C R I T pr esentation
Thoughts and e xpe r iments f or the major pr oject.
Ros h n e e De s a i M A G M I 2 0 1 4
Hello my name is Roshnee Desai
i am a student of ma graphic moving image
my studies are divided into two parts 1} researching the craft
2} researching the story
Researching the craft
1) The transition of storyboard/graphic novel to live action
2) Researching directorsâ€™ sketchbooks/ notebooks/processes
3) Visit to the Stanley Kubrick Archive 4) Movies made from graphic novels 4) Study of Sin city - scene break-downs 5) Tests to make live action more illustrated and graphic 6) Learnings and next steps
researching directors notebooks, storyboards & processes
storyboard studies heroes
chapters from â€˜The Art of Movie Storyboardsâ€™ (Halligan)
t r a n s i t i o n f r o m s t o r y b o a r d i l l u s t r at i o n s > l i v e a c t i o n
o b s e r vat i o n
When you convert from illustration to reality,
the exaggeration, drama and punch is lost.
storyboards vs Graphic novels
study of sin city novel v/s movie adaptation study
study of sin city novel v/s movie adaptation study
study of sin city novel v/s movie scene by scene comparison
robert rodriguez The “one-man film crew” and “Mariachi-style” Rodríguez not only has the unusual credits of producing, directing and writing his films, he also frequently serves as editor, director of photography, camera operator, steadicam operator, composer, production designer, visual effects supervisor, and sound editor on his films. This has earned him the nickname of “the one-man film crew”. He abbreviates his numerous roles in his film credits; Once Upon a Time in Mexico, for instance, is “shot, chopped, and scored by Robert Rodriguez”, and Sin City is “shot and cut by Robert Rodriguez”. He calls his style of making movies “Mariachi-style” (in reference to his first feature film El Mariachi) in which (according to the back cover of his book
Rebel Without a Crew) “Creativity, not
money, is used to solve problems.” Stu Maschwitz coined the
term “Robert Rodriguez list”, i.e. you make a list of things you have access to like cool cars, apartments, horses, samurai swords and so on, and then write the screenplay based on that list.
various styles of graphic novel render sty les
graphic novel & excerpt
mixed media sound and image
“Sedmikrásky” (Daisies) Věra Chytilová interchanging sounds Sneha Khanvalkar music
Researching the story 1) the research question 2) context explained
background & research
3) Unit 1.1 output: the square -> the box 4) conversation 7) Marjane Satrapi’s ‘Embroderies’ and other influences
THE RESEARCH QUESTION
CAN HINDI CINEMA INSPIRE WOMEN TO GET OUT OF THEIR BOXES?
tutors questioned â€˜out of their boxesâ€™? Are you talkng about drugging them? or making them more creative?
answer Neither. I mean their mental boxes that society creates for them and what they limit themselves with. Let me explain...
“ I don’t know why, in Hindi f ilms, they show women refusing sex, I would never do that!” my female Indian friend exclaimed to me.
That statement, to me, summed up the gap between the real Indian woman and the societal expectation of what they are ‘supposed to be’. Indian films and television have long had a male-gaze approach to the Indian woman - she is either sexy or coy - seldom real. This is not a cause but an outcome of what is expected and the subliminal pressures that women live with. On a personal note – I am a twenty six year old, unmarried, Indian girl who has come to London to build a career. Seems perfectly normal, doesn’t it? However, in spite of coming from a ver y liberal part of the Indian diaspora, it still raises a few eyebrows and elicits a tinge of envy and bitterness from my female counterparts back home. This behaviour, according to me, is indicative of a much larger problem - a fatalistic mentality and state of helplessness and insecurity that women in general, and especially Indian women, suffer from. It troubles me greatly when my contemporaries compromise their independence and ambitions to comply with societal pressures, while feeling trapped and obligated to do so. My studies in Unit 1.1 have led me to believe that people live in boxes of their own perception and believe that is their reality. Indian women are privy to this ‘maya jaal’ tooand do not seem to see beyond that. For my major project, I would like to use moving image to address this ver y issue. My ultimate aim would be to use moving image to make women realize that there are alternative ways of living their lives apart from the status quo, and ever y one of them, does have that choice.
BACKGROUND & RESEARCH
u n i t 1 . 1 > t h e m aya b o x
reading Marjane Satrapiâ€™s Embroideries
c o n v e r s at i o n s w i t h : Deborah Cherry William Raban Dr. Bharati Desai Michael Wolff
Further research Wo m e n F i l m m a k e r s • G e r m a n f i l m m a k e r H a n n a S c h y g u l l a’s a u t o b i o g r a p h i c d r e a m v i d e o i n s t a l l a t i o n ‘ Tr a u m p r o t o k o l l e ’ , Die Akademie der Künste, Berlin3 • Wr i t e r L e n h a D u n h a m ( G i r l s ) • Wr i t e r D i a b l o C o d y ( J u n o ) Wo m e n C e n t r i c B o l l y w o o d f i l m s • Q u e e n • G u l a a b G a n g • B a n d i t Q u e e n • M i r c h M a s a l a • C h a n d a n i B a r • A i y y a a
Wo m e n A n i m a t i o r s & G r a p h i c n o v e l i s t s • Pe r s o p o l i s - M a r j a n e S a t r a p i • M a r i e Pa c c o u Mainst ream youth oriented Bollywood & Hollywood f ilms • D i l C h a h t a H a i - Fa r h a n A k h t a r • Wo o d y A l l e n’s f i l m s a n d d o c u m e n t r y
T h a n k you
ma g r a phi c m o v i ng i m a ge
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