act on the message. “A PSA campaign can be very good at making people do stuff that doesn’t require that much of a sacrifice.” Robert Thompson, professor of popular culture at Syracuse University, says the success of media message comes down to the amount of sacrifice it requires. The article reviews some campaigns and PSAs and gives criticism. The article says that if the PSA is irritating or comes off too aggressive it will have the opposite of the desired effect and make viewers continue on with their habits or form incorrect opinions on the topic. The article is a good read for anyone making a PSA or interested in the actual effectiveness of PSAs. The article provides helpful facts and tips and bears an interesting insight.
“As I photographed more, I found loneliness, sadness, nostalgia — in other words, I found the aesthetic and feel for the whole movie.” This week I read, “Cinematography: From still to movie” and you can read it here. https://www.lensculture.com/articles/ryszard-lenczewski-cinematography-from-still-to-movie The article is an interview with Ryszard Lenczewski about his career in film and the influence that his photography has on his cinematography Ryszard Lenczewski is a Polish cinematographer who has had an extensive and successful career in cinema. According to the article Lenczewski has worked on over 100 films in 32 countries over the past 4 decades and has won awards in Poland, The United Kingdom, and the United States. Prior to his film career, Lenczewski wanted to be a photographer; However, the state of Poland’s government set obstacles for Lencsewski due to the fact that in communist Poland there were no advertisements, magazines or fashion. It was no place for an aspiring photographer. ”He determined that the best way to get behind a camera and make images was to become a cinematographer.” Despite the fact that his career is working with moving pictures, his work is still heavily influenced by his still photography When asked how still photography became such a large part of his professional method, Lenczewski describes how he uses still photography as a means of communication. In instances when Lenczewski and a director didn’t see eye to eye on how a film should look he would break out his camera, scout locations on his own, and share his prints later which made it easier to communicate and decide on a look for the film ; it was communication through visual manner. When asked about his film, “Ida” and how the decision was made to shoot it in black and white, Lenczewski said that since the film takes place in the 60s, during a time when everything in Poland felt black and white, it was only fitting for the look of the movie to fit the era. Lenczewski used the feel of the era and translated it into the look of the film. Of course, Things didn’t really fall together until Lenczewski shot his still photographs. Lenczewski’s photographs acted as the first impression of the film and set the tone for how he and the director thought about the film. The more Lenczewski photographed the more he developed the aesthetic for the film. Lenczewski says that when it comes to the production of his films, his photographs are just as important as building blocks. When asked about his feelings towards film and digital, both in cinema and photography, and which one her prefers, Lenczewski responded that he likes the consistency of digital projection versus the inconsistency of film projectors but worries about digital compositing. “But in the end, it's OK — we have new brushes, but we are still painters."
“A picture is worth ten thousand words. A picture can immediately tell you your feelings about something” .This week I read “Cinematography is changing” by Vilmos Zsigmond. You can find it here http://www.cinematographer.org.au/cms/page.asp?ID=21116. The title says it all, Zsigmond’s article is about the change in cinematography due to the vast improvments in digital technology; Zsigmond also stresses the importance of technique and taste when it comes to cinema and he shares what influences him to be a better cameraman. Zsigmond says because it is so easy to produce a digital picture, people mistakenly conclude that a picture is no more than just the documentation of a moment. Contrary to this conclusion, Zsigmond states that cinematographers are hired for their taste, which is acquired in life and through understanding of film, music, art, and anything that creates a distinct point of view. Zsigmond shares that when he goes into pre-production on a film he uses these experiences to shape the look of the film. Zsigmond feels that this precaution is often overlooked in preproduction due to the reliance on digital editing. Although Zsigmond feels that digital editing can enhance a picture, he believes that it is important to not curb your vision while in production- Take the best possible image on set so that the outcome of the picture is not solely reliant on the editing. Zsigmond says that the close collaboration of the people on set is what influences a picture most. If something is off, it makes the task of editing it post production much more difficult. Zsigmond shares that his work is heavily influenced by his interest in painting. Zsigmond feels that by studying painting one can learn lighting and apply the use of lighting technique in photography. Zsigmond stresses how important it is for cinematographers to master the tools of digital technology due to diminishing use of film. Zsigmond states that lighting and composition are the most important elements in film and thanks to digital technology, it is much easier to enhance these elements and achieve a desired look without relying on things such as natural light. The article states that camera technology is just a medium and that cinematography is ever changing, but the art of lighting, tone, color, and composition are still the main tools of a cinematographer. Zsigmond suggests that in order to deal with rapidly evolving cinematography, one must re-eduacte themselves creatively to focus on one’s technical point of view and work on enhancing the art of visual storytelling.I read the article “why the title of the new “Birth Of a Nation” by Sarah Begly. You can read it here, http://www.ew.com/article/2016/1/28/birth-of-nation-title-matters . The article is about the new movie “Birth of a nation” directed by Nate Parker. The film gets its name from the infamous 1915 film “birth of a nation” directed by D.W. Griffith , A silent film about the civil war. Although the original movie is well known for innovative techniques and storytelling ability, it is shamed for the racist themes and the impact it had on the American public. Griffith’s film is said to have set a whole new standard for film making. When talking about the impact that Griffith had on the film industry, the article states that “Movies were no longer just theater on screen, but their own dynamic art form. The article says that it “left a disgraceful societal legacy”. Charlie Chaplin once said, “The whole industry owes its existence to him.”The article also acknowledges the negative reproductions of Griffith’s film. The negative portrayal of blacks and the south influenced the revival of the ku klux klan that would lead to a spree of killing blacks for many decades. The article says that “Birth Of a Nation” was the second film ever shown on the grounds of the White House. Nate Parker’s film tells the story of a critical event in african american history; Nat Turner’s slave rebellion in 1831. The article highlights that although the two films share a title, there is a vast difference in the plot and message in the film. Parker’s film follows historical events, while Griffith’s film is known for racism and bias. Parker’s film brings to light the racism in the south in the 1800’s and the impact it had on both blacks and whites. Griffith’s film was quite the opposite with the negative representation of blacks and the depiction of the south as white land. This article is an interesting read because it emphasizes how far we have come in cinema and in America and the changes that have been made in the past 100 years since the production the original “Birth Of a Nation”.
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