Stop motion tested for 'Jurassic Park.'

Before deciding to switch to computer generated animation techniques, Spielberg original planned to use state-of-the-art stop motion animation for the movie 'Jurassic Park.' Often, when we thing of the traditional clay or model animation, we associate the styles with quite jerky un-realistic illusions:



Here is a fantastic stop motion animation produced by Ray Harryhausen for the 1963 film 'Jason And The Argonauts.' In my opinion, the way in which the skeleton animations interact with the live actors is an animation marvel even today. Back in the early 60s, this sequence, I imagine, would have been an immense achievement in movie special effects. Still though, some of the movements aren't fluid and the interactions with the live actors are still limited some what. If you jump to 4 minutes and 4 seconds in the above sequence, you can tell that the actor is being very reserved and thoughtful with his sword movements. This is likely because he is aware that a painstaking process of molding the skeleton figures frame by frame in to the sequence is yet to come, making his actions more reserved and less complex. For these reasons, it comes as no surprise that Spielberg was seeking something a little bit more cutting edge for his 1993 high budget feature. Bellow is a stop motion test for the Tyrannosaurus:




I believe that this animation is very impressive. It achieves a kind of realism you don't always get with shiny overly smooth computer images. The skin appears to stretch as the figure walks, which is a very life-like quality. Even the slight jerks in the movement do not take away from the realism, as we imagine an animals movement not to be perfectly smooth and flawless. Phil Tippet was responsible for this walk cycle, using his 'go motion' technique. This technique aims to create a realistic motion blur by instead of taking frame by frame stills, an animation sequence consists of small split second movements to eliminate the jerk we see in traditional stop motion.

So why did Spielberg switch to CG even after seeing this great looking walk cycle? Perhaps it was because the whole stop motion process is very painstaking and time consuming. Also, when working with computer images I imagine it would be much easier to go back and manipulate the animations and make changes.

It is a great shame that this 'go motion' process was not used in Spielberg's masterpiece. I think that the walk cycle looks highly effective and could easily stand up against, if not exceed the computer generated animations used in the final movie.

The Auteur

An auteur, in film, is a director who has complete creative control over his work. Very much like an artist in the traditional sense, the auteur molds his film and often stamps it with his own original style. To give us a true idea of what defines the 'auteur,' we looked at Alfred Hitchcock in our first of three film lectures.

Hitchcock had a very long spanning career in film. in the 1920s he joined the film industry, drawing sets. The experience would make very knowledgeable and competent when it came to producing his own movies. When he first began producing features, film was still in the silent era, meaning that for the audience to follow his movies, Hitchcock had to be clever and innovative. Even  back when he was creating silent films, he was establishing himself as the 'master of suspense.' His first movie, 'the lodger,' created in 1927, carried a theme of murder and was an immediate example of Hitchcock's very expressionistic and arty approach with his clever uses of lighting and shot composition. On one particular scene, Hitchcock cleverly shows a man pacing up and down on the floor above the actors in the shot. To do this he filmed the man pacing on a glass surface from beneath, later layering the shots to create a ghostly figure pacing over the hanging lights on the ceiling. Because he wasn't able to work with sound and re-create foot steps, this was his way of getting around the limitations.

Some of Hitchcock's innovative shot techniques still inspire film makers today such as his point of view shots or 'stalker cam,' and most notably, the 'dolly zoom'. The dolly zoom has gained various names since it's debut such as 'the vertigo zoom,' and 'the Hitchcock zoom,' and was first used in the movie 'Vertigo' to create the effect of disorientation and a fear of heights. bellow is the example (skip to two minutes):

The strange pulling yet subtly zooming effect created, in  my opinion both generates the idea of falling, whilst at the same time emphasizing the height from the ground. It truly is nauseating and almost places you right in the scene.

It is not only the original and innovative camera techniques that define Hitchcock's style. There are certain themes that run through his movies. He often included elements relating to psychology and the dark corner of the human mind. This is reflected through the sets designed by Salvador Dali in 'Spellbound'. The fact of Hitchcock collaborating with an artist shows his understanding of fine art and explains the surrealism and expressionism we see in many of his films.



He also liked to cast blonde females in his features, as he claimed they were like 'virgin snow' waiting to have blood stamped on to them. He was also noted by theorist Donald Spoto, for including birds as a running theme throughout his film, examples of this being 'Jamaican Inn,' 'Psyco' and 'The Birds.' It is believed birds were used to symbolize doom and a coming threat. Hitchcock also liked to play small cameo roles in his own movies, very much like when an artist signs a painting. Other themes which run through Hitchcock's work include chaos, sexual guilt and desire, and the search for ones identity.

Although the auteur is highly praised, there are also critiques with the theory. Funding independent film makers can mean that amateurs wind up producing feature films. also the idea of one creative mind producing a movie can disguise the work of others such as the cinematographer, art director, editor etc... Also, some see the 'auteur' as a capitalist device, the auteur's name becoming a selling point to the mainstream. This relates to Barthes' theory of 'the death of the author.' Is it The auteur who establish themselves as genius, or the writers who rave about their work and label them as innovators.

In my opinion the auteur represents creative freedom. In the context of film games and animation, I am reminded of the independent game developer, who's visions are not altered or censored by a team of writers and producers. There is also an enormous link between film and game as games continue to become ever more cinematic. With gaming technology constantly becoming more accessible, we may begin to see the auteur emerging in Game. The Game 'Stranglehold' is a fantastic example of the auteur moving over into a different format, as we see Jon Woo's signature style adapted in to a video game.

Graffiti/Street Art

Some argue that Graffiti can date back to the cave paintings discovered in France, Lascaux (1940). There is also evidence of Graffiti on the Roman ruins from Pompey, depicting a politician of the time. Even during the second world war, 'Killroy was here' was marked on the war memorial in Washington D.C. soon becoming a pop culture symbol adopted by others. Also, with politics comes graffiti. During the riots in France during may 1968 over civil unrest, posters reading 'we are the power' were hung around the streets, encouraging unity and power towards the people.

So what exactly is Graffiti? In essence it is the voice of the streets. It is the means of the people saying 'we are here.' For this reason we see Graffiti present in Hip Hop culture, where people, for example,  from certain 'Ghettos' may feel that the government is letting them down by turning a blind eye on their state of poverty and oppression. Graffiti often makes a statement, which is plane for all to see. Artists such as 'Banksy' are known for speaking out against capitalism and corruption. The Berlin wall is famous for its roll as a canvas, spawning masses of political graffiti.

We can also see this theme of graffiti in popular culture spanning through medias such as advertising and Game. TATS CRU produced an add for Coca-Cola in 1997, which suggests a 'trendy' use for street art and expressionism. Arguably, the idea of graffiti being used to promote such a major corporation could differ from street art's original intention of speaking out against class divide and capitalism. However, graffiti really fits in with Digital film, Games and Animation when it comes in to games such as 'Bomb the World' (2004) and 'Jet Set Radio' (2000-2003). You are also given the ability to 'tag' your territory in 'Grand Theft Auto, San Andreas.' I believe it is the relationship between a fascination with gaining a voice and leaving behind your presence through street art, and the ability to interact and make choices in such games, which makes the two medias fit hand in hand. It is because of this awe behind street art, that it spans across so many different medias. Take for example this piece by Blu, making use a stop motion animation method:

Because of the popular appeal of this style of graffiti, the 'Blu' look was recreated by computer for use in a knife crime advert: Link I believe this is where street art comes in to film and animation. It is a great example of how a type of art form can gain a firm place in popular culture, and be applied to other medias to reach out and engage a vast audience. Graffiti holds a feel of expressionism and rebelling. It suggests freedom to speak out from the streets against higher power and authority. Looking at street art in this way, it is clear to see why it has a place in film, games and animation, where both political and social narratives are concerned.

Are traditional methods in film the new thing?

While reading the magazine 'Wired,' I came across an article on the new 'The Thing' prequel. Well, really the article was more paying homage to John Carpenter's vision. The writer talked about how originally the twisted and gruesome movie was not well received by both sci-fi and horror fans in the 1980's, which was hurtful for Carpenter. Today however, the film is admired for it's amazing use of animatronics (today films tend to use computer generated images).

The new prequel (2011) is said to revert to Carpenters very traditional methods of using animatronics, however there will also be the combination of both 'CG' and mechanical techniques. This raises the question, are some film makers moving away from the heavy use of 'CG' in modern film, and seeking inspiration from tradition methods.

This whole idea of stripping down modern films and reverting back to the basics got me thinking. I recently watched 'Paranormal activity 2,' which is a very extreme example of this. Not only are the special effects kept very limited, but the movie is also filmed on home video and home surveillance cameras. This approach to directing is know as the 'found footage' genre, and began with such films as 'Cannibal Holocaust' and 'The Blair Witch Project.' The style suggests that the film is compiled from real footage that has been discovered. 'Blair Witch' was actually produced as a hoax, and lead people to believe that the footage was real. 'Found footage' films now however, are known to be fictional.

There is something very engaging and real about this shaky chaotic style of directing, similarly to how the animatronics in 'The Thing' are much more believable and frightening than computer generated images. It seems that in the aftermath of a very technological age in film with movies such as 'Terminator' and 'Jurassic Park,' directors are beginning to re-visit traditional approaches in certain areas. Some film makers such as Tarantino are searching for more plot driven character based movies (Pulp Fiction), (Reservoir Dogs). As well as this, we can notice an influx of lower budget movies being created by independent film makers, proving that viewers are satisfied despite the absence of over inflated Hollywood budgets. The movie 'Open water' was filmed with a low budget of $500,000, yet was highly sucessful. The film also used real sharks as appose to computer generated ones.



In conclusion, it seems there may be a renaissance emerging in film. Some seem to be looking more for plot and character content rather than flashy computer generated images. The reason I believe John Carpenter's 'The Thing' has gained such a strong following over the years, is not only because of the special effects, but also the sense of paranoia we see grow within the characters. This character development is often lacking in films that exhaust too much focus on cutting edge special effects. As technology advances in the area of computer generated images, will there still be a high demand for 3D designers? Is there an appeal with re-visiting traditional methods? Perhaps viewers are seeking authenticity, and until computer generated images become hyper realistic, audiences will be left unimpressed.

First 'PPP' lecture

For our first lecture on personal and professional practice, we looked at the qualities that define us. The whole idea was to pin point how we would fit in to a team and what role we would play. We were asked to answer four questions with one of two letters. at the end of the questions, the chosen letters produced a code, My code was 'I.N.F.J,' meaning that my traits fit that of a 'protector.' The reason for this is that I believe I am an 'introvert,' meaning I draw energy and inspiration from myself, and can generally be quite shy. I also answered that I am 'intuitive,' meaning that I use my imagination when approaching a task. I found I have a 'feeling character,' meaning it is important to me how the choices I make affect others. Finally, I discovered I have a 'judging' trait, which means I am organised and don't like tasks hanging over my shoulder, and like to be on top of things.

Researching further the 'I.N.F.J' persona, I also found that the 'protector:' is gentle and caring, they constantly define and re-define the priorities in their lives, are considered to be complex and are always working to improve themselves, and rarely step back and take in their achievements. I can relate to this, as I am not the kind of person who quickly adapts to any new task or hobby and picks up things generally with ease, but I do put a lot of heart and devotion in to any new endeavour.

I also discovered that there are some interesting job prospects for an 'I.N.F.J.' Some of these jobs involve: teaching, music, photography and psychology.

Moving Image Analysis

Above is a video by Nick Hooker for Grace Jones' 'Corporate Cannibal.' Immediately, there is a very eerie feel to the video, opening with a pulsing disturbance across the screen. The strange form has a certain energy to it, it seems alive as it jitters and swells. It is soon revealed that the strange form is in fact living, as Grace Jones transforms on to the screen. 

The first feature we see emerge is a singular eye. The eye glares at the viewer and comes across as very territorial and intimidating, a trait which can be associated with cut throat 'corporate' people. This very large eye in relation to a narrow flowing body at first reminded me of the Humboldt squid. These creatures are in fact very territorial, and whether it be coincidence or not, feed on their own kind, linking with the idea of the 'cannibal.'

Another very interesting point to raise would be the distinct absence of colour. The high contrast between Jones' dark skin and the white backdrop in my opinion, suggests that the corporate cannibal (who I believe is being portrayed quite clearly by Jones) causes discomfort with her intimidating and dominating presence. her dark figure in the video is very harsh in contrast and almost projects fear and a feel of the macabre. I also believe that the lack of colour has implications of the 'corporate cannibal' being soulless and empty.

Linking back to the idea of Jones emitting a certain 'presence,' Sharviro, in an article on post cinematic effect, raises an interesting point that Grace Jones is being portrayed as an individual through her strange shape shifting motions. I however, feel that Jones is almost playing a character role in the video, rather than being herself. I believe she is acting the part of the 'corporate cannibal,' and the strange transformations reflect more the villainous tycoon from whom the song title is taken. The way Jones changes form, I believe is an implication that the 'Corporate cannibal,' is cunning and deceiving, shape shifting and mimicking various personas in order to establish power and trust within the industry.

Remaining on the subject of Jones' distorted forms. When I look at 0:35 in relation to the Youtube link, I am reminded of the classic human perception of an extra terrestrial being. Jones has been distorted in my eyes, to resemble a 1950's martian, the kind we see invading our planet in old science fiction movies. Her head is made to appear extremely large, reflecting greater intelligence, again linking back to this idea of the 'Corporate Cannibal' being crafty and clever. This slim big headed figure resembling an alien, has attached to it connotations of invasion and higher intelligence. In essence, the 'Corporate Cannibal' does wish to take over the world, through having control over the media. References to the media are made through phrases such as 'digital criminal' and 'every man woman and child is a target.' In my opinion, these phrases suggest manipulation and brain washing through the media.

Nick Hooker stated that Grace Jones 'started to feel like an oil spill.' I too can make this connection through her heavy dark flowing presence. When I think of oil I think of huge companies desecrating the land for profit. I pick up connotations of carelessness and exploitation. This to me, reflects further on the 'Corporate Cannibals.' lack of ethics and hunger for power. Similarly at 2:26 in relation to the link at the top of the page, Jones makes reference to 'chemical.' As she sings this, her hands appear to melt away. The way in which this movement links with the sound, could be suggesting that the 'Corporate Cannibal' is very much like a chemical, merely a substance with a purpose. a lifeless volatile combination of elements.

In conclusion, I believe that the video is a visual representation of the merciless cut throat business person within the media. There are shades of fear and the macabre which suggest that the 'Corporate Cannibal' is a merciless, shape shifting and deceiving villain.

Post Modernism

Before discussing post modernism, let us first look back to the Modernist movement beginning just after the first world war. Modernism embraced a sense of optimism and progression. As discussed in my previous post, there was an attitude within the modernist movement that technology could save us, and approaches such us experimentation and form over function were encouraged. Post modernism almost counteracts this whole Modernist idealism. Post modern artist raise the question 'why experiment?' there's a much more pessimistic view within post modernism that believes technology has not saved us, neither has the Modernist approach to art and culture. Post Modernism isn't all about the new, and artists believe they can recycle the existing to create new art work. An example of this would be Jean Tinguely's 'Homage to New York' produced in the 1960's. This installment was created to be exhibited outside the museum of modern art, and was made from discarded and then recycled items. The work was more famously produced to self destruct, making a statement that technology is flawed and it cannot save us, completely going against modernist views.

Artist such as Roy Litchtenstien, took this idea of recycling other media to the extreme. He took frames from comics, enlarged them and displayed them as Art in a Gallery. A famous example would be the piece 'This Must be the Place,' which displayed a frame from a superman comic. This approach raised the questions 'why isn't this comic strip important? Why shouldn't it be displayed as art?' The entire Las Vegas strip is seen as a post modernist city, as everywhere you look, a landmark from another part of the globe can be seen. Robert Venturi took interest in the strip as styles clashed and jared, and much like post modernist works, broke the rules. It is not only art and architecture that are seen as taking a Post modern approach, but also music. The Hip-hop genre 'samples' existing music to create new songs. This whole recycled media approached embodies a view that most things have in fact been done,  and why shouldn't we re-use to create new ideas and new art work?

Many post modern art forms also aim to mock the Modernist approach and poke fun at the pretension behind it. One of the works I found amusing was 'Artist's Shit' by Piero Manzoni, where the artist literally defecated into tins and auctioned them off for ridiculous prices to art collectors. This really makes a statement against the hype behind modernism and the view that anything can be considered as art. It really laughs at the new ideas approach.

Relating more to my course 'Digital Films, Games and Animation,' a great example of Post Modernism in film is 'Blade Runner.' The negative vision of the future suggests the idea that technology will not save us. In the movie we have these replicants (artificial humans which are virtually indistinguishable from real humans) who have turned rouge and have become a threat to humans. The whole look of the film is very dark and grim, it always seems to be set at night time, and the city in the future isn't sparkling clean but dingy and bleak. The Film Noir style in which the film is shot again shows that the director is not looking for a completely new approach, and at the same time is paying homage to the classic genre with his futuristic vision.

So where does Post Modernism bring us in terms of digital films games and animation? It seems that the movement has a much more honest approach, and is not reaching for new innovative ideas. There is the feeling of undermining Modernism, and producing work that tends more to basic human needs of colour and excitement  moving away from form over function. There is also a more graphical approach, linked to advertising and computer graphics. When we produce our own media, if we consider post modernism, we can be more extravagant and expressive. If we were to take on a strict modernist approach, our work could end up very restricted and to the point. In Conclusion, the post modernist approach does not become restricted by what has already been done, or what is slightly irrelevant. The movement allows much more freedom to express and create, with no real rules and restrictions.

Modernity and Modernism.

The term 'modern' has attached to it the connotation of progression. 'Modern' should always be seen as an improvement on the previous, and never a backward step. This was one of the most important messages that was put across through a recent lecture regarding 'Modernity and Modernism.'

Since as early as the mid to late 1700's, technology has been changing at a blistering pace. Along with these rapid advancements, the media has been affected greatly. These changes in the media have been brought on by such factors as industrialization, meaning that factories are run 24 hours a day by people working various shifts. Because of this (unlike traditional agriculture), Work is not determined by the current season or the weather conditions, people work constantly and must savour their free time by indulging themselves with entertainment and the latest media. Another major change was brought on by the discovery of electricity, which evidently to this day, has unlocked much greater possibilities within the media (digital). Other social factors such as the improvement in transport (trains, aeroplanes), making the world seem more accessible and in reach, and also the invention of the telephone, which makes contact with others much more efficient and effortless have had an impact on the media. Exotic landscapes are now only a short plane journey away, meaning that media must be more imaginative and engaging.

Because there is this huge social aspect which determines the way in which the media advances, the city has been widely considered as the heart of modernism and progression. The sheer mass of the crowds within the lively city encourages people to seek identity through extravagant and colourful clothing. This attitude spawned modernism within fashion, where trends in clothing change almost uncomprehendingly to fit the general need for the very latest in style. When this whole interest in the city developed, painters began to progress away from religious works, and began painting the whole experience of the city through various different people, who share a close proximity yet are distant in the sense that they are connected individually with the city itself. This whole attitude of the psychological experience of the city was brought on by the enlightenment of science and philosophy, leading to a deeper understanding of the human mind. 

This great advancement in society and technology, however fabulous it seemed to some, frightened anti-modernist 'Max Nordau,' who posed the theory of degeneration. He worried that the public would become over-absorbed by the ease of modern life, spending all of their time riding inside train carriages, constantly on the telephone. Interestingly, he also proposed the idea that people would be constantly within close proximity, yet lack interaction and communication, an idea which one could argue was accepted in some modernist interpretations of the city and it's impact on others. This raises the question: does modernism really reflect positive progression?

In art, modernism comes in many forms: Futurism, cubism etc... There is a great sense of relevance, and beauty towards form and function. Materials are often kept very honest and not masked with paint or made to look like anything else. This approach stays true to progression, as appose to indulgence, but where does this whole movement fit in with digital film, games and animation, and how does it relate to what I aim to do?

A great area of the media where modernism can be seen is film. The 20's science fiction movie 'Metropolis' creates a fantastic vision of the future, whilst addressing Capitalism and class divide. The futuristic setting of the film contains Modernist style architecture, influenced by the German expressionism movement. This post World War 1 movement spawned a series of very low budget films. Because of the high budget set designs coming out of Hollywood, the German films relied more on surreal sets and strong messages to make their movies gripping and innovative. There was also a theme of psychology running through the Expressionist films, dealing with insanity and other dark realizations. This again relates to the sense of enlightenment and a deeper understanding of the human mind. Bellow is the trailer for the original vampire film 'Nosferatu.' Note the very surrealist approach with the use of heavy shadow and the modernist shapes such as the stair banister and plane walls, fitting in the beauty of form and function, yet in this case offering a bleak and isolated feel.

Overall, in other medias such as film, games and animation, Modernism- it seems- offers an idea of progression. Like in traditional art, it is not the budget of the piece of media that determines its success, but the ideas and forward thinking behind it. These post war expressionist films are today considered timeless classics, because of their innovative approaches and content. Modernism can contain social commentary, science fiction, character psychology (an example being the genius outcast portrayed in many films). All of these elements can contribute towards a story, an idea, which can then be applied to any piece of media, to truly captivate an audience.