The Development of a Visual Language

THE DEVELOPEMENT OF A VISUAL LANGUAGE

ALEXANDRA HALL

MDES COMMUNICATION DESIGN

INTRO

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The artistic practice is identical to life; you never know what lies on the road ahead of you. It embodies in every aspect the unexplainable, unexpected, unplanned and the endless struggle to define the indefinable.

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A single image that speaks of the pain, joy and beauty of life. These moments, no mater how small, are the reason behind my desire to create images that tells a story of the human experience.

TABLE OF CONTENTS

INTRO 4 RECAP PROPOSAL 6 PART A – VISUAL DEVELOPEMENT

PHOTOGRAPHIC AND THEMATIC DEVELOPEMENT

MY PRACTICE

PHOTOGRAPHIC DEVELOPEMENT

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THE CHURCH 13 THEMATIC DEVELOPEMENT 14

NARRATIVE DEVELOPEMENT 15 THE MIRROR 16 COLLABORATION AND DANCE 18 SOUND 19 PART B - SECONDARY RESEARCH SECONDARY RESEARACH 22 PHOTOGRAPHERS 23 FILMS 25 CONCLUSION 28 BIBLIOGRAPHY 29 INDEX 36

ALEXANDRA HALL

RECAP PROPOSAL

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My desire to create images that tell a story of the human experience was the reason why I choose to pursue a two years master in communication design at The Glasgow School of Art (GSA) with a focus in development of a visual language through the medium of film.

My goal is that my artistic practice culminates in the production of one successful short film that I am able to compete in film festivals.

This process of establishing an artistic practice began in term one with a series of shorts around emotive based terms, review of the filmmaking process and potential avenues for visual development. Secondary sources research around inspirational filmmakers and photographers served to guide my practice and reflect upon my previous work. For example, last term I stumbled upon an exhibit on photographer William Klein at the Foam Photography Museum in Amsterdam and discovered that early in his career he had spent six months in New York City creating what he referred to as “a strictly personal impressionistic diary.� The project had no boundaries or rules and embraced the unknown in the city with a documentary fervour.

Like Klein I wished to delve into the unexpected, experimenting, destroying and exploring every possible visual solution to my narratives. It had also become apartment to me in 6

term one that although I had studied film and photography before, producing work in both mediums for my undergraduate study, I had never spent any time truly cultivating a body of work. Instead I would jump from script to shoot or brief to photographs without spending anytime developing what I wanted to say visually. As a result my understanding of the camera was as shallow in my work. This reflection caused me to adopt a backwards way of working, creating parameters and limiting myself to black and white photography and silent short films. I would like to be clear that these mediums are by no means simple and artists have spent lifetimes developing a practice within them.

With these guidelines, I moved forward into term two focusing on my goal of developing a visual language. This resulted with a series of black and white photography briefs around the themes of isolation and intimacy. Through these themes I became passionate about night time photography, which resulted in the visual motifs of shadow, reflection and darkness.

While I was beginning to grasp the foundations of a visual language my development of the thematic content remained highly superficial. What, I kept asking myself, was the best way to represent intimacy and isolation in an image?

INTRO As I proceeded in my practice I continued to ask myself this question transitioning into moving stills with the short The Church. The idea for using the moving still as a step from photography to film came from my love of the opening sequence in Lars van Trier’s Melancholia (2011).

Fisher offered to collaborate with me on The Mirror as my lead actress. This opportunity was furthered when by chance I came in contact with Marge Hendricks, a dancer from the Scottish National Ballet, who was interested in collaborating as well.

At the same time I happened to be conducting research on In a single shot Lars comthe films of Wim Wenders municates a psychological and stumbled upon his feastate to the audience. I deture PINA (2011). sired to do the same within PINA (2011), Film Still the themes of intimacy and isolation. The Church was a stride in this direction, but also The Mirror grew out of these serendipitous an experiment with the camera and the ef- events and represents a major step in my defect of perspective on single location. It was velopment of a visual language, yet remains a through this brief that I understood the funda- first of many larger steps necessary for me to mental difference between photography and create a truly exceptional short film worthy of film, the amount of time the audience is given film festival submission. to look at a single image.

If I am fortunate enough to accomplish this Reflections like these improved my under- goal, I hope to transfer the skills learned in my standing of photography and influenced the masters towards a career in film. Currently a visual language of my final short film The specific industry of concentration and role reMirror. Another inspiration for this project mains unclear to me, however, I am sure that came from my participation in Janice Parker’s as I continue to develop to my practice a path dance project Glory, in which I performed at will become clear to me.

Tramway. Dance was something I had always wished to do and being part of a company was a transformative experience that directly related to my practice when my partner Laura

Melancholia (2011), Film Still

ALEXANDRA HALL

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PART A VISUAL DEVELOPEMENT

ALEXANDRA HALL

PART A - VISUAL DEVELOPEMENT

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PHOTOGRAPHIC AND THEMATIC DEVELOPEMENT PHOTOGRAPHIC AND THEMATIC DEVELOPEMENT

PHOTOGRAPHIC DEVELOPEMENT

In my practice photographic and thematic development were closely linked and, although they remain two separate aspects of my process, must be discussed in conjunction. This relationship sprung from my initial photography briefs at the beginning of the term around the themes of isolation and intimacy. At first these terms were chosen at random, however, later I found the two highly influential as larger themes on self reflection and the narrative evolution of a female protagonist.

My first photographs on isolation, began with daytime wanders down Glasgow’s crowded city streets and were unsuccessful in their representation of the state of isolation. However, I soon began to make headway in understanding these concepts as seen in my photograph of Girl by Clyde (figure 3.). Through this process I started to take night time photographs and discovered that I was engaged by the lonely alleyways, damp reflections, shadows and interiors. Darkness served to highlight and isolate my subjects, but also the atmosphere of Glasgow at night created an intimate and personal space for me to work. By setting the parameters of shooting primarily in black and white I was able to focus on the key elements of composition, photographic planes, and over arching themes of my work within the darkness. This is evident in the photographs featured in figures 4 – 10.

MY PRACTICE In film school they tell you to write what you know. I have never been able to do anything else. The stories I write and the images I create are a reflection of myself. However, doing this requires a profound understanding of my own emotions and as in the words of Theodor Adorno and Hanns Eisler in Composing for Films, “these emotions themselves have always been difficult to define” (Adorno &Eisler, 2010, p.14). Here in lies the central challenge I faced with my final film The Mirror: what was the fundamental internal message I am trying to communicate through the story and how am I going to translate this into a visual narrative?

The answering of these questions resulted from the culmination of key aspects of my practice, which includes visual developement through photography, potential themes, fictional narratives, a collaborative process and postproduction. In addition to this methodology was the return to basics working backwards through my understanding of the fundamental parts of photography in terms of composition, lighting, technology and various motifs.

However, as my work progressed towards greater photographic content I still felt that I had not mastered the themes of intimacy and isolation and, therefore, decided to continue using them as I moved from still photography into moving image. The idea of transitioning from the still to moving image via moving stills developed out of my secondary research on Lars van Triers introduction in Melancholia in term one. It was the most logical step forward and one I chose to do in darkness. Using a wide-angle 20 mm lens as an experiment, I reshot moving images of some of my more successful earlier photographs. I found the experience to be a rewarding yet limiting process given that there was so much more to consider in their composition. When I attempted to edit these moving images into a portrait of the city for my moving image brief, I felt that they lacked a concentrated central location.

ALEXANDRA HALL

PHOTOGRAPHIC DEVELOPEMENT For example Lars van Trier uses in the introduction to Nymphomaniac a series of wide-angle shots to visually create a portrait of a isolated exterior space that serves as the central location in the beginning and ending scenes of the film. From here Lars cuts to a detail of a trickle of water running down one of the walls transforming us along an unknown path both emotionally and visually.

Learning from this example I decided it was best to place the moving stills of Glasgow around a specific space. I returned to my earlier photographs of the church in front of my flat for inspiration. These images were particular rewarding to me because of how the sculptural aspects of the churches walls took on new life with their night-lights.

The resulting film The Church took the viewer on a journey from the exterior streets of Glasgow and church walls to the interior space of the church. To create a greater sense of intimacy within the images I used close up shots of the building or practiced transitioning from a wide-angle to a close-up in order to juxtapose the two themes visually. I used a model moving through the interior space to help guide the storyline. While an extreme close up of her hand gliding over wooden seats plays with the idea of intimacy on the level of the senses.

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In addition to the technical use of the 20mm lens, I also experimented using the glider to generate a sense of movement within the images. In hindsight I feel that I over used this tool in order to overcome my insecurity around the little that took place within the still frame. I discovered that the fundamental difference between photography and moving image is the amount of time provided to the viewer to look at an image. Determining in the edit what was the right amount of time for each image proved challenging. This was due to my lack of clarity in my intention behind the films over arching message.

The same lack of clarity on content caused me to also have very little intention behind my use of the 20 mm lens. Looking back, I realize I was attracted to the monumental feel of the images created through the wide-angle lens and low angles. Furthermore the views of the world from below created a sense of the surreal and sublime while also providing an alternative perspective to the city streets and high walls of the church. This reflection demonstrates the need for greater analysis of the content that drives the development of a visual language. While I am still at the point in my practice where I am not required to define a specific theme, a deeper understanding of intimacy and isolation will help me to be better execute my use of the camera.

THE CHURCH

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ALEXANDRA HALL

THEMATIC DEVELOPEMENT

Wim Wenders, On Alexanderplatz, Berlin 1992

What started out as two basic terms became a larger meaning for the entirety of the human experience. Intimacy and isolation; at first I recognized them only as words that I had to fit to images.

The idea for the term isolation started with Wim Wenders photograph On Alexanderplatz, Berlin 1992 that I analysed in relation to my photographic development. This image completely embodies the notion of isolation both in atmosphere and subject. The foggy background changes the square into a world of white, pushing the characters into the foreground and isolates them from their enviorment. The theme is furthered by the single character on the right who stands awkwardly alone.

In my own work, I struggled to visually convey the often-subconscious state of isolation without jumping to clichÊ’s and generalizations. There were photos of a single person walking into the light framed by a window for isolation or two people kissing on stair steps in the dark for intimacy. Car parks, desolate alleyways, church arches and natural details, the list went on, but failed to go anywhere in particular. What was I trying to say with these photographs? And could I claim to be saying anything at all with over generalizations of groupings of one and twos? When did a tree in an empty field truly become an isolated tree?

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However superficial my attempts to embody isolation and intimacy in The Church and my photographic briefs, the process started me on a path toward deeper analysis of the possible meanings. I redefined intimacy as an emotional state best expressed in imagery that evokes the senses and isolation as a psychological state placed upon oneself. For both ideas I drew from my personal experiences. Isolation I felt was an emotion that occupied a deep eternal space within the subconscious. Something so embedded within my subconscious mind that I often feel I have little control over how or why I find myself feeling absolutely alone in the world.

Intimacy, on the other hand, I felt most in those moments that brought me back to the emotive feelings of childhood. The slightest smell of a certain type of flower that could transfer me to a previous memory of California in spring. I desire to create such an instantaneous visceral response in my viewers with my films.

My interest in these visceral connections caused me to experiment with spatial dimensions when I was at the tulip fields in the Netherlands (figure 14.) Here I played with the idea of changing the human perspective and the creation of making something small look big and then by inserting a hand into the scene transforming the viewers perception. I felt by doing this I was able to evoke a type of visceral sensation through the imagery that I could integrate into a narrative.

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PART A - VISUAL DEVELOPEMENT NARRATIVE DEVELOPEMENT

Alexandra Hall Script D, Premise Film Making April 7th, 2014

LE APERITIF Love comes and goes, but I remain.

LOG LINE: One dark Friday night KATE MERTINS overcomes her fear of being alone when she is transferred to a surrealist reality where she is forced to come to terms with her own selfhatred.

ACT 1: The streets of Glasgow glisten one dark wet Friday night. In the distance the voice can be heard explaining to KATE MERTINS (26) that “he just can’t do this anymore.” Kate sits in her dinning room staring blankly into space. The table is set for two and a piece of Roquefort sits on a plate below a brightly burning candle. After what seems an eternity, Kate stands up and goes to look out the window. She stares down at the busy street below, closes her eyes and takes a deep breath.

ACT 2: When Kate opens her eyes she is much surprised to find that she is standing on a beach at sunset. A strong force is drawing her, much like that of a child going to play in the sand on a hot summers, towards the waters edge. Taking off her high-healed shoes, she places her feet in the sand.

As Kate reaches the waters edge she finds that she is standing on a small inlet separated by some rocks from the beach. The rhythm of the waves is calming as it crashes into the shore. She breathes in. A voice calling her name emerges in the distance. Turning she sees a figure approaching her from the other side of the divide.

The figure carries with him her shoes and as he draws near Kate recognizes that it is her x-boyfriend JEREMY MORGAN (27). Overjoyed, she runs forth to meet him. Meeting at the waters edge, Jeremy kneels down and offers to place the shoe upon her foot.

However, as Kate goes to step in the water to meet him she is thrown backwards upon the ground by an unknown force.

When Kate regains her composure she finds an APPARATION (K) of herself standing above her. Frighten at seeing herself in the flesh, Kate crawls backwards. The apparition pursues her. She stops her retreat. K offers her her hand. Kate rejects it and stands up on her own. They face each other. Their breathing in sync.

After having spent the majority of the term developing a visual language around the themes of isolation and intimacy, I was ready to integrate them further into a narrative for my final film. I knew early on that the narrative I created needed to be simple taking place in as few locations as possible, have little to no dialogue, since I was using non-actors, and follow a basic three act structure.

In my filmmaking elective we had spent the first part of the term reviewing the three-act structure, which I had spent two terms during my undergraduate degree studying at Columbia University, and coming up with various scripts. My initial idea for a short film was a story centred on the idea of a female protagonist who is confronted with the love of her life and must overcome her memories of the past in order to fulfil her endless desire for the perfect piece of Roquefort. Later I was told this was my most successful script of the several I wrote, however, it felt to superficial to deal with my complex concepts of intimacy and isolation.

On top of the need to create a storyline around these themes, I also felt it was essential to write a strong female protagonist. This was incredibly difficult to accomplish given that I wished to move the character on a journey from an isolated to an intimate space. After my first attempt, I further developed my female protagonist, named Kate Mertins, into other storylines using a male protagonist as an instigator to begin her journey. However, these possibilities ended with her having to make a choice based on a man. To avoid this cliché I decided to remove all secondary characters from the script. Although this seemed to be a simple concept, I found myself continually writing a male protagonist, Jeremy Morgan, who dumps Kate leaving her entirely alone.

Jeremy’s character remained an essential part of the story into shooting the final script titled The Mirror.

KATE MERTINS:

Alexandra Hall Script D, Character Explanation Film Making April 7th, 2014

RELATIONSHIP HISTORY Two months ago, Kate Mertins was left by her boyfriend, Jeremy Morgan after a two year-long relationship. The decision was for the most part mutual, well she understood why they couldn’t continue seeing each other long distance, but that didn’t stop the hurt or her missing him. At night it was the worst and she often lost her appetite, spending hours staring blankly into space her brain running through their last conversation over and over again. Around midnight her fear, the fear of being alone, would take its strongest hold and she felt its hands digging into her neck. Despite this she remained emotionless. The feeling was most like being decapitated. She simply felt nothing.

However, at the same time she wished nothing more than to be free from the hurricane of emotions churning in her brain.

PERSONALITY Kate Mertins is the kind of person who catches everyone’s attention when she enters the room. A beautiful brunette she is a positive and outgoing person who always has a smile on her face. This impression is furthered by her impeccable taste in clothing, best described as similar to Holly Golightly in Breakfast at Tiffany’s with her hair pulled back into a tight bun.

However, although she appears to be an extrovert she has a deep distaste for social situations and often feels herself inwardly shrinking when confronted with large social groups. She also has a tendency to be extremely clumsy due to her inflexibility and hyperactivity. These qualities combined with habitual episodes of verbal diarrhea and her recent break up has lead her towards inner isolation, preferring to spend nights alone at the dinner table than out with friends embarrassing herself.

Therefore, Kate’s entire exterior presentation is constantly in conflict both by her outgoing personality and inner insecurities. The effect of this is best described as friendly yet emotionally distant and uptight.

K: K is Kate’s ideal self. Totally at home with herself, she is graceful and eloquent in her movements. She dresses in a relaxed free manner that could be referred to as combination of hipster and playful business casual. If asked she’d simply say she is just like everyone else. Unlike Kate she wears her hair down and appears relaxed even in the most stressful of moments without seeming opinionated or arrogant. Socially she is one of those people who remains poised and silent as she carefully considers what she is going to say.

However, the best part of Kate is her freeness of spirit that embraces every aspect of life to the fullest.

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ALEXANDRA HALL

THE MIRROR

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NARRATIVE DEVELOPEMENT THE MIRROR The Mirror represents a major step in my development of a visual language, yet remains a first of many larger steps necessary for me to create a truly exceptional short film worthy of film festival submission.

First titled Le Aperitif, the viewer is introduced to Kate Mertins late one Friday night drinking alone in her flat at an empty table set for two.

We hear a voice over of Jeremy Morgan explaining to Kate that he is unable to continue seeing her. Standing Kate goes to look out the window at the street below and then wanders to her dresser mirror where she stares at herself. This confrontation with her image begins her metaphysical journey where she is forced to confront an apparition of herself.

The idea behind the metaphysical journey was to transform Kate from an isolated emotional space to an intimate one. As explained in thematic development, I had defined these terms from my own personal experiences. This story focused primarily on my definition of isolation as an emotional state placed upon ones self.

Here I delved into the notion of self and the subconscious mind.

There is nothing Kate desires more in the world than to love and be loved. Her greatest fear, therefore, is to be alone and this in turn is manifested in her inability to feel intimacy; feeling she likens to being decapitated. She simply feels nothing physically, yet at the same time, wishes to be free from the hurricane of emotions churning in her brain. Whatever the psychological cause of this emotional turmoil, the possibilities are endless; it has lead her to separate herself from any deep emotional connection with other people.

shadow and the unseen I had been working on in my nighttime photography and moving stills. By moving Kate out of her isolated environment to the darkness of the beach at night and confronting her with an apparition of herself, I created a situation where she is forced to face her subconscious fear of intimacy.

The idea of the beach as a location for this self-discovery stemmed from it being the complete opposite environment from that of her enclosed flat, while remaining an isolated space. Darkness furthered this isolation visually. In all honesty, I was attached to the metaphoric atmosphere of the beach rather than its theoretical and practical aspects in terms of the story.

My first confrontation with my own delusion over this location came when scouting Troon beach and discovering that there was no way I would be able to shoot there in the dark without using strong powerful LCD lights. However, rather than reconsidering the location all together, witness to an incredible sunset only furthered my hopes for the beach for the pinnacle scene of the meeting of self. This obsession continued up to the shoot itself, where gale force winds literally destroyed any possibility of my vision.

However, I have always believed failure to be the greatest moment in the creative practice.

This was the case with The Mirror. With no choice, but to reconsider the entire script over night the final product emerged. It was a result of my entire practice over the term and the collaboration with the dancers who I was fortunate to have act in my film.

For Kate to look at her own reflection in the mirror is to face these inner conflicts. Visually the mirror connects the motifs of reflection,

ALEXANDRA HALL

COLLABORATION AND DANCE

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Dance has inspired artists for centuries. Since I can remember I have enjoyed watching dancers perform whether it be modern, classical or experimental in style. This spring I had the unique opportunity to work Janice Parker and perform in Glory at Tramway here in Glasgow. Expressing myself through movement was a transformative experience, which further my belief that the future of cinema lay in the space between dance, theater and the screen.

This idea had nestled itself into my head after being exposed to Punchdrunk and the National Theaters interactive performance of The Drowned Man: A Hollywood Fable. The production placed the viewer in an enclosed four story building in London where parallel stories were taking place. Each floor was perfectly designed surrounding the theme of a Hollywood set. It was due to this hyperrealism and the fact that the storyline was set on the filming of a feature that it began to bridge the space between theater and cinema. The interactive atmosphere allowed for the complete transformation from passive viewer into active participant in the story; you essentially became the camera.

From this experience I realized that in our over stimulated digital worlds audiences no longer wish to remain a passive onlookers, but crave real life experiences that elicit physical tactile contact with another human being. Dance became a part of this world as it was used by the National Theater as a way of telling part of the story.

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After taking part in Glory and the opportunity arose for me to collaborate with my partner form the project, dancer Laura Fisher.

My good fortune was quickly followed by an introduction to another dancer, Marge Hendricks, from the Scottish National Ballet who was interested in participating in my project as well. Their collaboration in my project created an environment where I was able to adapt the scene where Kate Mertins meets her apparition into a dance sequence. With the two dancers at my side, we ventured to Troon to shoot the segment at sunset only to be faced with the foul weather I spoke about earlier.

It was in this moment of failure that collaboration became key in the making of The Mirror. Having departed from the idea of Kate being able to meet her apparition outside of her room, I was left with little choice but to have the entire story take place within my flat. Originally, I had intended to conclude the movie with the image of Kate seeing her apparition in the mirror when she wakes in the morning; in other words having discovered the ability to see herself as other people see her. Transforming this idea into the beginning of the script, I decided to have her meet her apparition in the mirror. This bizarre turn of events would cause Kate to run from her room into the flats inner hallway. It was in this inner hallway that she would confront her apparition in person and the dance sequence would take place.

COLLABORATION AND DANCE These events transpired the film into its final version, which differed significantly from my original script, but was far more effective as a whole. This would not have been possible without my collaboration with Laura and Marge, as well as the foul weather. Even with all of these factors in play, I cannot say that I am directly responsible for the creation of the final film. It rather became an independent entity, alive in a way and moving in its own direction. This rare magic in the creative process is what I describe in my introduction as the endless struggle to define the indefinable.

When it happens it is always greater and far different than what is written and imagined.

For me hindsight allows me to see how my experiences both within and outside my artistic practice have influenced my development of a visual language. Secondary research also served to guide me on my journey. For example, during filming The Mirror I discovered Wim Wenders film PINA (2011), which is a dance feature commemorating the work of the famous German choreographer Pina Bausch, who died in 2009. Familiar with Wenders photography, I was blown away by his integration of dance onto the screen. In one of my favorite scenes he films a series of dancers walking along the top of a windy long desolate hill doted with poll like sculptures dressed in formal attire. There movements match that of the musical instruments playing in the background.

Sound and music are essential in PINA to the choreography as they are to the film as a whole. The integration of sound into my practice was an important part of my development of my visual language this term and is something I struggled to complete in The Mirror.

PINA (2011), Film Still

SOUND In the practice of filmmaking creating a strong compelling visual narrative is half the battle. The other half lies in the realm of sound. Coming to a more advanced understand of the integration of sound into the filmmaking process took place in my music for picture elective this term where I was required to “compose” my own sound using logic pro.

Previously in my work, I had used royalty free and public domain music giving very little thought to the quality of sound, mixing or general pertinence. Musically speaking I have been active in choirs since childhood, however, singing in a choir is one thing writing a score another. Here I’d like to clarify that my intention for this elective was not to write music, but rather to compose successful sound for my final short film.

In The Church I had begun integrating sound into my practice, using clips of calving icebergs to create the sense of movement, but also of something prehistoric and gigantic in proportions. For this short I had simply mixed the sound in premiere without much thought about volume or transitions. In an attempt to gain an understanding of Logic Pro, I used loops to compose a brief sound score for the film Artifice (2012) by David Hempstead.

I found composing sound for someone else’s film easier than tackling my own. When it came to The Mirror I felt entirely lost. Initially my ideas had stemmed from the sounds on Troon beach. However, due to the subsequent destruction of those plans, was forced to reconsider an entirely new sound concept.

My original musical role model for the short had been the feature film named and based on the song Café de Flore (2011). This leitmotif is so essential to the gesamtkunstwerk of the film that it is not only central to the narrative, but is referred to directly by the protagonist, Antoine Gordin. “If only it had been a masALEXANDRA HALL

SOUND

terpiece. No. A pleasant little tune, almost banal that makes you want to stop, look around … seize the moment” (Cafe de Flore, 2012).

To me the music in Café de Flore (2011) was the perfect example of how music was a key part, if not driving force, of the meaning behind the visuals due to its ability to connect with the subconscious mind and the sublime.

This connection dates back to the Plato who wrote that sound transmitted from the ears directly to the soul and desire. These ideas spoke to me since The Mirror dealt with issues of the latent psyche; however, problems arose in regards to music given the vacuous internal space of the staircase. At the beach I could draw from the poetic natural melodies embodied within the waves, wind, sun and clouds.

I was struggling with a problem that Theodor Adorno and Hanns Eisler address in Composing for the Films. “It has always been said that music releases or gratifies the emotions, but these emotions themselves have always been difficult to define” (Adorno &Eisler, 2010, p.14). Not only was my character’s emotional state as empty as the stairwell, there was also no deep emotive feeling to musically illustrate.

Back at the drawing board I looked towards Bernard Herrmann as a musical role model and his use of strings in the scores of Psycho (1960) and Vertigo (1958) to create suspense.

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However, my attempts to write a musical score with strings and string based loops proved unsuccessful because I felt that I was forcing emotion onto the dance sequence that didn’t exist with in the visuals.

Further tutorials on The Mirror caused me to look within the narrative for diegetic as well as non-diegetic sounds resulting in the current score. My initial intuition was a single sustained chord of strings throughout the film. In addition I used a faint heartbeat to establish rhythm and replicate the notion of internal spaces. This beat in combination with the strings proved to intense for the overall feel.

By varying the dynamics of the string chord with that of a single loud heartbeat, I was able to correlate the meeting of the antagonist and her alter self with a simple motif. The combination of this motif, with that of heavy breathing at the beginning and end of the film, creates a simple leitmotif.

Although I feel that the score has evolved significantly from my first musical idea, something remains intrinsically missing and incomplete with the composition. My attempts at transcending these barriers have been inconclusive and thus caused me to see this first composition as a step in my visual development whose lessons I will carry with me into the next project.

PART B SECONDARY RESEARCH

ALEXANDRA HALL

PART B - SECONDARY RESEARCH

Richard Mosse, Planton 2012

In conjunction with my primary research, an essential part of my development of a visual language has been my secondary research on other photographers and filmmaker’s work. I have always struggled with creating a balance between the two sides of my practice, often not leaving enough time for sufficient reflection. As I move forward into the last term, I will continue to work on the successful integrating of a specific weekly work schedule with set times set aside for research. Currently, my practice has predominantly focused on my visual development.

This being said, this term I doubled my efforts in my attendance to film festivals, art galleries and museums and talks and events held by artists in Glasgow and London. Directly at the start of the New Year I attended the Prix Pictet talk at the White Chapel Gallery in London by photographer Richard Mosse on his work documenting the on going conflict in the Kongo. While I was there I visited some of my favourite galleries including The Photographers Gallery where there was an exhibit on the works of David Lynch, Willian S. Burroughs and Andy Warhol. On a more recent trip down south, I was excited to see the exhibition Bailey’s Stardust at the Nation Portrait Gallery on photographer David Bailey portraits captured over his entire career.

Back in Glasgow I attended the first Talk See Photography talk of the year on the documentary photographer Arpita Shah and her work in Scotland. In addition I frequented the Feral Studio talks by artists like Ross Sinclair and numerous exhibition openings at Tramway, Trongate 101, The Lighthouse and GSA. 22

Some of the most influential of these were the 2nd Year Studio Photo show, the WIP show and other MFA Degree shows. These events provided me with the opportunity to speak to other students about their work, which is especially rewarding when you have seen their progression from watching them in the studio.

Conversations and relationships like these are the biggest learning experiences for me outside my studio work and weekly tutorials.

Film festivals are another form of events that are a great way for me to gain exposure to a wide variety of films and meet other filmmakers. This term I was able to attend the Glasgow Film Festival and Sundance in London. Although these festivals added many feature films to my research, I still need to widen my vocabulary of filmmakers at the cutting edge of the industry, especially those making short films.

One of my favourite events I attended this term was The Art of Dinning dinner in London centred on the photographs of Martin Parr and cooked by his daughter. Along with being a unique event focused on the work of one of the most famous British photographer it was another way of making new connections. I was fortunate enough to sit next to the scriptwriter John-Henry Butterworth who is well known for his writing of Fair Game.

In the following sections I will reflect on what I have learned from secondary research conducted at events like those described and in my own practice, exploring some of the most influential photographers and filmmakers discovered thus far.

PHOTOGRAPHERS PHOTOGRAPHERS Every since I was a child my parents have been taking me to galleries and museums from New York to LA and Paris to Berlin. However, I was unaware of my love of photography until my undergraduate degree when I fell in love with the work of photographers like Richard Avedon and Elliot Erwitt. As my knowledge of photography grew, so did my appreciation for

Elliot Erwitt, Couple Kissing, Santa Monica California, 1955

Henri Cartier – Bresson’s The Decisive Moment and Brassai’s series Paris by Night. I reviewed these essential works early in the term along side my photography briefs, but then turned my focus towards new photographers especially those whose work is cinematic in quality. Also, since I was working primarily in black and white photography I focused on photographers who used that format.

To start with I looked at the work of Trent Parke and Rene Burri. Parke writes that he is, “Forever chasing light. Light turns the ordinary into the magical” (Parke, Magnum).

I found his night time photography from his

Trent Parke, Martin Place, Moving Bus Australia, 2002

Dream / Life series to be the most directly inspirational. For example, his photograph Summer Rain captures a man huddled under a street awning with is tie thrown over his shoulder. The downpour is visible by streetlights and this texture, in combination with the over the shoulder shot, is so beautiful that you can feel the wet dampness in the air.

Parke is also well known for his use of shadows as seen in Martin Place.

While with Parke I was interested in his night time photography and use of light, Rene Burri’s use of size and space caught my attention.

In her photo Sao Paulo, Brazil she utilizes two planes of light, which serves to silhouette the

Rene Burri, Sao Paulo, Brazil 1960

figures on the right and the cars on the left.

The cars on the left sit in the background of the frame flattened by the wide-angle lens, but also by the subsequent size ratio in comparison with the people in the foreground. Burri similarly plays with perspective in her photograph of the Brazilian architect Oscar Niemeyer in his studio, flatting the background through her division of the frame. These two works are almost architectural in their structuring.

Trent Parke, Summer Rain, Sydney, Australia 2002 ALEXANDRA HALL

PART B - SECONDARY RESEARCH

Fred Lyon, San Francisco Portfolio

Fred Lyon, San Francisco Portfolio

Wim Wenders, Unknown

Wim Wenders, The Salk Institute, Los Angeles, CA 24

PHOTOGRAPHERS FILMS

Like photography my interest in film began in my undergraduate degree where I graduated with a degree in film studies. My reasoning behind studying film was due to the fact that it was a medium where I could combine my interests in history, literature and art.

Rene Burri, Brazilian architect Oscar NIEMEYER in his office, Brazil 1960

From these photographs I searched for work that spoke further towards the cinematic and those whose practice has spanned both photography and filmmaking. For this I turned to Fred Lyon and his San Francisco portfolio.

In one photograph (on left) a couple walk towards the camera in a scene that looks like its out of a Hitchcock film, mostly due to the 50’s car blocking the headlights in the background.

The use of the couple seems to be enigmatic in his work, seen again in the other street photo on right, which uses similar street light scene only this time intensified by dense fog.

Lyon’s work is atmospheric in tone, setting the couple into an imaginary untold storyline.

In transitioning from photography to film, I focused on the work of Wim Wenders whose photograph, On Alexander Platz, I mentioned earlier. Wenders’ landscape and cityscape photographs use the environment and a wide-angle lens, and often panorama, to set a specific atmosphere similar to Lyon, but are also very structured like Burri. Although the two on the left are in colour, I was attracted to his use of the horizon line to compositionally divide the photograph. This division of space, his use of colour and the overall immensity of space create a sense of the unknown in the same way that darkness does in my night time photography.

As I wrote in my collaboration section, Wim Wenders film PINA was monumental in influencing my practice. This recent discovery was only one film of many that has been influential in the way I work.

The first film that transformed my understanding of the medium as an art form was Agnes Varda’s Cleo from 5 to 7 (1967). Looking back now I see that the my interests in female protagonists confrontation of self and the themes of intimacy and isolation were present even then. Visual motifs of reflection are endless in the film. In the opening sequence Cleo, played by Corinne Marchand, walks down a long circular staircase. The camera follows her on her journey down the steps repeating three extreme close ups on her face as she descends.

At the bottom of the stairs she stops to look into a double mirror, her figure disappearing in endless repetition into the space behind her.

I related immediately with Cleo’s fascina-

Persona (1962), Film Still

tion with herself. How many times as a woman had I looked at myself in the mirror the same way?

From mirrors and reflection, I turned to Sergei Eisenstein and shadows in his famous film Ivan the Terrible. Eisenstein’s use of shadow is instrumental in his creation of the character of the dictator Ivan. In (page 27.) Ivan’s shadow is twice his size as he sits in the foreground, a duality of his character, as monstrous and straight as his beard. Just like in the photographs that interested me, Eisenstein also plays with the viewer’s sense of size and space.

ALEXANDRA HALL

FILMS These images of Ivan stuck with me, so much so that when I shot my hallway sequence in The Mirror I used lights to create shadows on the walls. Shadows that in my mind spoke to the same themes of fear implicit in Ivan.

The apparition and its jagged shadow was the monster in Kate’s mind and her unemotional attachment his sharp beard.

Eisenstein’s theories on film were an intricate part of my undergraduate degree, especially those on editing, montage and music. While film theory has not been a large part of my secondary research this term, my previous studies of the theories of Walter Benjamin, Luara Mulvey, Rolland Barthes, Andrew Sarris, Michel Foucault, Dziga Vertov, Louis Baudry and groups like Dogma 95 remain ingrained in my mind. However, this term I did spend a good deal of time reading about Marxism and capitalism through the writings of Theodor Adorn and Hanns Eisler. When reflection upon my work I see that studying Carl Jung’s theories on the subconscious mind and self would be beneficial in my understanding of these themes.

Returning to influential films, another image that is forever stuck in my mind is a scene from Ingmar Bergman’s Persona. The opening sequence in this film is most famous and although I have seen it so many times I know it like the back of my hand, I remember the bedroom scene as if its something I experienced first hand. Building up to this moment in the film, Bergman has placed the viewer into a world where Elisabet Volger, Liv Ullmann, is a mute actress who lives in a house near the sea with her nurse Alma, Bibi Andersson. Over the course of the film and their subsequent entrapement in the house, their relationship deepens and transpires into a weird sexual space. Bergman succeeds at creating this tension through his use of dark and often beautiful visuals.

The bedroom scene is no exception. We watch Alma prepare herself for bed from the hall26

way. Two open doors serve to backlight the room and translucent white curtains hang blowing in the night breeze. The scene seems to last forever and when Alma finally goes to sleep, Elisabet emerges through the curtains almost ghostly in her whiteness. Cut to a black screen, we see the two women making love.

It is no surprise that once again I am passionate about a film that deals with issues of femininity, the notion of self and their culmination in reflection and the vision of oneself. As I continued to discover new films, I find that those who capture my attention the most deal these themes. An example of this is Jean Marc Vallee film Café de Flore (2011).

Café de Flore follows two stories of love during two different centuries, one between a man and a woman and the other between a mother and son. The two stories interweave through the stories of the female characters. However, this remains unclear until the end of the film.

What makes the unravelling so fascinating is the visual language Vallee institutes to keep you guessing at where the story is going.

Of course, it is impossible for me to continue without mentioning Andrei Tarkovsky’s film The Mirror (1975), which I had not seen until after titling my film the same. One viewing is not enough to untangle to visual motifs and storylines merging through the film.

Tarkovsky’s use of the pan is essential to his creation of space. In one particular scene the camera follows a boy watching his mother leaving the house. She exits leaving him alone.

The music sets the tone of the supernatural that takes place as the houses previous inhabitancies begin speaking with the boy. Its ghostly, yet believable.

Although feature films have dominated my secondary research, I have started to broaden my knowledge and research around the world of short films. Last week I was able to attend Sundance in London where I watched there two short film programs. None of the films

PART B - SECONDARY RESEARCH

Ivan the Terrible (1944), Film Still

Ivan the Terrible (1944), Film Still

present truly enraptured me visually, however, there were many great examples of a cohesive narratives and powerful imagery.

One of these was Notes of Blindness (2014)

by Peter Middleton and James Spinney that features the diaries of writer and theologian John Hull on his transcendence into blindness. Middleton and Spinney use actors to rein-act Hull’s world. In an incredibly beautiful scene, Hull describes his love for rain because it aurally defines space. He imagines a room where it is raining; then he could aurally see the walls, chairs and tables around him. We are able to watch as Hull’s imagination comes to life, its both a beautiful visual and aural experience, but also visceral in feel.

Persona (1966), Film Still

Persona (1966), Film Still

I will continue my exploration of the world of short films as I move into term three. Research is a never-ending process, just like the artistic practice. It is something I must improve upon, yet understand as a development that will remain incomplete.

The Mirror (1975), Film Still

Notes of Blindness (2014), Film Still

The Mirror (1975), Film Still ALEXANDRA HALL

CONCLUSION

figure 18.

In reflection this term was a large step in my understanding of the development of a visual language. Looking back on the films I made during my undergraduate degree, I see how I have improved as a filmmaker, although I still have much to learn. The creative practice is after all a life long challenge.

As I look forward into the final year, I am faced with the questions of what next and where do I want this to all lead? Every artist, designer and creative strives to do something that has never been done before. The introduction of dance and movement into my practice has been an exciting turn of events and something that I wish to continue to evolve into my practice. With my current knowledge about this industry and my background in film studies, I feel that the medium of dance has endless possibilities in its adaption for the screen.

My plan for term three is to conduct a great deal of secondary research around the integration of dance into cinema, while also 28

continuing my development of the themes of intimacy, isolation, self and the subconscious mind. I will further these themes into narrative structures and in conjunction construct new visual motifs through photographic and moving still briefs. A new central part of my practice will be focused on collaboration and the creation of a company of sorts with whom I work on various projects.

In addition I will proceed to research various career within film industry and hope to collaborate with other filmmakers, possibly having an apprenticeship within one this summer.

When I arrived in Glasgow, I thought my future lay in the advertising world. As my understanding of my ambitions grow, it becomes increasingly clear to me that the commercial industry, whether advertising or features, is no longer a priority in terms of a career. I do not know what lies ahead for me, but it sits within the realm of filmmaking, creative direction and collaboration.

BIBLIOGRAPHY

ALEXANDRA HALL

BIBLIOGRAPHY FILMS The Mirror. (1975) Film. Directed by Andrey Tarkovsky. [Digital Screening] Available from: http://www.dailymotion.com/video/xy4mwq_the-mirror-1975-pt-1_creation. [Accessed 4th May 2014] Russia: Mosfilm.

Ivan the Terrible. (1944) Film. Directed by Sergei Eisenstein. [DVD] Russia: Mosfilm.

PINA. (2011) Film. Directed by Wim Wenders. [Netflix] Germany: Neue Road Movies.

Notes on Blindness (2014). Directed by Pete Middleton and James Spinney. [Sundance Film Festival] USA: Nytimes.

Café de Flore. (2011). Directed by Jean- Marc Vallee. [Netflix] France: Item 7.

Drunktown’s Finest. (2014) Directed by Sydney Freeland. [Sundance Film Festival] USA: Indion Productions.

Festen. (1998) Film. Directed by Thomas Vintterberg. [DVD] Denmark: October Films.

Melancholia. (2011) Film. Directed by Lars von Trier. [HD] Denmark: Magnolia Pictures.

Persona. (1966) Film. Directed by Ingmar Bergman. [DVD] Sweden: Lopert Pictures Corporation.

Cleo from 5 to 7. (1962) Film. Directed by Agnes Varda. [DVD] France: Zenith International Films.

Coffee and Cigarettes. (2003) Film. Directed by Jim Jarmusch. [DVD] United States: United Artists.

The Rules of the Game. (1939) Film. Directed by Jean Renoir. [DVD] France: Cine Classics.

Ces amours-la. (2010 Film. Directed by Claude Lelouch. [Cinema] France: Dark Light Media.

The Lady with the Dog. (1960) Film. Directed by Losif Kheifits . [Digital Rental] Soviet Union: Artkino Pictures.

On the Bowery. (1956) Documentary. Directed by Lionel Rogosin. [DVD] United States: Film Representations.

Chasing Ice. (2012) Film. Directed by Jeff Orlowski. [DVD] United States: Submarine Deluxe.

Women Are Heroes. (2010) Documentary. Directed by JR. [Digital Rental] France: Rezo Films.

Steam of Life. (2010) Documentary. Directed by Joonas Berghall. [DVD] Finland: Public Broadcasting Service.

30

BIBLIOGRAPHY The Passion of Joan of Arc. (1928) Historical Drama. Directed by Carl Theodor Dreyer. [DVD] France: Capitol Film Exchange.

The Fifth Estate. (2013) Film. Directed by Bill Condon. [Cinema] United States and Belgium: Touchstone Pictures.

Artifice. (2012) Film. Directed by David Hempstead. [youtube] [Accessed 4th May 2014] United Kingdom: Unkown.

THEATRICAL PERFORMANCE – FURTHER RESEARCH

Buchner, G. 2013. The Drowned Man: A Hollywood Fable. Performed London, Punchdrunk: The National Theater. (viewed 9th November 2013).

Punchdrunk, 2013. The Drowned Man: A Hollywood Fable. A Bosh Film. London: Temple Pictures. Available from: http://www.youtube.com/watch?v=DZKNNMombV8 [Accessed 7th January 2014].

The Future of Storytelling, 2013. Burn the Seats: Felix Barrett. Directed by Matt Rutherford.

New York City: Melcher Media. Available from: http://www.youtube.com/watch?v=6ktpes0qMZ0 [Accessed 9th January 2014].

The Future of Storytelling, 2013. Bringing Film to Life: Fabien Riggall. Directed by Boris Thompson-Roylance. New York City: Melcher Media. Available from: http://www.youtube.com/ watch?v=rK78mBx52sM [Accessed 9th January 2014].

The Future of Storytelling, 2013. Authentic Branding for a Global Audience: Angela Ahrendts. New York City: Melcher Media. Available from: http://www.youtube.com/watch?v=krQG2Hceov4 [Accessed 9th January 2014].

ALEXANDRA HALL

BIBLIOGRAPHY FASHION FILMS John Lewis, 2013. Lily Allen – Somewhere only we know. London: Adam&EveDDB. Available from: http://www.youtube.com/watch?v=Ve9cBwI-pAg [Accessed 19th November 2013].

Pringle of Scotland, 2010. A Film by Ryan McGinley featuring Tilda Swinton. Available from: http://brand.pringlescotland.com/projects/brand-films/ryan-mcginley-tilda-swinton/ [Accessed 31st October 2013].

Selfridges Film Project, 2012. D’Amore Sill’Ali Rosee by Rick Owens. Directed by Ruth Hogben.

Available from: http://style.selfridges.com/womensdesignergalleries/thefilmproject/rick-owens/rick-owens-0 [Accessed 31st October 2013].

Ralph Lauren, 2013. Ralph Lauren presents The Dog Walk. Available from: http://www.youtube. com/watch?v=IyCB7fXH7WQ [Accessed 28th October 2013].

Christian Dior, 2011. J’adore Dior – ‘The Film’. Directed by Jean-Jacques Annaud. Available from: http://www.youtube.com/watch?v=mXrWiJcmvBI [Accessed 16th December 2013].

Christian Dior, 2013. Dior Homme – Uncensored Official Director’s Cut. Directed by Romain Gavras. Available from: http://www.youtube.com/watch?v=aTbG1hG2AFA [Accessed 16th December 2013].

Chanel, 2013. “Once Upon A Time…” by Karl Lagerfeld. Available from: http://www.youtube. com/watch?v=0o9dTCl0hkY [Accessed 6th November 2013].

Chanel, 2011. Coco Mademoiselle: The Film - CHANEL. Directed by Joe Wright. Available from: http://www.youtube.com/watch?v=aRV-2_Un-kk [Accessed 6th November 2013].

Chanel, 2013. “Women Only” by Karl Largerfeld. Available from: http://www.youtube.com/ watch?v=RItzj1GXiLM [Accessed 6th November 2013].

Chanel, 2010. Bleu de CHANEL: The Film. Directed by Martin Scorsese. Available from: http://www.youtube.com/watch?v=oG-nnDlnWrA [Accessed 6th November 2013].

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BIBLIOGRAPHY PHOTOGRAPHS Mosse, R. Planton (2012). [Infra Red Film, Digital Print] Available from: http://www.jackshainman.com/artists/richard-mosse/ [Accessed 4th May 2014].

Wenders, W. On Alexanderplatz, Berlin (1992). [Color Analog Photograph] Available from: http://www.seconds2real.org/category/christian-reister/ [Accessed 4th May 2014].

Erwitt, E. Couple Kissing Santa Monica California (1955). [Black and White Analog Photograph] Available from: http://www.photoforager.com/archives/elliott-erwitt [Accessed 4th May 2014].

Parke, T. Summer Rain Sydney Australia (2002). [Unknown] Available from: http://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=29YL53ZKNC89 [Accessed 4th May 2014].

Parke, T. Martin Place, Moving Bus (2002). [Unknown] Available from: http://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=29YL53ZKNC89 [Accessed 4th May 2014].

Burri, R. Sao Paulo, Brazil (1960). [Black and White Analog Photograph] Available from: http://www.selectedphotos.com/artist/rene-burri/1/rene-burri-sao-paulo-brazil-1960 [Accessed 4th May 2014].

Burri, R. Brazilian architect Oscar NIEMEYER in his office (1960). [Black and White Analog Photograph] Available from: http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL5350UE [Accessed 4th May 2014].

Lyon, F. San Francisco Portfolio (Unkown). [Black and White Analog Photograph] Available from: http://www.fredlyon.com/#!/portfolio/G0000mIS5.IPEWTU [Accessed 4th May 2014].

Wenders, W. The Salk Institute, Los Angeles, California (Unknown). [Unknown]. Available from: http://www.wim-wenders.com [Accessed 4th May 2014].

Wenders, W. Unknown (Unknown). [Unknown]. Available from: http://www.wendersimages. com/ausstellungen/fundaciosorigue.php?lang=en [Accessed 4th May 2014].

Balog, J. Extreme Ice Survey & ICE: Portraits of Vanishing Glaciers. Boulder, CO USA: James Balog Photography. Available from: http://jamesbalog.com/portfolio/portfolio-extreme-ice-survey/ [Accessed 18th November 2013].

JR, 2009. 28 Millimeters, Women are Heroes. Action in Kibera Slum, Kenya. Available from: http:// www.jr-art.net/projects/women-are-heroes-africa [Accessed 6th November 2013].

Salgado, S. 2009. Falkland Islands, Amazon Images. London: BBC. Available from: http:// www.bbc.co.uk/news/in-pictures-22080740 [Accessed 8th December 2013]

ALEXANDRA HALL

BIBLIOGRAPHY Titarenko, A. 1992 – 1994. City of Shadows. New York: Nailya Alexander Gallery. Available from: http://www.alexeytitarenko.com/port_cityshadows.html [Accessed 18th November 2013].

Tomatsu, S. 1964. “Card Game, Zushi, Kanagawa, 1964.” Kurenboh Collection. New York, NY: Photo District News (PDN). Available from: http://www.pdnonline.com/news/Shomei-Tomatsu-Prov-7264.shtml [Accessed 25th November 2013].

BOOKS

Lardinois, B. (2007) Magnum Magnum. London: Thames & Hudson.

Brown, J. (2000). Faces: the creative process behind great portraits. London: Collins and Brown.

Williams, V. (2002). Martin Parr. London: Phaidon.

Wenders, W. (2001). Picture from the surface of the Earth. London: Haus Publishing.

Begleiter, Marcie (2001). From word to image: storyboarding and the filmmaking process. Studio City, Calif.: Michael Wiese Productions.

Salgado, S. (2010). Workers: an archaeology of the industrial age. London: Phaidon.

Jacobson, E; Ray, Sidney, F; Attridge, Geoffrey, G (1988). The Manual of Photography. London: Focal.

Lambrecht, R.; Woodhouse, C. (2011). Way Beyond Monochrome: advanced techniques for traditional black and white photography. Amsterdam: Focal.

David, C. (2008). Screen Play: how 25 scripts made it to a theater near you – for better or worse. London: Harper Collins e-book.

Block, B. (2008). The Visual Story: Creating the Visual Structure of Film, TV and Digital Media. Oxford: Focal Press.

Steven, K. (1991). Film directing shot by shot: visualizing from concept to screen. London: Gulf Professional Publishing.

Bernstein, J. (1992). The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno. Cambridge, UK: Polity Press.

Lunn, E. (1982). Modernism and Marxism: Lukacs, Brecht, Benjamin and Adorno. Las Angles: University of California Press.

Loxlet, S. (2006). The Secret History of Letters. London and New York: I.B. Tauris & Co. Ltd. 34

BIBLIOGRAPHY Mamet, D. (1991). On Directing Film. New York: Penguin Books.

Powers, W. (2010). Hamlet’s Blackberry. New York, NY: HarperCollins e-books.

Turkle, S. (2011). Alone Together: why we expect more from technology and less from each other. New York, NY: Basic Books.

Benjamin, W. (1968) Illuminations. 1st Ed. New York: Harcourt, Brace & World.

Freud, S. (1922). Beyond the Pleasure Principle; Trans. by C.J.M. Hubback. 4th Ed. London, Vienna: International Psycho-Analytical.

Proust, M. (2006). Remembrance of Things Past (Volume 1); Trans. by C.K. Scott Moncrieff. London: Wordworth Editions.

Adorno, T. and Eisler, H (2010). Composing for the Films. New York: Oxford University Press.

Kalinak, K. (1992). Settling the Score: music and the Classical Hollywood film. Wisconsin: The University of Wisconsin Press.

WEBSITES Magnum Photos (2014). Trent Parke. [Online] Available from: http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.PhotographerDetail_ VPage&pid=2K7O3R13MZYS&nm=Trent%20Parke [Accessed 4th May 2014].

ALEXANDRA HALL

INDEX

36

INDEX

Figure 1.

Figure 2.

Isolation State of Change Brief

Figure 3.

Girl by Clyde

Figure 4.

Unititled

Figure 5.

Untitled

Figure 6.

Untitiled

Figure 7.

Parting

Figure 8.

Church

Figure 9.

Untitled

Figure 10.

Figure 11.

Surreal Night

Figure 12.

Untitled

Figure 13.

The Church

Untitled

Figure 14.

Hand in Grass

Figure 15.

Script Developement

Figure 16.

The Mirror

Figure 17.

Shoot Troon

Figure 18.

Into the Light

Photographs Š Alexandra Hall ALEXANDRA HALL

38

ALEXANDRA HALL

Stage 2 Submission The Glasgow School of Art