idiosyncrasy within film references
drawing architecture hazel van genechten
table of content principles of the main references mulholland drive blue velvet 2001: a space odyssey the cabinet of dr. calligari theater sets inland empire rabbits
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references theater sets film of 62 Stanhope Gardens babel nosferatu the quay brothers lost highway eraserhead mizoe II merzbau reconstructions
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idiosyncrasy within film
hazel van genechten
principles of the main references
hazel van genechten
references
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Mulholland drive David Lynch In my search of emotional spaces, I delved into one of David Lynch’s movies, Mulholland Drive. I stumbled upon a seemingly insignificant scene that caused a jump scare. In this part, two guys walk behind a restaurant because of a dream one had, walking down stairs and heading toward a distant wall. Suddenly, someone jumps out from behind that wall. The architecture intensifies the feeling of terror u experience while watching it. The stairs, the human traces on the wall, and the wall concealing the unknown create an atmosphere of suspense. In an experiment, I removed the characters and dialogue, focusing solely on the architectural elements. The scene retained its ability to evoke a sense of terror or a felling that something unsettling is about to unfold. As well the audio contributes to the construction of this eerie atmosphere. The auditory cues, absent of dialogue, enhance the viewer’s unease. With disecting this fragment it shows how architectural elements and audio can evoke emotions, even without a narrative. It was the start of peforming this technique/experiment on other scenes and movies to further explore this. 3
idiosyncrasy within film
hazel van genechten
Blue velvet David Lynch Watching Blue Velvet, I’m captivated by David Lynch’s portrayal of life in an American suburban village. Many find it relatable, making the bizarre occurrences even more impactful. My attention was drawn to Dorothy’s apartment, where I applied a similar approach as I did in “Mulholland Drive.” I carefully selected fragments, extracting people and dialogue to focus solely on the set’s architecture. The apartment’s intriguing elements, like the dim lighting casting shadows and the overall layout or the long hallway leading to the bathroom, added to the eerie atmosphere. Despite its simplicity, the apartment’s details left a lasting impression. The bathroom, in particular, stood out with its fragile nature—a space where one becomes vulnerable by undressing. I also noted the absence of a dining table, adding to the peculiarity. In my recreation, I meticulously crafted only the essential elements from chosen scenes extracting them from the movie’s narrative. I decided to recreate the detail of the walls and the bathroom while omitting other furniture. Behind the extended hallway, the door reveals a sink and a mirror, adding depth to the reconstructed scene. hazel van genechten
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Behind the scenes
Blue velvet David Lynch While delving into my research, I became fascinated by how movie sets are meticulously crafted to appear perfect on screen. The construction process intrigued me, particularly the art of creating interiors with the use of “fake” walls. My curiosity led me to explore documentaries about the production of Blue Velvet, where I discovered the intricate attention given to every detail in the set design. I was captivated by the meticulous planning, from determining the precise angle of the lighting to placing dust cloths underneath the radiator. Each of these details played a role in establishing the desired atmosphere for the film. It’s remarkable how directors employ various techniques to achieve specific effects, such as utilizing cardboard to cast the perfect shadow for an industrial site, as seen in Blue Velvet.
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idiosyncrasy within film
hazel van genechten
2001: A Space Odyssey Stanley Kubrick Inspired by the director Stanley Kubrick and his meticulous approach to filmmaking, I got started on this project. Whether it was the low-budget ‘A Clockwork Orange’ or the groundbreaking ‘2001: A Space Odyssey’ released in 1968, Kubrick’s influence on set designs fascinated me. The construction of impressive structures, like the centrifuge as big as a house simulating artificial gravity and rotational sets for spaceships in ‘2001,’ showcased Kubrick’s commitment. From clothing designs to furniture, his attention to detail left an mark on my creative perspective. Kubrick’s use of video effects, such as slit-scan photography (as well as shooting paints and chemicals in a pool) in the “Star Gate” sequence, pushed the boundaries of cinematic innovation. Kubrick’s approach extended to sparse dialogue and long sequences accompanied only by music The classical soundtrack in ‘2001’ added to the film’s atmosphere and increased the tension in scenes. As I delved into watching his films, my interest deepened in understanding the interplay between the front and back of a movie set—how they appeared on screen and how they were constructed in reality. hazel van genechten
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Behind the scenes
2001: A Space Odyssey Stanley Kubrick ...
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idiosyncrasy within film
hazel van genechten
German expressionism 1918 – 1927 Another movie in this genre is Nosferatu by Friedrich Wilhelm Murnau, wherein distorted and enlarged shadows are also employed to craft an eerie atmosphere.
The Cabinet of Dr. Caligari Robert Wiene This 1920s German silent horror film falls within the genre of German expressionism, an early cinematic style often seen as the first form of artistic expression in film. This genre reflected the post-World War I sentiments of the German populace. Upon viewing the film, I found myself instantly captivated by the uncanny sets arranged in a disorganized manner. The landscapes were deliberately disoriented with unusual angles and pointed formations. The set design aimed to immerse the audience in a warped reality, where everything—from windows to walls, buildings, and other structures—appeared crooked, sloped, or pointed. The film’s uncanny atmosphere was further heightened by the use of distorted light and shadows, complemented by the makeup and expressions of the actors. Light and shadows are painted onto walls and floors, making them present within the space. This film ignited my fascination for manipulating light and shadow in my own filmmaking, recognizing their pivotal role in constructing an atmospheric and immersive cinematic experience.
hazel van genechten
references
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Collette Pollard
Theater sets Various scene designers
Sebastian Hannak
Conor Murphy
In my exploration of theater sets, I immersed myself in diverse designs where the set’s boundaries are confined to the stage, often visibly exposed to the audience. Within this distinctive space, a collaborative effort between the set and actors promptly establishes the desired atmosphere. What fascinated me most was the employment of out-of-proportion elements and surrealistic designs, purposefully crafted to evoke specific emotions. The intriguing practice of enlarging, distorting, or transforming certain objects contributes to the overall atmospheric impact. Unlike the aim of recreating real-life scenes, many theater sets prioritize crafting an atmosphere tailored to the piece, unbound by the constraints of reality. This approach served as a start of inspiration, making me realize that as a viewer, one is conscious of the deliberate unrealistic or distorted nature. Some sets even reveal both the front and backside, creating a dialogue between them and adding an extra layer of artistic depth that enriches the overall experience. Also, in my own film, you can feel a boundary created by the cardboard, contrasting with the space extending deeper into darkness.
Todd Rosenthal 9
idiosyncrasy within film
hazel van genechten
Inland Empire David Lynch This film stands as an experimental psychological thriller and serves as David Lynch’s most recent prodcution. What captivated me within the film was its dream-like quality, refusing to adhere to the logical structure of reality. Instead, it mirrors a dream’s fluidity, interwoven with surrealist elements. Progressing through the narrative, the film becomes increasingly disorienting and surreal, presenting itself as a series of estranged dream sequences, where no frame is secure. Deviating from a traditional narrative, “Inland Empire” lacks consistency but features recurring characters evolving inconsistently throughout. Remarkably, the film was crafted without a finished screenplay, evolving scene by scene. This unconventional approach inspired me to explore a similar method in filmmaking, adopting a scene-to-scene basis. Utilizing a causal sequence that evokes the atmosphere of a dream rather than reality, I use the same characters and allow them to autonomously evolve as the film unfolds.
hazel van genechten
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Rabbits within Inland Empire - David Lynch It is a 2002 online project showcasing a surrealistic anthropomorphic rabbit family in what Lynch describe as a sitcom. Notably, fragments of this peculiar project are found in the film “Inland Empire.” My fascination lies in the seemingly normal domestic scene, namely the living room. Despite its somewhat peculiar layout, the setting exudes an air of domesticity and familiarity. But the the presence of three rabbits as the inhabitants injects an extraordinary element into the ordinary setting. The disordered yet seemingly interconnected conversations among the rabbits is interrupted by disjointed laugh track and applauding, creating an atmosphere both strange and captivating. The peculiarity intensifies as the familiar setting contrasts sharply with the unconventional characters. The idiosyncratic nature of the atmosphere is further increased by mysterious events taking place, including the appearance of a burning hole in the wall and the intrusion of a strange, demonic voice coupled with sinister red lighting. Lynch’s unique blend of the ordinary and the bizarre creates an intriguing and captivating viewing experience within this surreal rabbit sitcom. 11
idiosyncrasy within film
hazel van genechten
references
hazel van genechten
references
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Bob Crowley
Theater sets Various scene designers
Cameron Anderson
Marco Arturo Marelli
Rufus Didwiszus 13
idiosyncrasy within film
hazel van genechten
film of 62 Stanhope Gardens kyveli Anastasiadi & AP London I found it fascinating how the movie showcased the designs while also interacting with it. As the film unfolds, previously recorded fragments are projected back onto the designs, creating a complex and multi-layered effect.
Babel Steve Salembier & LOD
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idiosyncrasy within film
hazel van genechten
Nosferatu Friedrich Wilhelm Murnau Another movie in the genre of German expressionism is Nosferatu by Friedrich Wilhelm Murnau, wherein distorted and enlarged shadows are also employed to craft an eerie atmosphere.
hazel van genechten
references
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Short films The Quay brothers The Quay Brothers have crafted numerous short films that captivated me with their unique atmosphere. In most of their animation works, they use puppets made from a mix of doll parts and various organic and inorganic materials, often appearing partially disassembled, all set within a dark and moody ambiance. These films typically lack meaningful spoken dialogue, relying instead on their evocative music scores to establish the eerie atmosphere.
Lost Highway David Lynch
hazel van genechten
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Eraserhead David Lynch The industrial charm of the film’s sets is captivating, as is the use of surreal elements and characters that contribute to its unique atmosphere. What stood out to me the most about this film is its audio, which plays a crucial role in enhancing the overall experience. Alan Splet, the sound designer, meticulously recorded all the sounds, adding a distinct third dimension to the movie.
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idiosyncrasy within film
hazel van genechten
Mizoe II Hiromi Fujii Fujii delved into experimental explorations in architectural language, grounding his concepts in the grid. Simultaneously, he critiqued the tenets of modernism. His studies on space transformation through geometrization unfolded in a series of innovative approaches. In the Mizoe project, Fujii employed rectangular wall sections as fundamental elements, multiplying, juxtaposing, and stacking them. I was particularly fascinated by Fujii’s use of deconstruction to shape his designs. Witnessing how he employed juxtaposition inspired me to reconsider the evolution of architectural elements in my own film, exploring ways they could dynamically progress throughout the narrative.
hazel van genechten
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Merzbau Reconstructions Kurt Schwitters Kurt Schwitters likely started constructing a room-filling work of art in his Hanover apartment back in 1923. Although the original piece was destroyed during a bombing, a trueto-life reconstruction now exists in the Sprengel Museum in Hanover. What intrigued me was the dialogue between the exterior and interior of this recreation. The exterior almost feels like its own artwork, providing a glimpse into the construction of the interior.
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idiosyncrasy within film
hazel van genechten