Page 1

DESIGN WORKSHOP JOURNAL Films and Architecture

Tutor: Hamid Amouzad Khalili Student: 803501 - Yuqian Cao


CONTENT PART A. RESEARCH

PART B. ANALYSIS AND PRACTICE

6 Stanley Kubrick One-Point Perspective

62 Shot analysis

10 Wes Anderson Symmetry Color Palettes Music 18 Kogonada Wes Anderson // From Above Tarantino // From Below 24 Yasujiro Ozu The ‘pillow shot’

87 Exercise 89 Atomospheirc rubric 91 Building study 99 Practice shooting

PART C. FILMING 110 Cinematic plan, timeline, camera angle and evaluation.

34 François Penz “Cinematic Aided Design” 36 Béla Tarr Long shot 40 Pier Paolo Pasolini “The Form of the City” 46 Peter Greenaway “The Belly of an Architect” 52 Rem Koolhaas Tomas Koolhaas // ‘REM’

221 THE END


Film is closely related to architecture. Whether it is because of its content or because of space, photography, atmosphere or other related characteristics, the practice of the film may see some value through the eyes of the architect.


PART A. RESEARCH


Stanley Kubrick Film director

• 1928 - 1999 • Born in New York, United States

Stanley Kubrick was remembered for many reasons - producing the most popular movie in the movie with unparalleled precision. This is called “a viewpoint” of the composition technique. When people call it “Kubrick,” what people are actually talking about one-point perspective, the symmetry of the Kubrick lens.


One-Point Perspective

One-point perspective is a way to create a near-perfect symmetrical film shot. The composition of these shots draws the audience’s attention to specific focal points within the frame, and manipulates the experience by drawing attention, telling them where to look for an experience. It also triggers an emotional reaction, usually uneasiness or fear. Kubrick’s films often involve violence, or at least a subject that requires dramatic honesty. By using symmetry in most shots, Kubrick magnifies the material’s character. Even if there is no response, we will focus on specific point so that we know when it will happen and creates tension and the expected environment. Of course, Kubrick did not invent one-point perspective. This is a technique that has been used for photography and fine arts for centuries. Even Leonardo’s famous “Last Supper” is an example of one-point perspective, because the skyline extends along the head of the movie character, leading to the disappearance of Christ. This structure requires the viewer to immediately focus on Christ as a central theme. However, Kubrick is an art that really improves the visual art environment of psychological reactions. Different authors call it “centered vision”, “symmetrical composition” or “one-point perspective” and repeatedly oppose this definition and how it works to translate ideas. In any case, it is a unique tool for different names in the film photography industry, used for different purposes in most movies.


ONE-POINT P


PERSPECTIVE


Wes Anderson

American film director • 1969 • Born in Texas, United States

Unique visual style, symmetry, quirky dialogue and gentle pacing prevail throughout his back catalogs.


Wes Anderson’s film, with its extreme style and dollhouse aesthetics. His visual style is very unique and firm, ideal for creative mixing. This also helps Anderson’s most obvious quirks to be easily dissected and presented during a limited period of time in a Kogonada video essay. In spite of this, it is always beneficial to see Anderson’s internal work is unified. This is what Kogonada did in this concise exercise. He isolated a typical element of the Anderson vision system: his symmetry was almost morbid. Kogonada added some whimsical graphic elements that not only illuminated his point of view, but also perfectly preserved the unique style of Wes Anderson. The director taught at the film school to avoid symmetry because it didn’t feel good. The asymmetrical frame has a natural visual vibrancy. This also allows for more seamless editing of the next picture, especially if the lens is a lens for another asymmetric lens. However, if you see anything from Anderson, you will know that he looks promising and he never worry about him. Instead, Anderson has developed his own quirky, instantly recognizable visual style.


SYMM


METRY


COLOR PALETTES Obviously, he integrated multiple ideas into the color scheme, marking each movie with a simple color. As people saw in the movie, color has a great influence on his photography, such as the movie “ The Life Aquatic with Steve Zissou” (2004). The marine theme program for this movie is full of various blue and orange shades. “The Grand Budapest Hotel”, pink and faded brown prevails. In addition, there is a fading, saturated effect on these colors, which is clearly another part of Anderson’s influence in the 1960s and 1970s, supporting his recognizable aesthetics.


MUSIC Art is elegantly portrayed in the perfect scoring scene of Wes Anderson’s movie. Over the years, Anderson has worked with the same music director, Randall Poster. He helps the director choose songs and determine the overall musical direction of the movie. Music is almost a role in Anderson’s film, which can completely change the scene, bring new light to his movie, or reduce the sound to a romantic and melancholy tone. Many songs are very compelling, such as Seu Jorge’s Portuguese covers of David Bowie’s songs in “The Life Aquatic,” the opera in Moonrise Kingdom (2012), and various rock songs of the 1960s. Randall Poster commented that music is an indispensable element in Anderson’s creative process. Music is an important part of film development. From the beginning, the two men decided which concerts dominated and even decided which specific songs they would use.


CAMERA ANGLE

Writer-director Kogonada’s “Columbus” Wes Anderson // From Above Tarantino // From Below

Although Anderson often uses overhead shots, Tarantino likes to look up at the character’s shot. Anderson’s overhead shot shows his joy, and Tarantino’s “shooting from below” usually poses a threat because typical terrorist roles or groups of people look down at people in dangerous.


Wes Anderson // From Above Anderson likes overhead shots. This approach helps his movies to be light, funny and quirky.


Tarantino // From Below The view from below have two major benefits. It puts the actor in a clear dominant position and lets the audience know that there has been a violent incident without really showing the damage done.


Yasujiro Ozu • 1903 – 1963 • Born in Tokyo Japan

His boss believes that overseas audiences need the exoticism of samurai and geisha, not Ozai’s cool and realistic TV series about contemporary middle-class families. Post-war movies are considered to be the most “Ozu-esque” films. These movies are usually disbanded or dissatisfied in their family. “Banshun [Late Spring]” a father scheming to marry off his adult daughter “Tokyo Story” (Tokyo Monogatari, 1953) adult children who view visiting parents as a burden However, due to the absence of the cries of standard theatrical family drama, satire plays and other theatrical performances are very important. On the contrary, strong emotions only use heavy words, gestures or gestures to calm the calm surface of everyday life.


Few filmmakers have the same film style as the Japanese master Yasujiro Ozu. From a discreet low-angle frame (such as sitting on a tatami mat), dialogue is often taken in front of it. He specifically uses a 50 mm lens (mostly equivalent to the human eye’s perspective) and minimal camera movement. These refined parameters are rare. . In the Late Spring (1949), cranes were used to shoot almost shocking Psycho showers. Another famous trademark is the so-called “pillow shooting.” A word written by critic Noël Burch links the tradition of pillow words in classical poetry - short supplements reflect even the meaning of the next. The elaborate scene between Ozu seems to be a random shot that lasts for a few seconds in everyday life: oceans and mountains, ships and train tracks, public buildings and private rooms. Although these clips maintain the gentle rhythm of Ozu’s works, they seem to have concealed their influence by their mild nature. Although his early career included comedy and gangster films, he later became a small drama or “modern family drama” in Ozu’s movies (many people have similar seasonal themes and handle intimate parental/child relationships). . The epitome of impact. These stories are low-key, and pillows are a wonderful way to evoke passions beneath the surface. This is an exploration of the example of Ozu’s work and other filmmakers who may be affected by his method.


• Low camera height shots, low-angle framing • The ‘pillow shot’

The typical camera position


Yasujiro Ozu had a fascination with windows, doorways and corridors.

Tokyo monogatari TOKYO STORY (1953) “In an Ozu film, as in Japanese architecture, you can see all the supports, and each support is as necessary as any other. He uses neither paint nor wallpaper; he uses natural wood. He makes a film as a carpenter makes a house.� - Donald Ritchie


Ohayō GOOD MORNING (1959)

Higanbana EQUINOX FLOWER (1958)

Traditional Japanese interiors • Simplicity, minimalism • Attention to detail • Wood rather than stone • Sliding panels (shoji and fusuma) • Appreciation of patinas, wear, darkening

“The film treats space architecturally, in a kind of anti-melodrama. Rooms without people or furniture are filmed at length. The camera often remains static and waist-high. Walls, door frames, and windows are used as sub-frames to demarcate action. And, in terms of editing, the film works like a sequence of static images stitched together in a syncopated and deliberate series of shots which seem to move at 90 degree angles with every cut.” - Graham Cairns on Tokyo Story


The enigmatic art of the ‘pillow shot’ “Pillow shot” is a cutaway because there is no obvious reason for the narrative. For visual elements that remain for a considerable amount of time (5 or 6 seconds), usually landscapes or empty rooms. It can be at the beginning or the scene of the scene. At least in Ozu’s works, these pillows give people a calm and calm feeling and help his movie to be elegant and solemn. But they may mean more.

“I call these images pillow-shots, proposing a loose analogy with the ‘pillow-word’ of classical poetry.” – Noel Burch


Good Morning (1959) He is a director and he has more movie grotesque than any other major director. Ozu’s pillow photos often comment on the modernization of Japanese life (usually Americanization). Ozu’s second color movie is more openly comics, centered on young boys determined to buy televisions... and ongoing farting competitions.

Early Summer (1951) Influence of the Second World War: Zhao Si, the missing son of this family, is a person who has continuously failed. These fluttering flags made it clear in his speech that he will not return. Of course, Shoji is just one of many failed fighters. A wedding procession through a swaying wheat field shows that while the deceased is commemorated, life continues.


Tokyo Story (1953) Known as Ozu’s masterpiece, “Tokyo Story” is a beautiful expression, separate from older parents and adult children. After the shooting, the couple unconsciously realized that the children were arranged to go on vacation, mainly to avoid taking care of them. After the news broke out, the sick mother died. Ozu showcased the longest pillow series in this movie. This is an extended elegy series, which to a certain extent means a dark invasion... ...a stratified shot of an unforgettable family memory... ...but regretfully admitting that the wider world around them moved relentlessly.

Tokyo monogatari TOKYO STORY (1953)


Pillow shooting is a visual “meaningless syllable” or inequality that produces different expectations for the next scene. This will not weaken our emotional reaction, but it will strengthen it and allow us time to share our feelings on the screen. “ Ozu often displays buildings in his hometown of Tokyo. In an adult daughter’s story, Keiko tries to force him not to leave home. This traditional building may herald her possible starting and ending points: the symbol of “progress.” After her father questioned her unwillingness to marry, this natural image was strong and fragile and an angry riot. This may be the most speculative pillow in Ozu’s career. The heartbreaking climax of this movie is considered to be a symbol of femininity, bloody, deterrence and traditional Japanese traditions.

Banshun LATE SPRING (1949)


The “vase scene” fromBanshun LATE SPRING (1949)

‘Perhaps the finest image of stasis in Ozu’s films is the lengthy shot of the vase in a darkened room near the end of Late Spring’ ‘The vase is stasis, a form which can accept deep contradictory emotion and transform it into an expression of something unified, permanent, transcendent... The transcendental style, like the vase, is a form which expresses something deeper than itself, the inner unity of all things.’ - Paul Schrader


READING Penz, François. 2017. Cinematic Aided Design : An Everyday Life Approach to Architecture.

An architectonic of cinema Windows Béla Tarr particularly likes to show the audience’s attention - as if he felt the distance between the two situations. In an interview, BélaTarr admitted toryking saw the same scene - we think the space and distance between the two scenes is better - you think it is outside - you feel your feelings here, Tal is here in both In the country, when the camera was upside down, Jingwen seemed to pass through the window coldly outside the room. We have turned from no camera action to subjective action. The fascinating darkness of the play foreshadows the rest of the movie. The four-minute slow-motion retreat was the opposite of Antonioni’s “passenger” 7-minute shot. As he slowly left Locke’s room, the camera moved forward and escaped from the window.


Everydayness and cinema Cinematic typologies of everyday life and architecture

Reality is larger than daily life. Daily life: they make palpable a daily life that increasingly appeared to unfold in a space. It is the everyday of sunlight, of the periphery, of the unnoticed [...] At which introduction to everydayness and cinema time seems to slow down, daily concerns dissipate, and our senses become receptive to sight and sound.(Berke and harris, 1997, p.191) Keiller ‘the improvement of everyday life through the medium’. What he sees in the movie is not only observation but also opportunities for making suggestions. Through its framework, location selection and camera settings, it helps to discuss housing issues and the image itself constitutes a powerful visual analysis of the city. In other words, this movie contains many necessities of daily life that we do not need to pay attention to in our daily lives, but this may be useful for designers. Film is a form of spatial practice, such as a family scene. Although not all movies are suitable for learning, most movies contain a large amount of information that can be obtained from them.


Béla Tarr Hungarian film director • 1955 • Born in Pécs, Hungary


Bála Tarr’s Sátántangó (1994) has slowly gained status as one of the “Holy Grail” of this movie, but the fact that he did not escape is that for other people, this movie sounds like a special kind of hell. form. . More than seven hours, black and white photographs of the Tarh desert plain in Hungary were taken. The movie began to walk in the wild for seven minutes. This style is typical of Tall’s mature work. Starting from “Damnation “ (1987), the development of narrative is accompanied by wind and rain, accompanied by heroic hard work and selfish deception. Tarr approached these roles without any judgment, but he also gave up any easy identities or deep psychologicalization: If we are concerned, we worry because these people are people who are troubled by the social environment and work hard in adversity. Keep your dignity.


Film and Species of Spaces “You can make a film without a movie-camera but it is almost impossible to make a film if you don’t have a window.” /Bela Tarr


Béla Tarr’s long shot is an annoying itch for the movie audience. Movie viewers can shoot hundreds of movies in a matter of hours, and these movies can take no more than two hours. Although the author’s article is composed of complex nodes and often spans several pages between pages, Tal chose a smaller psychological trick. A single scene may run longer than a more typical movie. Tal rarely sees anything else. His sequence does not include slight deception of Hitchcock (1948) or Iñárritu (Birdman, 2014); when he cuts it, you will know and feel it because you have been released. Reading paranoia from Sátántangó is a frenzy of crazy writing. It reflects the destruction of characters in their ungodly world. On the screen, Tark’s adaptation to tension is like tightening the skin.


Pier Paolo Pasolini Italian film director • 1922 - 1975 • Born in Ostia, Italy

Like Fellini and Antonioni, Pier Paolo Pasolini was one of the great Italian filmmakers of the 1960s and 70s. His films reflect the contradictions and complexity of a passionate but tragic life.


Pier Paolo Pasolini – The Form of the City Here’s a 1973 film with Italian film director Pier Paolo Pasolini talking about the need to protect the basic form of a city because it is an expression of anonymous popular history. Pasolini believed that modern consumerism was destroying Italy in the early seventies more successfully than fascism.


The main purpose of this paper is to conduct a theoretical study of the multidimensional relationship between Pasoloso Pasolini’s urban space between Italian cinema, national landscapes and Italian cinema, Italian cinema, Rome, Italy, Italian and Italian whey. In these three films, Pasolini’s attitude toward the city evolved from the aesthetics and ideology of the Italian film after the Second World War, from the period of theneorealism (1945-50) to Italy’s “economic miracle” (1958-63). . The theoretical matrix of Parolini’s literary works (his novels, poems, and personal works) is also used as a framework to better understand his approach to Roman and Bogama art. This study aims to show how the image of the city in his early films reflects the key political, cultural and ideological issues of Italy in the changing social context of the 1950s and 1960s. Some important research themes include: Rome as a cognitive map reveals post-war relations/advantages between Italian culture and intellectual life, namely Gramsci politics and consumerism, rural and urban; myths (Christian and pagan) in Pas Soligny’s role in the dichotomy vision of the central edge; Rome resonates as an ideal city center, through which Passolini can change iconic images (religion, painting, or film) and thus become modernized by the Italian community. A critical perspective; and Dante Alighieri’s lyrical visual impact on Pasolini’s spiritual salvation described by La Divina Commedia (The Divine Comedy) in Poor Roman Bogut.


Peter Greenaway British film director • 1942 • Born in Newport, United Kingdom

1942

Films: The Belly of an Architect, Drowning by Numbers, The Cook, The Thief, His Wife and Her Lover, and Pillow Book.


Greenaway is a British director who loves painting and landscape art. He was fascinated by the legibility of landscape and genius loci, the spirit of place. In 1965, he began to focus on film. He is interested of how the framing of spatial quality and he has a very particular spatial articulation in his films. Especially in his early films, architecture and landscape occupy a prominent position in these plays. “The Belly of an Architect” is the film that most clearly deals with architecture. It is a classic from the ’80, talks about an American architect in Rome to design an exhibition about his great inspiration, Étienne-Louis Boullée. The film ruminates about the question whether the construction of a building (or work of art) is the only way to prevent its vanishing into oblivion, thereby preserving the immortality of the maker. In this case, he wanted to make a film that pronounced the issue of the responsibility of architects: the relationship between aesthetics and ethics, and the relationship between egoism and public responsibility.


Greenaway said that if he had a second life, God blessed, he wanted to be an architect like like Daniel Libeskind or Frank Gehry. However, some of his real buildings have already been built. his design of beach villa for the film Drowning by Numbers, there are some replicas of it have been built on the west coast of the United States and Japan. Greenaway saw many similarities between the director and the architect. They all handle large sums of money and must cooperate with personnel from various disciplines. Therefore, they must master good management. The work of both must be judged by a wide range of groups. Directors and architects must be both aesthetic and practical.


Rem Koolhaas Dutch architect • 1944 • Born in Newport, United Kingdom

He founded OMA in 1975 together with Elia and Zoe Zenghelis and Madelon Vriesendorp, he is the godfather of contemporary architecture. Equal parts theorist and designer, over his 40-year career Koolhaas has revolutionized the way architects look at program and interaction of space, and today continues to design buildings that push the capabilities of architecture to new places.


‘REM’ -a documentary about the architect Rem Koolhaas. The trailer was shot entirely in Rem’s Casa De Musica building in Porto, Portugal. Over four decades, ‘starchitect’ and master provocateur Rem Koolhaas has shaken up the field of architecture, and redefined the role of the architect in the world. Filmmaker Tomas Koolhaas spent 3 years following his father around the globe, playing witness to Rem’s extraordinary creativity, as well as exploring his works through the eyes of those who actually inhabit them. REM is a rare and unique insight into the mind of a genius.


Various in scales.


The character leads the audience to explore his architecture and focuses on the background environment.

Multi-layer horizontal composition.


“When you make a film about your father the first thing people ask you about is objectivity, or more specifically your lack of it. Without getting too philosophical about it I believe no human being is capable of true objectivity, but it is true that being Rem’s son I’m even less objective than an outside film maker would be. Instead of seeing this as an obstacle to be overcome I decided to use my specific subjective perspective as an attribute to be utilized to give the audience insight into aspects of Rem’s work, life and way of thinking that no one else could. (...) My goal with the film was to show things that have never been shown before, in a more evocative and visually dynamic way than most architecture films. I also wanted the film to be more than just an aggregator of cerebral information, talking head interviews, renderings, technical drawing and architectural shop-talk. (...) I wanted REM to connect with the viewer on a deeper subconscious level rather than just a purely cerebral one, to show the buildings in a more alive and dynamic way, to show Rem in a fuller and more visceral way and importantly to show a ground level perspective of the human stories that span the history of the buildings, from the design process to construction to many years post-occupancy.” Tomas Koolhaas


The trailer was completely completed in the Rem’s Casa De Musica building in Porto, Portugal. For more than 40 years, “starch” and the main challenger Rem Koolhaas have shaken the construction industry and redefined the role of architects in the world. Director Tomas Koolhaas witnessed Rem’s extraordinary creativity after performing for three years in his father’s world and explored his works through the eyes of the people they actually lived in. Rapid eye movement is a rare and unique insight in genius minds.


PART B. ANALYSIS AND PRACTICE


lighting+frame+eye level=loneliness

lighting+frame+higher angle=intense feeling

Her artificial light

no lighting

no lighting

artificial light

TEMPORALITY

LIGHTING AND SHADING

DEPTH

SOUND

MOVEMENT

MATERIAL

pace changes according to the plot and shows the atmosphere. Two layer are created by different lighting conditions.

MOVEM

Fantastic Mr. Fox

The fluent movement contributes to expressing the space, which means showing different

strong contrast between two rooms, which proper sound which creates a sense of loneliness/scary in the scene. not much materials are shown as the shading takes the main part of the scene

Sometimes lighting is also acting as an important role in movies. For example, the scene from Her, show the loneliness of the character as he is enteringin an dark and empty space. The frame is created by the door and lighting creates the atmosphere of lonely ans slient. For the second shot, the shooting angle changed and the atmosphere changed as well. Audience are seeing the same view with the protagonist and feeling the intense throuogh the guy’s shadow. This reminds us to use same techinique by adding different elements to change the atmosphere of the film. The opening could create better effect when combining with lighting.


TEMPORALITY

LIGHTING AND SHADING

DEPTH

SOUND

pacing is fluent shows the two characters’ movement and changes according to the narritive. distinguishable layers are presented through the openings, which made audience feel more engaged in the space

MOVEMENT

camera movement fluently shows how the soace is arranged

strong contrast between different layers, which leads audiences pay more attention to the characters appropriate sound contributes to the atmosphere

MATERIAL

as the focus is on the character, not much material of the architectural elements are shown in these scenes.

As those two scene are viewing from the protagonist’s view. When the scene is half door and half other character, it conveys a feeling of looking at what’s happening secertly from another person’s view, which can have a better experience for audience to immerse in this film. More layers are created through the door, the depth of the shot is emphasised. I think this kind of shooting techiniques can apply in our film when we change to the character’s view. We could use this techinique to shoot people inside the tutorial room. It could involve audience more to feel the space of the building and how te rooms are arranged in this building.


TEMPORALITY

LIGHTING AND SHADING

DEPTH

SOUND

length and flow of sequence is perfectly paced layers are created through the corridor, which makes the focus be on the character, audience could feel the depth of the space

MOVEMENT

camera is still which will lead audience focus on the character

proper lighting condition contributes to the atmosphere proper sound according the narritive

MATERIAL

some details of the material is shown which will give an impression of the condition of the architectural elements for the audience

When the foor is positioned at the end of the corridor, a special atmosphere would shown through it. For the scene from Psycho, Norman is sitting within the door frame and the corridor seems to be dark and the focus in all on his action, his face, which creates an atmosphere of tense and suspicious. And the other scene in the crime, Monsieur Gustave appears in the door frame which creates a feeling of a movement appears in a still scene, which emphasised on the character’s action and creates the atmosphere of relaxing and humerous. As the lighting changes, the door frame could also change the function for the shoots. In our film, we have many corridors in Arts West building. The long distance created by the corridor is a good thing for us to do our ‘thriller’, I think maybe we could do some same shots as the one in phycho to use this architectural element to show the atmosphere.


TEMPORALITY

The pacing us fluently showing the plot

DEPTH

different layer are created through the staircase, which makes the space more deep

MOVEMENT

fluent camera movement following the character’s movement

LIGHTING AND SHADING

strong contrast between wall and the stair case, emphasises the space of the staircase

SOUND

proper sound contributes to the story

MATERIAL

not much detailed architectural material is shown in this scene

In these shots, the staircase is only occupying a small space, which might make the audience feel boring if the shots are all from one perspective. This movie shows us different opportunities for shooting staircase and shoot from different characters’ views. We coud learn from those shots to shoot our film in Arts West. Different patterns of the staircase could be explored through shooting film. In this way, not only ourselves would experience the space more but also we could create a better journey for audience to feel the space.


TEMPORALITY

flow is appropriate according to the plot of the film

DEPTH

several layers are created by the spiral staircase, which is using special camera angle to show the depth of the space. Audience would feel more about the intense atmosphere through the space

MOVEMENT

camera movement contributes to show the depth of the staircase and adds the intense sense for the scene

LIGHTING AND SHADING

strong contrast of lighting condition between different space, complements mood and composition

SOUND

sound contributes to the atmosphere

MATERIAL

the wall and stair detail is shown in this scene, which contributes to the whole setting of the film


TEMPORALITY

LIGHTING AND SHADING

DEPTH

SOUND

fluent sequence following the narritive the layers are not too distinguishable which is a little bit plain

MOVEMENT

camera moves up gradually towards the character, which makes the focus on Jack, contributing to the whole plot

proper lighting for the whole atmosphere and show the space better clear cound contributes to the whole movie

MATERIAL

some details of the staircase is shown in this scene which helps audience feel how the space is arranged and feel the atmosphere

From this shot, we could notice that the stairs are not only for creating layers or showing lighting relationships, but also could move the focus on the characters. The balustrades become the lines pointing the character. This is a good example of using architectural elements to help create the atmosphere. We have many scenes on the stairs, this techinique is also helpful for us to shoot our film.


FRAMES

There are lots of ‘frame in frame’ scenes in this movie, such as some are from doors, windows, opennings on the wall. On the one hand, this creates different layers in the scene, on the other hand, it is also an interesting way to look at the movement of characters, like looking through the window to see Zero and Monsieur Gustave in Madam D’s mansion. In our film, we could still consider to use the window or the other opennings to create a frame to show the interior and exterior relationship and make the film more interesting.


ANALYSISING: THE PASSENGER(PENULTIMATE SCENE) LOOKING OUTSIDE FROM INSIDE THROUGH THE WINDOW

MS

LOOKING OUTSIDE FROM WINDOW

LS OUTSIDE(AROUND)

LS BACK TO LOOK AT INSIDE FROM OUTSIDE THROUGH THE WINDOW

MS


In this scene moves 180 degree from the room and then extend through the window, shooting outside environment and then go back to the room. The importance of openning is emphasised and also the scale is changed quite good. The camera rotates smoothly which leads audience feel like going though the scene themselves. Long shot is used when showing the exterior environment, mid-shot and close-up are used to express the interior atmosphere, where the main character is in. Layers are created through the position of different characters. Through my observtion, the window is a good medium for having layers in particular scene. People inside the room will be one layer, the window itself would be one layer and outside would be another layer. There is no music, just only some simple sound in the background, which shows the spacious environment around. We could take the idea of planning the camera movement and the use of window to distinguish with different spaces.


The Turin Horse

Well

Lazer cut panel Horse Stables

Living house


Turin Horse was directed by BĂŠla Tarr and Ă gnes Hranitzky. It recalls the whipping of a horse in the Italian city Turin which is rumoured to have caused the mental breakdown of philosopher Friedrich Nietzsche. This film depicts the stroy from another angle of horse-owner and his daughter. After they whipped the horse, they returned to their home but the horse refused to move or eat. The whole film almost happened in this tiny shed to show the mental change of father and daughter in a despairing situation within seven days.


The Turin Horse 53:18 - 54:45

1 2


Depth

The depth of field is shallow in these scenes, when the focus is on background, the foreground is fuzzy and vice versa, which gives audience sense of focus.

Movement

Focus transfers from father to daughter when daughter starts to talk but quickly transferring back after she left.

Temporality

Elongate shot for father when capturing details of he doing hand crafts

Matrial

Fuzzy background did not feature many details but still gives a sense of tactile stones on the wall

Sound

Only the sound of wind to imply the weather conditions outside.

Light

Contrasts between the background and foreground to imply the emotion of two figures in space.


Scene1 53:22

Depth

Movement

Temporality

Matrial

Sound

Light

The depth is shallow, when daughter comes closer, the background turns fuzzy.

The furniture in the background gives audiences some infomation.

Daughter moves from background to foreground and disappears in the frame

Mainly the sound from outside of wind.

Camera did not move. Static frame to capture the movement of daughter.

Showed contrasts between background and foreground to mainly emphazise on foreground views.


Scene 2 53:44

Camera Movement

Temporality

Depth

Movement

Camera moves from father's face to his hand to show what he is doing.

20s for father's face, 20s for his hand.

Matrial

Sound

Light

The depth is shallow. Background is fuzzy to capture the expression and details of father.

The rough stone walls are shown to imply what type of house that figures are living in.

Mainly the sound from outside of wind.

Showed contrasts between light background window and dark interior emvironments.


Scene3 54:41

Focus on father

Focus on daughter

Depth

Movement

Temporality

Matrial

Sound

Light

The depth is shallow. When focus on one person, the other one is fuzzy.

The tactile of stone walls are shown.

Focus moved to daughter and moves back to father after daughter left.

Mainly the sound from outside of wind as a background and voice from daughter.

Elongate view for father, a short view for daughter.

Showed contrasts between light background window and dark interior emvironments.


Corridor According to the type of corridor in film, there are long corridor and short corridor. There are corrdiors filmed in movement to focus the transition or in static scene to emphasize the stroies happended in the corridor. For one person moving i n t h e c o r r i d o r, t h i s scene usually works as a transition from one space to another. We can see the opening, light and strong vanishing point in the end at the corridor. Audiences are expecting what will happen. The person in the scene is leading us to the story.


A corridor that accommodates two people usually is used to imply the relationship between these two people. They are framed in a tiny and narrow area where at the end is the vanish point. In the movie in the mood for love. The narrow space provides the scene that two characters inevitably brush past each other so they have slightly body touching and eye contact with each other.


Mirror & glass -- Reflection/ Dissolving In our movie, we use a lot of reflection. I was deeply inspired by the mirror effect. First, mirror or glass creates a kind of ambiguity, for which audience hard to find which one is real immediately - the real one or the mirror. Second, the images are copied many time in the reflection to create an artificial repeating effect. Thirdly, the image inside the reflection always imply something meaning in different films.

For the first scene, the camera simultaneously shows the doubled imag-es of actor, which creates a dramatic artistic effect. For the second one, in the foreground, is the actress's real back view but the background is the reflection of the actor. They are actually sit on one side, by using this technique, they appeared in the image in a opposite. The mirror reflects the complex and unspoken emotion they between them.


For Jacques Tati, reflections are used in either amusing way or ironic language. Glass has two qualities, one is the translucent, and another is reflection. Glass is a modern material which is typical to show the mod-ern city lifestyle.


In the movie Black Swan, mirrors are used in a more artistic way. Reflec-tion here is used to reveal the darkness side of the figure so reflection here also worked in a psychological way. Several mirrors are set together to create more complex and interesting pattern as a visual effect.


Reflection in our film

In our film, we take use of the reflective material as an advantage to show the relationship between two characters that supervising and being supervised.


Brief Introduction of our film We were inspired by the movie Play Time that how they use two actors to represent the atrium space. Therefore, the view can change from low angel to aerial view from top thus we can show a more interesting and rich view of the atrium

View from top

View from bottom


For the West Art Building, it is very interesting for its circulation system which in-cludes the corridor outside and the corridor inside. The stairs in the atrium are also very interesting. So we are going to use the reflection as the introducing from out-side to inside and also the vie shift from outside person to the supervisor.

So the contrast is a very important aspect for our film. Contrast between inside and outside. Light and darkness, top and bottom, quick and slow, being supervised or supervisior. These contrasts are shown through our actors, one in black

Contrast bewteen light and darkness

Contrast bewteen outside and inside

Contrast bewteen lookup and lookdown


EXERCISE SHOT 1

SHOT 2


FILMING BUILDING

ART WEST


LOCATION Parkville, Victoria FUNCTION University of Melbourne Arts faculty ARCHITECTURAL FIRM ARM Architecture COMPLETED 2016 WHY CHOOSE ARTS WEST There are few interesting points about the Arts West building. First, the striking facade is representing the University’s 23 cultural collections, which seems to be dynamic than other flat facade. And the aches in exterior creates a artistic atmosphere then the light pass through, which creates an interesting exterior space. Then the interior stairs are kind of spiralling up in a unique way, when shooting from different angles, we would get different effects. Moreover, the interior wall decoration is quite different in different levels, we could explore more and show more in our film. It could be an interesting journey through this building.


EXTERIOR

The facade is designed with the cultural collections, special shooting angle is required for seeing the patterns, which makes the facade really mysterious.

The facade is a combination with different materials. In this photo, there are at least three different material which creates different effects. We could focus on the materials of the exterior of the building.

There are level difference according to the contours, the steps are well designed with the stairs. It could be an interesting journey when walking through the space with different heights.

When combining with the sunlight, the arcade is becoming more beautiful. And different shades could be observed through different time.


INTERIOR

The ground floor design is quite interesting both in form and the combination of the colours. There are many things we could look at in ground floor in different directions.

The stair seemed to be spiralling when looking down, when looking in different directions, the different view could be captured, which could be considered as a significant feature of this building. We could focus on lighting and movement when shooting the staircase.

Interior wall and floor decoration is different in each floor, unique atmosphere is created through the decoration.


PRACTICE SHOOTING

S1 Corridor Back 0:00 M.C.U C.U M.C.U M.S M.L.S L.S E.L.S

0:03

0:06

0:24

0:37


S1 Corridor Back


S2 Corridor Front 0:00 M.C.U C.U M.C.U M.S M.L.S L.S E.L.S

0:02

0:08

0:15

0:21


S2 Corridor Front

1

2

3,4

4 1,2,3


MOVEM


MOVEM


S3 Gallery 0:00 M.C.U C.U M.C.U M.S M.L.S L.S E.L.S

0:03

0:10

0:19

0:25


S3 Gallery


MOVEM


EDIT

0:00 M.C.U C.U M.C.U M.S M.L.S L.S E.L.S

0:02

0:15

0:18

0:22

0:31


PART C. FILMING


SHOT 1 HERO IMAGE 0:00 M.C.U C.U M.C.U M.S M.L.S L.S E.L.S

0:05

0:09

0:27


For this shot, we have the similar idea from The Grand Budapest, which is keeping the scene in balance and putting the character in center which is better for showing the depth of the arcade. And in this shot, the lighting combining with the sound is adding atmosphere of mysterious and suspense.


In this scene, the glasswall is used for reflecting which creates more depth. The reflection shows the environment which are not in the camera. And the difference between the real arcade and the relection of the arcade is interesting as the lighting condition is different.


SHOT 9 ART GALLERY 2:58 M.C.U C.U M.C.U M.S M.L.S L.S E.L.S

3:03


In this scene, the glasswall is used for reflecting which creates more depth. The reflection shows the environment which are not in the camera. And the difference between the real arcade and the relection of the arcade is interesting as the lighting condition is different.


In this scene, the glasswall is used for reflecting which creates more depth. The reflection shows the environment which are not in the camera. And the difference between the real arcade and the relection of the arcade is interesting as the lighting condition is different.


Different angles for shooting the stairs in Arts West is used. The orevious shot is using character’s view to look up the staircase, and in this scene, it is shot from bird view. As we have many shots about the stairs, we need to find different angles and some other changes in our films.


This time, we are focusing on the detail of the stairs, close-up is used in this shot. The lighting creates a strong contrast between each step, which is emphasising on


We are trying to make use of everything which couold create reflection of the environment. In this scene, the reflection helps to create layers and also shows there is no other way for the character to find the one who is spying on her. This shows architectural elements could help to create atmosphere.


The lights on the wall created strong contrast and decorating the space at the same time. we keeps the scene in balance, which makes the space more mysterious. And the scene show the character’s anxious.


This time, we used a closer shot to show the texture of the wall. The focus is set on the wall rather than the character, it will lead the audience to pay attention to the material used in Arts West.


In this scene, there is a strong contrast between different colours in Arts West. This is also a particular thing we wanted to show in our film which would be recongnized as a feature of this architecture. Reflection is used to show more colours on other side.


camera on first floor


In this scene, in order to keep everything in balance, we put the character in the middle of the stairs. We wanted to emphasis the gradual change of the lights on staircases, and this creates mysterious sense of the film.


This is the first time two characters appear together. We put the second character right below the light on second floor. And the camera stayed there for several seconds, in this still shot, people would feel how the stairs are arranged in this building. And the intense atmosphere is conveyed.


We are finding some special camera angles to shoot the stairs as we have characters running on the stairs for so many times. We found that at night, the skylight will become a mirror to reflect things beneath. It is very interesting as in previous scene we showed that the skylight is still showing the sky, but this time, it is reflecting.


We really like the medical models on this floor, and we want to show this in our film. These models also adds the suspense atmosphere in our film. The lights are focusing on the models rather than the character, creates the atmosphere of intense and horror.


One other feature we want to show in Arts West is the decoration inside the elevator. It is the corridor pattern, which is similar to the very beginning of the film, the outside arcade. This pattern creates more layer and increase the depth of the scene.


We changed the camer angle from the other side to end the film, which gives people much chance to think about what will happen next. And when the door closes, the reflection of the building will appear on the elevator door, which is very empty and slience. This will contribute to convey the horror atmosphere to the audience.


803501 Yuqian Cao DESIGN WORKSHOP Final Journal  
803501 Yuqian Cao DESIGN WORKSHOP Final Journal  
Advertisement