APJ by krishnapriya(KP) dutta Gupta

Film festival process journal

THE ORDER IN CHAOS Krishnapriya Dutta Gupta GR. 612 | Fall 2016 Integrated Communications

01 ÂŠ 2016 Annotated Process journal designed by Krishnapriya Dutta Gupta Academy of Art University MFA Graphic Design All rights reser ved. No part of this publication may be reproduced in any manner without permission. All images are the ÂŠ artists, reproduced with the kind permission of the artists and/or their representatives.

CAST INTO CHAOS FILM FESTIVAL

—Akira Kurosawa

AKIRA KUROSAWA

黒佐明

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“For me, film-making combines everything. That’s the reason I’ve made cinema my life’s work. In films painting and literature, theatre and music come together. But a film is still a film.”

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Initial Research

AKIRA KUROSAWA

Akira Kurosawa The Festival Selected Films Film Moodboards Design Brief Research Buckets 05

Visual Identity

Festival Title and Logo The Festival Master Moodboard Thread Typography Venue Graphic Elements Event

Production Timeline The Festival Poster Catalogue Advertisements DVD Packaging Website Business System Tickets Schedule Soundtrack Products Container

Acknowledgments

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Festival Deliverables

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Akira Kurosawa Selected Films Film Moodboards Design Brief Research Buckets

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INITIAL RESEARCH

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Akira Kurosawa

The Project

Choosing a director

Biography

This hypothetical film festival project is to coordinate

I selected Akira Kurosawa for this project. He is known to

Akira Kurosawa was born in Japan in 1910. From an early age the

a complex set of materials that must function together as

be the most successful Japanese film-maker in the west.

young Kurosawa lived an eventful life —his father encouraging him

a whole. From retail environments and product lines to

Prior this project I had only seen his popular samurai movies

to pursue painting, calligraphy, kendo and an interest in films.

brands and books. To marry multiple messages with diver-

but this project gave me an opportunity to review his

Kurosawa’s older brother, Heigo, was also a big influence on the

gent formats—all with unified and holistic aesthetic. This

non-samurai movies based on common men.

young Akira, nurturing a love of literature, and also encouraging

aesthetic has to contain the essence of the director, his style, his story-telling tone.

Akira Kurasawa explored complex and delicate humanistic

him to see as many new movies as possible.

themes, gradually building a reputation as a film-maker

But it wasn’t until Kurosawa turned 26 —after the death of his older

unwilling to compromise either his vision or his message.

brother— that he was to enter the movie world in earnest after

What fascinated me most was his honest, simple story-tell-

being recruited by Japanese movie studio pcl (later to become

ing about common people and their problems.

Toho) on the back of a newspaper advert. From that moment on his

His characters “heroes” are not ideal, face moral ethical issues, which portraits a more realistic human being. Some movies like Ikiru, High and Low, deeply touched my sensibility as a creative person. I decided to use my design skills to celebrate his vision, and his artistic expression.

life was to change. Throughout his life Kurosawa was to make more than thirty films as a director, and contributed to many more — writing scripts and working as an assistant director. Film became his life and his work was to prove extremely influential throughout the 20th Century. From his directorial debut, Sanshiro Sugata, in 1943 Kurosawa continued to explore complex and delicate humanistic themes. Humanism. Kurosawa’s film oeuvre is unified by the director’s deep-seated belief in the fundamental goodness and dignity of the human being. Though his protagonists are often caught in seemingly impossible situations struggling against seemingly insurmountable odds (Ikiru), the old-fashioned notion of the “human spirit” generally triumphs in Kurosawa’s films, providing a narrative goal that informs a surprising number of his works. He combined two qualities not always found together in filmmakers: He was a visual stylist, and a thoughtful humanist. His films had a daring, exhilarating visual freedom, and a heart of deep human understanding. He often made movies about heroes, but their challenge was not simply to win; it was to make the right ethical choice.

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His films fall into three overlapping categories. There were the samurai dramas, steeped in Japanese history, like “The Seven Samurai” and “The Hidden Fortress”. There were the literary adaptations, from sources like Shakespeare and Dostoevsky but also from American crime writers. And there were the contemporary stories, about ordinary people faced with ethical dilemmas. Kurosawa’s late films were the meditations of an old man at peace with himself.

Kurosawa’s father Isamu was a member of a former samurai family, in addition to promoting physical exercise, Isamu Kurosawa was open to western traditions and considered theater and motion pictures to have educational merit. He encouraged his children to watch films; young Akira viewed his first movies at the age of six. He studied art before gravitating to film as a means of supporting himself. Kurosawa worshiped legendary American director John Ford, his primary influence as a filmmaker. Influences Shakespearean play, calligraphy, Kendo swordmanship, painting, nature, Japanese culture, humanist ideology, political controversies, heroic individuals. Work Style Kurosawa liked to do Shakespearean plays in feudal Japanese settings, frequently uses the “wipe effect” to fade from one scene to other. Painterly composition and use of weather to heighten mood, most obviously rain. Recurring cynical distrust of memories and nostalgia.

Sanshiro Sugata (1943)

The Bad Sleep Well (1960)

The Most Beautiful (1944)

Yojimbo (1961)

They Who Step on The Tiger’s Tail (1945)

Sanjuro (1962)

Sanshiro Sugata–Part Two (1945)

High and Low (1963)

No Regrets for Our Youth (1946)

Red Beard (1965)

Those Who Make Tomorrow (1946)

Dodes’kaden (1970)

One Wonderful Sunday (1947)

Dersu Uzala (1975)

Drunken Angel (1948)

Kagemusha (1980)

The Quiet Duel (1949)

Ran (1985)

Stray Dog (1949)

Dreams (1990)

Scandal (1950)

Rhapsody in August (1991)

Rashomon (1950)

Madadayo (1993)

The Idiot (1951) Ikiru (1952) Seven Samurai (1954) I Live in Fear (1955) One Wonderful Sunday (1947) Throne of Blood (1957) The Lower Depths (1957) The Hidden Fortress (1958)

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Significant Facts

Filmography

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Selected Films

Drunken Angel (1948)

Stray Dog (1949)

Ikiru (1952)

In this powerful early noir, Toshiro Mifune bursts onto the

A bad day gets worse for young detective Murakami when a

One of the greatest achievements by Akira Kurosawa, Ikiru

screen as a volatile, tubercular criminal who strikes up an

pickpocket steals his gun on a hot, crowded bus. Desperate

shows the director at his most compassionate—affirming

unlikely relationship with Takashi Shimura’s jaded physi-

to right the wrong, he goes undercover, scavenging Tokyo’s

life through an explorat ion of death. Takashi Shimura beau-

cian. Set in and around the muddy swamps and back alleys

sweltering streets for the stray dog whose desperation

tifully portrays Kanji Watanabe, an aging bureaucrat with

of postwar Tokyo, Drunken Angel is an evocative, moody

has led him to a life of crime. With each step, cop and crim-

stomach cancer who is impelled to find meaning in his final

snapshot of a treacherous time and place, featuring one of

inal’s lives become more intertwined and the investigation

days. Presented in a radically conceived two- part structure

the director’s most memorably violent climaxes.

becomes an examination of Murakami’s own dark side.

and shot with a perceptive, humanistic clarity of vision,

Starring Toshiro Mifune, as the rookie cop, and Takashi

Ikiru is a multifaceted look at what it means to be alive.

Shimura, as the seasoned detective who keeps him on the right side of the law, Stray Dog (Nora Inu) goes beyond a crime thriller, probing the squalid world of postwar Japan and the nature of the criminal mind.

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High and Low (1963)

A young executive hunts down his father’s killer in director

Toshiro Mifune is unforgettable as Kingo Gondo, a wealthy

Akira Kurosawa’s scathing The Bad Sleep Well. Continuing

industrialist whose family becomes the target of a

his legendary collaboration with actor Toshiro Mifune,

cold-blooded kidnapper in High and Low (Tengoku to jigoku),

Kurosawa combines elements of Hamlet and American film

the highly influential domestic drama and police procedural

noir to chilling effect in exposing the corrupt boardrooms

from director Akira Kurosawa. Adapting Ed McBain’s

of postwar corporate Japan.

detective novel King’s Ransom, Kurosawa moves effortless-

The Bad Sleep Well (1960)

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porary Japanese society.

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Film Moodboards

Drunken Angel (1948)

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Stray Dog (1949)

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Ikiru (1952)

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The Bad Sleep Well (1960)

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High and Low (1963)

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Design Brief Guiding Narrative An isolated, conflicted, middle-aged traditional Asian man trying to seek meaning of his life. He is at his calligraphy desk in his house on a rainy day.

Filmography

Thread

Akira Kurosawa was born in Japan in 1910. From an early

Sanshiro Sugata (1943), The Most Beautiful (1944),

Cast into a storm of shifting realities by events outside

age the young Kurosawa lived an eventful life – his father

Sanshiro Sugata II (1945), The Men Who Tread on

their control, the past seems like an illusion and

encouraging him to pursue painting, calligraphy, kendo and

the Tiger’s Tail (1945), No Regrets for Our Youth (1946),

individual actions, futile. The result is self knowledge

an interest in films. Kurosawa’s older brother, Heigo, was

One Wonderful Sunday (1947), Drunken Angel (1948),

that brings redemption or madness.

also a big influence on the young Akira, nurturing a love of

Stray Dog (1949), Scandal (1950), Rashomon (1950), The

literature, and also encouraging him to see as many new

Idiot (1951), Ikiru (1952), Seven Samurai (1954), I Live in Fear

movies as possible.

(1955), The Lower Depths (1957), Throne of Blood (1957),

But it wasn’t until Kurosawa turned 26–after the death of his nest after being recruited by Japanese movie studio PCL (later to become Toho) on the back of a newspaper advert.

The Hidden Fortress (1958), The Bad Sleep Well (1960), Yojimbo (1961), Sanjuro (1962), High and Low (1963), Red

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older brother–that he was to enter the movie world in ear-

Beard (1965), Dodes’ka-den (1970), Kagemusha (1980), Ran (1985), Madadayo (1993).

From that moment on his life was to change. Throughout his life Kurosawa was to make more than thirty films as a director, and contributed to many more–writing scripts and working as an Assistant Director. Film became his life and his work was to prove extremely influential throughout the 20th Century. From his directorial debut, Sanshiro Sugata, in 1943 Kurosawa continued to explore complex and delicate humanistic themes, gradually building a reputation as a film-maker unwilling to compromise either his vision or his message.

Biography

Festival Positioning The Embassy of Japan in San Francisco will host a film festival with screenings of some of his seminal works, an exhibition of his more personal works and effects, and workshops and events on elements of Japanese culture such as calligraphy, zen meditation and sake tasting. The curated retrospective of his films will run from August 23rd to August 27th, 2017 at the Sundance Kabuki Theatre. The selection of films showcase Akira Kurosawa’s timeless insights into the human condition–the futility of human effort when set against fate and the search for meaning when beset with shifting external realities.

Audience • Men in their mid thirties. • Struggling with loss of faith in traditional morality. • Individuals who are questioning the very foundation of their life: Whether this life has any meaning, purpose or value.

Date and Location August 23–27, 2017 Sundance Kabuki Cinemas 1881 Post Street, San Francisco

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Research Buckets These following buckets were based on directorâ&#x20AC;&#x2122;s style and thread after several rounds of refinements,

research and in-depth exploration.

Photo Style

KEYWORDS Introspective Thoughtful Calligrapher Alone Black and white Rainy day Contrast

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Typography Style

KEYWORDS

Structured Brush Strokes Humanist Industrial Organised

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Expressive

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Graphic Style

KEYWORDS Brush Stroke Ink Organic Fluid Textured

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Format and Material Style

KEYWORDS

Geometric Shapes Accordion Simple Clean Wood Cloth Transluscent

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Organic Vs Industrial Japanese

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Festival Title and Logo Typography and Color Master Moodboard Graphic Elements

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VISUAL IDENTITY

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Festival Title and Logo

Title Concepts

Title Options

Sub-Title Options

The goal of titles and subtitles were to echo Kurosawaâ&#x20AC;&#x2122;s

Shifting Realities

The eternal plasticity of the psyche in films

artistic expression in portraying the internal human chaos due to external circumstances. After several rounds of title and subtitle exploration I narrowed on two working ones that connected most to my festival thread. I further explored my two selected titles and divided them into 3 concept categoriesâ&#x20AC;&#x201D;Introspective, edgy, disoriented or confused.

Cast in Chaos Cast into Storm Cast into Chaos Shifting Silhouettes

of Akira Kurosawa. The fluidity of lives in the films of Akira Kurosawa. Caught amidst to be or not to be in the films of Akira Kurosawa. Human spirit against all odds in the films

Redemptive Crisis

of Akira Kurosawa.

Restless Realities

The futile search for meaning in the face

Storm of Shifting Realities Unformed Realities

of shifting reality

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Logo Refinements After the initial concept sketches for the logo title, I further explored the chosen directionâ&#x20AC;&#x201C;a combination of brush hand lettering and sans-serif typeface. This refinement process aimed at achieving balance, legibility and contrast

in my logo.

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Final Logo Unit This final logo unit is a combination of hand drawn type and Bahn Pro display typeface. The inspiration behind this logo is black Japanese calligraphy and vermillon signature seal. Bahn Pro Regular / Display

Hand drawn brush stroke

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Typography and Color

and chapter numbers

Quotes, headings and sub-heads

Body text and numbers

A combination of Humanist and industrial typefaces.

RED

Bahn Pro Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 Klint Std ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 Trade Gothic ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789

C=0

Red is generally called “aka” in Japanese. There are many

M = 85

traditional shades of red. The Japanese gave each shade of

Y = 100

red its own elegant name in the old days. I chose the

K=0

red-orange color for the festival because of the spiritual association with orange. It is used to highlight, emphasize and to create contrast in the layout.

C=0

GREY

M=0

Kurosawa’s style and love for black and white made

Y= 0

grey an obvious choice. It also evokes a sense of melan-

K = 60

choly and simplicity. BLACK

Neue Haas Grotesk

I used black to support the primary color palette. Used in

ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ0123456789

typography, graphics and materials.

C=0 M=0

BROWN

Y= 0

I introduced brown for material/format color that represent

K = 100

nature, organic and wood–essential in a japanese lifestyle.

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Poster and captions

Color

Logo unit

Typefaces

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Master Moodboard

Photo Levels This master moodboard is a collection of self generated

for chapter openers, backgrounds and the like.

images from stock and custom. Level 01 is the primary set

Level 03 is abstract imagery of textures and suggestive

used to set the stage and seen on posters, covers, ads,

to the overall visual language.

catalogue. Level 02 is secondary and is less objective used

Level 01

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Level 02

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Level 03

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Graphic Element

Brush Strokes I created a set of different graphics in black with ink on paper that strongly emulated Japanese calligraphy and an internal expression of chaos. These graphics added an interesting ironic contrast to my overall clean and structured visual language. I used these graphics sparingly so that it doesnâ&#x20AC;&#x2122;t come across heavy and repetitive.

Only to be used as black strokes

Preferably only on paper format

To be used on primarily white/light backgrounds

To be used sparingly

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Production Timeline Poster

Catalogue

DVD Packaging

Tickets

Schedule

Soundtrack

Products

Business System

Advertisements

Website

Container

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FESTIVAL DELIVERABLES

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Production Timeline WK | 01

SELECTION

WK | 02

ROAD MAPPING

WK | 03

Project Planning I started planning my project deliverables from 6th week onwards. This timeline

WK | 04

helped me to stay on track and broke down task for each week. Its divided broadly

POSTER

CATALOGUE

ADS

DVD PKG

WWW

BIZSYS

APJ

CTNR

WK | 05

under three phasesâ&#x20AC;&#x201C;select, explore, refine

and produce. WK | 06

WK | 07

WK | 08

WK | 09

WK | 10

WK | 11

WK | 12

G2 WK | 13

R2 R1

WK | 14

FINAL PRESENTATION WK | 15

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Poster

Initial Concepts

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Catalogue

Catalogue Concept This is a narrative piece designed to showcase the films in the festival along with information about director, location and viewing schedule. I chose to design this catalogue like a coffee table book with a wooden cover and a slipcase. The design is simple with structurd typography, bleed images, fine details

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and organic textures.

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Media Packaging

DVD Set Concept A set of 5 DVDs of the films featured in the festival. Since its a limited edition I chose to make it look handcrafted. I used Balsa wood for the case/box with lazer engraving and cloth to bind the DVD case. Each case consist of a booklet with information about the film shocased.

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Festival Tickets

Ticket Concept An accordion folded tickets for festival entry. I followed the Japanese simplicity and Kurosawaâ&#x20AC;&#x2122;s focus on ordinary lives. The ticket packaging is a simple wooden box combining wood, cloth and paper (for the tickets)

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Festival Schedule

Schedule Concept A small, folded piece that is same size as the ticket. Can be carried together or separately. It includes information on dates, location and festival details. The format resembles like a personal note pad with accordion folded pages.

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Festival Soundtrack

USB Concept A playable limited run piece that includes soundtracks from the films featured in the festival. I designed a USB format that looks like a pebble made of sculpting clay (bunchin). I used a simple wooden box and a slipcase for packaging.

counterpoint in his films–where the music pulled against the mood of the scene. Relive these ironic musical compositions packaged in a representation of a bunchin, a paperweight to hold paper in the place–a metaphor for how the musical counterweight grounded and enhanced the master’s films.

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Kurosawa made novel use of music as

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Products 01

A Fine Balance This product is an abstract association with Kurosawa’s vision in his films and my festival thread. The unformed characters in Kurosawa’s films are a projection of the director’s own life. The protagonists often lose their balance in their search for meaning. Recovery often lies in discarding notions of control and in recognizing beauty in life with all its shifting currents. An off-balance plant pot is a signifier of this serenity in imbalance and can also be found on a calligrapher’s desk.

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Products 02

A Fleeting Effort I used the concept of shifting realities from my thread for this product. The futility of human effort. Buddha Board is inspired by the Zen idea of living in the moment. You simply paint on the surface with water and your creation will come to life in bold design. Then as the water slowly evaporates, your art will magically disappear leaving you with a clean slate and a clear mind, ready to create a whole new masterpiece. I used wood with clamshell design that can be transformed into an easel stand for desk.

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Products 03

An Inked Expression Kurosawa was an artist and a calligraphy expert. From an early age calligraphy (Shodo) became an essential medium for his artistic expression. I chose to package a beginnerâ&#x20AC;&#x2122;s calligraphy kit that can be used in the festival workshop.

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Business System

Stationary Concept I followed simple Japanese sensibility for the stationary design. Use of Textured paper for the business card, rice paper for the letterhead and a “red-orange” envelope. Red envelop is considered auspicious in Asian culture and associated with invitations and good news.

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