Archive | September 2011

Sep 30th. Film Plan

First Draft.

1 Project Title :

I don’t know yet

2 Based on which book?

Kafka on the Shore

3 Motivation for this book. What attracts you most in this book?

I read this book a couple of years ago when I was still in college. I remembered that was a hot and humid summer, during the end of one semester, but I was attracted to it immediately. You can’t help but reading, reading, reading. Strangely after I finish the book, I was in that fantasy for a long time, I coounl’d get out of that feeling or I didn’t want to get out of it.

The book put me in a state between reality and fantasy. I like this kind of feeling.

4 Characters of main characters
(Documentary or fiction?)
Describe the main characters to create an image of the person and role in the film.

“In ancient times people werent just simply male or female, but one of three: male/male, male/female or female/female. Each person was made out of the components of two people. Everyone was happy with this arrangement and never really gave it much thought. But then God took a knife and cut everyone in half, right down the middle. So after that the world was divided just into male and female, the upshot being that people spend their time running around trying to locate their missing other half.”

This quota from the book inspired me for a short story. I want to make a fiction, a love story between three people. Two women and one man. They are lovers, they love each other.

This is a bit difference as what mentioned in the book, in this story, it was three people in one body in ancient time. Or it is just a phrase when people are still looking for the original the other half part. It is a life long process.

What will happen if you think someone is your original half, while he/she thinks someone else is his/her original half, some one else but you?

What will happen if you feel there are two people you both like, you think they both could be  other half of you? In this case, you should choose both or neither?

So my short movie will be based on this concept.

4. Theme
What did you discover about your topic? How did you find (read, field research, people speaking)

I want to find out all the lines in the book which i can make up a new dialogue, or a monologue for each of the three characters.

And also do some research about love in general. When in love, people think/behave/talk differently.

Philosophically speaking, “Need is a biological instinct that is articulated in demand, yet demand has a double function: on the one hand, it articulates need, and on the other, acts as a demand for love. Even after the need articulated in demand is satisfied, the demand for love remains unsatisfied. This remainder is desire.

For Lacan, “desire is neither the appetite for satisfaction nor the demand for love, but the difference that results from the subtraction of the first from the second.” Lacan adds that “desire begins to take shape in the margin in which demand becomes separated from need.”

When in love, we have insecurity, desire, demand. All this emotions make us as human beings.

How can we overcome our insecurity in love, meet our demand in love, satisfied all our desire in love?

5. Style and Form
What other designs (films, photos, paintings, music etc.) you have seen on this assignment?
What does that affect your design?

I like to use beautiful images with monologue of the main characters, to show their loneliness and inner world. I want to tell the small story in three different small parts, they look as if irrelevant, but they interwoven with each other actually. Because the three characters are lovers to each other.

I would like to tell stories through images. Let the images do the talking. The images will create a subtle sad, sentimental atmosphere. We are searching, searching for the lost part. It’s a life long time search. Some are lucky, can find the right one at the right time, some spend the whole life looking for the right one.

Sep 26th Monday: Sound Film Research

A sound film, as we know from the name, is a motion picture with synchronized sound, or sound technologically coupled to image. The opposite to a sound film is silent film.

The first public exhibition of projected sound film was in 1900, Pairs. Because of the inadequate of recording quality and amplification, the early sound-on-disc systems didn’t have reliable synchronization. Later on, innovations in sound-on-film made led to the first commercial screening of short motion pictures using the technology.

It was in the mid-to late 1920s in the United States, where the first step of commercialization of sound cinema were taken place. At first, sound films were known as “talking pictures”, but they were really short films. The earliest feature-length movies with recorded sound only had music and effect.

People at time had different reaction towards this new sound-on-film systems. Although it was quiet popular in America, cause it helped secure Hollywood’s position as one the world’s most powerful cultural and commercial system, while in Europe, film makers and critics they worried the new development in sound would subvert the aesthetic virtues of silent movie. And in other Asian countries, for instance Japan and India, sound in films developed inevitable.

How was the Early Days for sound-on-film

In the early days, because of the inadequate of technology, sound were captured on cylinder, disc, or film, but none of these technology was adequate to big-league commercial purposes. The result of this was that for many major Hollywood film studios there was little benefit for them in producing sound motion pictures.

(to be continued )

Topic of Research

We need to do a research, which can last for the whole semester, and also has to be related to one of the courses we are having now.

There are two courses I personally really like, one is AV technique, the other is Sound Design.

I couldn’t help wondering : What is like in the old days, the days there were no color correction or sound design in movies? How did people cope with that? How did they make the movie still attractive?

A lot of classic movies were black and white, and even silent movies. They were made more then 50 years ago. If nowadays we are still watching the movies made 50 years ago, no color correction or no fancy sound design, will the people 50 years later still watch our movies, which are made by fast lenses, good color grading, and super good sound design? Will the people in the future still watch all these just like we are still watching the old black and white and even silent movies?

The more questions I asked myself, the more I am triggered to find out. Then I decided to do a research of  this.

Of course I am not the first one who raised this topic, and I am sure I will not be the last one either. This is a big question, I first need to narrow down my research field, find a point to start with.

  • When start using color in black and white movies?

While some color film processes (including hand coloring) were experimented with and in limited use from the earliest days of the motion picture, the switch from most films being in black-and-white to most being in color was gradual, taking place from the 1930s to the 1960s. Even when most studios had the capability to make color films, they were not heavily utilized as tinting techniques and the Technicolor process were expensive and difficult.

For years color films were not capable of rendering realistic hues, thus mostly historical films or musicals were made in color and many directors preferred to use black-and-white stock. For the years 1940–1966 a separate Academy Award for Best Art Direction was given for black-and-white movies, along with one for color.

  • How is Black and white style movies in modern time?

Since the invention of color, black-and-white  media often connotes something “nostalgic”, historic, or anachronistic.

Celebrity (1998) by Woody Allen was shot entirely in black-and-white, and Allen has often made use of the practice since Manhattan in 1979.

The Wizard of Oz (1939), American History X and Pleasantville play with the concept of the black-and-white anachronism, using it to selectively portray scenes and characters who are either more outdated or dull than the characters and scenes shot in full-color.

 Sin City

Wim Wenders’ 1987 film Wings of Desire uses sepia-tone black-and-white for the scenes shot from the angels’ perspective. When Damiel, the angel (the film’s main character), becomes a human, the film changes to color emphasising his new “real life” view of the world.

Since the late 1960s, few mainstream films have been shot entirely in black-and-white. Some modern film directors will occasionally shoot movies in black and white as an artistic choice, though it is much less common for a major Hollywood production.