GR425 Waking Illusions Festival Annotated Process Journal

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ANNOTATED PROCESS JOURNAL

A look into the design process of a hypothetical surrealist film festival

WAKING

meagan floris

VISUAL SYSTEMS 2 | FALL 2020

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WAKING ILLUSIONS

ANDRÉ BRETON

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“ THE IMAGINARY IS WHAT TENDS TO BECOME REAL.” –andrÉ breton

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07

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THE IDENTITY

THE ARTISTS SELECTED FILMS ARTIST CONNECTIONS DESIGN BRIEF

NAMING LOGO IMAGE CREATION System Tools

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THE DELIVERABLES POSTER CATALOG WEBSITE ANIMATIONS STATIONERY EXHIBIT DESIGN ADVERTISEMENTS Social media TICKETS SCHEDULE CONTAINER

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WAKING ILLUSIONS

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THE RESEARCH

THE ARTISTS SELECTED FILMS ARTIST CONNECTIONS DESIGN BRIEF

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WAKING ILLUSIONS

THE ARTISTS LUIS BUÑUEL

SALVADOR DALÍ

GERMAINE DULAC

MAN RAY

Un Chien Andalou (1929) L’Age d’Or (1930) Land Without Bread (1933) Gran Casino (1947) The Great Madcap (1949) Los Olvidados (1950) Susana (1951) Daughter of Deceit (1951) Mexican Bus Ride (1952) A Woman Without Love (1952) El Bruto (1953) Él (1953) Illusion Travels by Streetcar (1954) Wuthering Heights (1954) Robinson Crusoe (1954) The River and Death (1955) Cela s’appelle l’aurore (1956) Death in the Garden (1956) Nazarín (1959) La Fièvre Monte à El Pao (1959) The Young One (1960) Viridiana (1961) The Exterminating Angel (1962) Diary of a Chambermaid (1964) Simon of the Desert (1965) Belle de Jour (1967) The Milky Way (1969) Tristana (1970) The Discreet Charm of the Bourgeoisie (1972) The Phantom of Liberty (1974) That Obscure Object of Desire (1977)

Un Chien Andalou (1929) L’Age d’Or (1930) Spellbound (1945) Destino (1946 / 2003)

Les soeurs ennemies (1915) Venus Victrix (1917) Mysterious George (1917) Âmes de fous (1918) France (1918) The Cigarette (1919) Le bonheur des autres (1919) Malencontre (1920) Spanish Fiesta (1920) La belle dame sans merci (1921) La mort du soleil (1922) Werther (1922) The Smiling Madame Beudet (1923) Gossette (1923) Heart of an Actress (1924) The Devil in the City (1925) The Madness of the Valiants (1926) Antoinette Sabrier (1927) l’histoire (1927) L’invitation au voyage (1927) The Seashell and the Clergyman (1928) Princesse Mandane (1928) Themes and Variations (1928) La germination d’un haricot (1928) Celles qui s’en font (1928) Danses espagnoles (1928) Arabesque (1929) Je n’ai plus rien (1934) Le retour à la vie (1936)

Ballet mécanique (1924) Emak-Bakia (1926) Anemic Cinema (1926) The Starfish (1927) The Mysteries of the Chateau de De (1928) Paris express (1928) Paris la belle (1929)

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SALVADOR DALÍ

A SUPER REALITY LUIS BUÑUEL

GERMAINE DULAC

If “realism” is considered a true replication of reality, then surrealism is the expression of rejecting to rules of the reality. With that, freedom and creativity is abundant. In cinema, surrealism experiments with new techniques that revolutionized the film industry. Artists like Salvador Dali, Germaine Dulac, Luis Burn, and Man Ray wanted to explore and showcase the inner workings of the subconscious mind. Considering the absurdity of our dreams and subconscious, one can imagine the shocking and rather disturbing images that surrealist artists attempt to depict. The artists are eager to examine and explore the human mind, often depriving the viewer of an easy to follow narrative. The audience is taken on a journey with no destination. Traditional film and social constructs are done away with and can no longer be used as guides for the viewers. The work of Surrealist filmmakers were able to establish film as a independent and unique form of visual art as it did not fit the traditions of the film industry. Dreams are not simply retold in Surrealist films. Rather, the artists attempt to replicate the process of a subconscious dream but providing illogical, irrational, and unexpected disruptions. Characters in the films appears to be without a will and seems to forfeit control, reflecting the complete submission experienced in dreams. Mass entertainment is rebelled against and the traditional depiction of institutions such as religions, family, or marriage are attacked.

MAN RAY

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L’Age d’Or

AGE OF GOLD LUIS BUÑUEL

salvador dalÍ

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Un Chien Andalou

AN ANDALUSIAN DOG LUIS BUÑUEL salvador dalÍ

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Anémic Cinéma

ANEMIC CINEMA MAN RAY

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Les Mystères du Château de Dé

THE MYSTERIES OF salvador dalÍ THE CHATEAU OF DICE MAN RAY

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La Coquille et le clerg yman

THE SEASHELL AND THE CLERGYMAN GERMAINE DULAC

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L’Étoile de mer

THE STARFISH MAN RAY

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SURREALIST CONNECTIONS

ANDRÉ BRETON

DADA

SUPPRESSION=UNBALANCE Andre Breton, a writer, penned the Manifesto of Surrealism that ignited the movement. He believed that when people ignore or suppress their subconscious thoughts, people become unbalanced, which leads to an unbalanced society, which leads to unbalanced things like war.

FRIDA

Difference: He believed art should be used for a revolution, not for a profit.

WEAPONIZING NONSENSE Dada was highly influential on the movement of Surrealism. Dada artists called into question every aspect of a society capable of starting and then prolonging a war. Both movements defied the reason and logic that lead to the seemingly unreasonable World War I. Difference: Surrealism focused more on finding the bridge between the subconscious and reality.

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SURR FILMM


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CONSCIOUS V. SUBCONSCIOUS Freud was the founding father of psychoanalysis–a method to explain human behavior. He articulated the concept of the subconscious and used an iceberg analogy to explain how much of the subconscious is unrealized. Difference: Freud focused on the individual, while the surrealist filmmakers experimented with how the realized subconscious would effect society as a whole.

SIGMUND FREUD

REALIST MAKERS

ALFRED HITCHCOCK

A K AHLO

PSYCHOANALYSIS Hitchcock directed Spellbound, one of the first American films to use psychoanalysis as a main element of the storyline. To do so, he hired Dali to direct the dream sequence that brought to the screen a vision of how dreams would be represented. Difference: Hitchcocks films have much more direct storylines (ie, suspense, build up, character development) and are different in technique.

DEPICTING INNER BEINGS Kahlo used some of the elements of surrealism such as surprising imagery, deep symbolism, and a disdain for convention to express her ideas. Difference: Kahlo rejected the title of surrealist artists and said she does not paint her dreams, she paints her reality.

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DESIGN BRIEF THREAD The thread was developed as a guiding star for decisions surrounding the festival.

A

Reflecting the irrationality of the unconscious B mind, unassuming status quo characters suddenly C forfeit their will and society's expected behavior D to experience an absurd yet unabridged reality. A what is the trigger

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B who is involved

C what happens

D what is the end result

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LOCATION & DATE

ADDITIONAL EVENTS

November 1–15 2024 Museum of Modern Art, New York

The festival to run along a surrealism exhibit at the MoMA.

L’age d’Or by Buñuel and Dalí was banned after it’s first showing in 1930.

Considering the complexity surrounding Surrealism, a panel would take place with notable curators and historians providing insights to surrealism.

November 15, 1979 marks the date the film was released from its ban and had it’s first legal U.S. premiere in San Francisco.

POSITIONING

AUDIENCE

45 years after the first legal American showing of one of the more socially shocking Surrealist films, L’age d’Or, this festival celebrates the height of early Surrealist films from 1926-1930.

Those who want to unlock their subconscious reality.

The goal of the festivals are to: – highlight the objectives of the Surrealist filmmakers and artists – celebrate the MoMA’s celebration and participation in Surrealist art – recreate the shocking experience the original viewers had

Those who question the norm and find joy in the obscure.

Those who like art history and want to learn about a less well-known medium of Surrealist art.

Those who celebrate the strange, the unconventional, and the unexplainable.

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THE IDENTITY

NAMING LOGO IMAGE CREATION VISUAL TOOLS

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NAMING WAKING ILLUSIONS

TITLE

After a throughout exploration of keywords, a list of 50+ titles and subtitles were drafted. The chosen title, Waking Illusions, was inspired from a phrase from the Surrealist Manifesto penned by André Breton.

Super Reality Pretty Picture The Madness in The House Reign of Logic Liberated Madness Into the Mist A Complete Mind Unsound Logic Dismantled Sense The Conformist The Way into The Mind New Waters Rejected Reality The Mind and Elsewhere The Awakened Sleeper Avoid Returned Competition It’s All In Your Head Into and Out of One’s Mind A Sleepers Reality The Mad Sleeper Idle Minds The Waking Mind Slumbering Madness Over the Reign of Reality Mercy of The Subconscious Without Will

For, at least from man's birth to his death, thought presents no solution of continuity; the sum of dreaming moments - even taking into consideration pure dream alone, that of sleep - is from the point of view of time no less than the sum of moments of reality, which we shall confine to waking moments.

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Degree of Cons The State of th The Lost Data o A Sleeper’s Epi The Mind’s Fam Thought In the A Dreams Omn The Play of Th Mind The Real Don’t Mind Me Mind Stroll Non Sense / No Sensefull A Dormant Rea Night Vision Sleep Visions The State of th A Comatose Re Dreamscapes The Boundarie Crossing the M The Parenthesi The Mind at La The Full Rein o Waking Illusio Bedtime Storie


sciousness e Asleep of the Mind isodes miliar Mysteries e Absence of Control nipotence ought l e

ot Sense

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SUBTITLE Exploring the subconscious with surrealist film Expanding reality with surrealist film Surrealism in the form of film Experience the unreal of surrealist film Unlocking the subconscious mind with surrealist film Surrealism and the rule breakers of film Surrealist filmmakers and the explorations of our mind Films that replicate the inner-workings of the subconscious mind Films that dispense tradition in favor of the bizzare Surrealism film and the voyage to the subconscious

ality

Delve into the complexities of the subconscious and the celebration of irrationality with the films of surrealist artists.

e Unreal eality

Exploring the blurred boundaries of the subconscious and conscious in the films of surrealist artists.

es of the Mind's Eye Minds Lines is of the Mind arge of the Mind ons es

Unlock the realities of the subconscious with the unorthodox surrealist filmmakers. Delve into the blurred boundaries of the subconscious and the celebratations of irrationality in the films of surrealist artists.

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LOGO EXPLORATIONS Inspired by the tactile practices of surrealists and dada artists, I started the logo process by leaning into the unpredictable and experimental. By playing with simple supplies around my apartment, I tested the possibilities that can arise via chance and serendipity. From a practical standpoint, many of the explorations cannot pass as legible and scalable logos, but after reining in experimentation I landed on a logo that was created by tactical way yet also practical.

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FINAL LOGO The final logo reflects the cut paper system inspired by dada artists. By taking a rather rigid and orderly typeface such as DIN condensed and breaking it's form, it symbolized how our subconscious contorts our reality.

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IMAGE CREATION Knowing that a solid set of abstract imagery would be vital to representing surrealism, I took portraits of my husband (other subjects from stock sites) and

heavily manipulated the images in post-production. The result was ready to use assets that conveyed the mystery and individualism of surrealism. For the sake of

LEVEL 01 Primary imagery with clear yet manipulated human figures.

LEVEL 02 Secondary images with implied human figures and simplified compositions.

LEVEL 03 Suggestive abstract imagery with fog-like qualities made from geometric forms.

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versatility, I cre levels of abstrac shapes and hum create a fog-lik be used for a va


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eated different cted geometric man figures to ke quality that could ariety of purposes.

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VISUAL TOOLS TYPOGRAPHY

COLOR

Similar to surrealism, the typeface DIN has its roots in Europe and came to be in the early 1900s. It was used as a standard in street signs, written material, household goods, etc in Germany. Because the surrealists and dada artists often worked with ready made materials, DIN was sometimes seen in their composition, like the collages of artists, Hannah Hรถch.

Through a process of elimination, the color yellow was brought in to enhance hierarchy and interest to the otherwise grey scale palette. The yellow is used only when taking up less than 5% of the composition, which leaves room for the greys to convey a sense of mystery and expansiveness.

Mrs. Eaves is used as a soft compliments to the rather rigid and condensed DIN. Both Mrs. Eaves Roman and Petite Caps were used depending on the purpose of the type.

DIN Condensed Mrs. Eaves Roman Mrs. Eaves Petite Caps

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GRAPHIC & COMPOSITIONAL ELEMENTS Cut paper, crooked lines, and overlapped type are three of the main elements used to built a cohesive systems. The cut paper was directly inspired by the dada and surrealist artists technique of cutting up paper to use in their compositions. This not only nods to the history of the art movement, but also adds to the sense of disorder present in surrealist films.

To carry through the non uniformity a second element–the crooked lines–are used as leading lines. They can also be seen cutting through subtitles. The intentionally overlapped layout of the typography also adds to the sense of asymmetry and imbalance.

EXAMPLE EXAMPLE

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THE DELIVERABLES POSTER CATALOG WEBSITE ANIMATIONs STATIONERY EXHIBIT DESIGN ADVERTISEMENTS Social media TICKETS SCHEDULE CONTAINER

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POSTER The poster is a form of advertisement that contains all the basic information of the festival. This was the first deliverable that was fully complete and serves as a north star for the rest of the festival deliverables.

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CATALOG The most comprehensive piece of the festival, the catalog is home to biographies of the artists, important facts about surrealism, plots and stills from the films, and details regarding the festival. Professionally bound, it felts the level of production often required for museum store books and catalogs.

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WEBSITE Containing all the needed information for perspective audience members, the website serves as a place to learn about the festival and purchase tickets and the catalog.

Full website can be seen here: wakingillusions.squarespace.com

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ANIMATIONS Animations were created to be played during the festival. One animation was created to play on loop before the start of the festival to introduce artists and set a mood. The second animation is an educational video to provide a brief overview of the movement of surrealist films. Full animations can be seen here: vimeo.com/491351246/2e7f76baf8 vimeo.com/503252914

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STATIONERY To be used as internal communication during the festival planning phase, this business system is complete with a custom yet practical letterhead, envelope and business cards.

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EXHIBIT DESIGN This temporary exhibit is intended to accompany the festival during its two weeks at the MoMA. By creating a physical space for people to learn about surrealism, this opens up accessibility for those who are unable to attend the festival in additional to increasing ticket sales to the film showings.

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ADVERTISEMENT In a variety of formats, these advertisements are displayed around New York City to promote the festival.

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SOCIAL MEDIA Social media is a vital way to market the festival to the target audience. Facebook, Instagram, and TikTok profiles were created to visualize what the festivals online presence would look like.

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TICKETS In lieu of the traditional and automated tickets available at the museum ticket desk, these tickets are specific to this festival and further instill the message that this event is one-of-akind. It nestles nicely in its designated pocket found in the schedule package.

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SCHEDULE This format was designed to house the tickets and the schedule booklet. Whether a customer orders their tickets ahead online or in person at the venue, they will receive this package that contains all the information about the showings.

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CONTAINER As a collectors item, the container is only available to those who purchase an early ticket, container, and the usb of films. Crafted from textured artisan paper, the container includes a cut out of the festival logo along with spaces to fit the schedule/ ticket package, usb package, and the catalog.

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ANDRÉ BRETON

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“ THE MIND OF THE DREAMING MAN IS FULLY SATISFIED WITH WHATEVER HAPPENS TO IT. THE AGONIZING QUESTION OF POSSIBILITY DOES NOT ARISE.” –andrÉ breton

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CREDITS This is a student project only, produced for a class assignment at the Academy of Art University, located in San Francisco, California. No part of this book or any other part of the project was produced for commerical use. Any association with ARTISTS AND establishments, such as the MUSEUM OF MODERN ART, are purely fictitious and hypothetical.

IMAGES The images were sourced from the following: artnet.com britannica.com unsplash.com theartstory.org imdb.com rottentomatoes.com sensesofcinema.com filmreference.com

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