WAKE UP FRANCIZ UNKNOWN/UNBUILT #STUDIO35mm Nitesh Bharatwaj
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CONTENTS
Nitesh Bharatwaj
Exercises
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3-26
Initial weeks work on basics of cinematography and short-film exercises
Film Study
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27-42
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43-50
Analysis on selected aspects of watched movies
German Expressionism
An introduction to German expressionist movement
The Cabinet of Dr. Caligari
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51-58
Analysis of the movie in an expressionist perspective
Project Conceptualization
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59-76
Initial concept of the project for Mid - semester & Feedbacks
Back to Futurism
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77-84
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85-98
Introduction to Italian Futurism
Cinematic Studies
Study of filmic aspects related to the proposed project
Wakeup Franciz
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99-132
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Final project proposal
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T O S TA R T W I T H
BASICS
Lens Standard; Prime; Wide angle; Telephoto; Macro; Fish Eye; Tilt shift
Lens and perspectives
Shorter focal length = wider field of View Longer focal length = narrow field of View
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Nitesh Bharatwaj
Aperture & Depth of Field
Smaller f/# Shallow depth of Field Purpose: Portrait
Larger f/# large depth of Field Purpose: Landscape
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ISO
Source : Chris Bray Photography - Youtube
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MCU CU
MS
MLS
LS CU
Close-up
MCU MLS
Medium Close-up Medium Long Shot 5
MS LS
Medium Shot Long Shot
EXERCISE 1 : C I N E M AT O G R A P H Y, E D I T I N G & A R C H I T E C T U R A L S H O T S
Nitesh Bharatwaj
SHORT FILM EXERCISE
Brief Plot: a character approaches a building /urban space. At some point, he/she stops and looks at the building/space for a while, then, continues his/her way toward the building/space.
Rules and Constraints - Fixed shots. - Min 5 & Max 10 scenes. - Shot range to be a medium close-up or a medium shot. - Use of multiple lenses - 8 sec of footage before and after action to be recorded for editing. - Retain ambient music and sounds, No artificial addition.
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- Significant frames of the chosen location.
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Location:
S TAT E L I B R A R Y OF VICTORIA Story telling elements: 1. Tram 2. Steps 3. Statue 4. Portico - Building entry
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1 Nitesh Bharatwaj
KEY FRAME 1 Lensing : 18-55mm Framing :
Wide angle with picture plane parallel to Facade
Shot Divisions : 1. Fade-in to the building and the character enters the frame 2. Full body shot as the character enters. 3. Medium shot as the character looks around 4. Clips of the activity around as the character observes
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Camera
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2/3
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1 4
Character Nitesh Bharatwaj
KEY FRAME 2
Lensing : 55-250mm Framing :
Camera looking down; Zoom-in to the steps creating diagonal lines
Shot Divisions : 1. The Shadow of the character first enters the frame followed by the character
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Camera
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1
Character
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KEY FRAME 3 Lensing : 55-250mm Framing :
Camera behind the statute with Pedestal of the statue blocking frame partially
Shot Divisions : 1. The character walks-in to the frame and observers the statue bottom to top 2. Close-up Tilt Shot from bottom to top of the statue from observers perspective
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KEY FRAME 4 Framing :
Camera looking down into the Podium with series of columns forming the backdrop
Shot Divisions : 1. The character walks-in to the frame through the columns and moves towards the camera observing the space around and stops looking at the camera 2. Close-up Tilt Shot from bottom to top covering the details of the entrance and the keystone head 3. Fade-out shot of the character entering the building
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1/2
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SHORT FILM EXERCISE
EXERCISE 1 V2 : C I N E M AT O G R A P H Y, E D I T I N G & A R C H I T E C T U R A L S H O T S
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5 Schematic Layout of FedSquare
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Nitesh Bharatwaj
SHOT DIVISIONS 00:00
Introduction
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Lensing : 18-55mm 55-250mm
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The idea with the opening sequence was to introduce the building along with urban fabric, progress to its nature of spaces, its materiality and its texture with a gradation in visual scale.
SHOT DIVISIONS
Introducing the character
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The character walks in and explores parts of the spaces around her, pauses at different spaces for a good view of the building and surrounding.
Lensing : 18-55mm 55-250mm
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Nitesh Bharatwaj
SHOT DIVISIONS
Characters POV
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As the character pauses at different spaces, this gives opportunity to include point-of-views of the character to explore the spaces around furthermore.
18-55mm 55-250mm
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Lensing :
SHOT DIVISIONS
Into the interior spaces
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The idea was to capture the interior spaces from different view points with the character in movement.
Lensing : 18-55mm 55-250mm
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Nitesh Bharatwaj
Duration1/2 x of normal shot; Jump cuts
SHOT DIVISIONS
Climax Sequence
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The movie picks up the pace, the character jumps into different spaces of the building, into the recess, over the facade, resting on the concrete bench, crawling through the stairs and then walks out of the frame , the building itself 'Chromatic Fantasy', By Peter Adjaye 04:36
Lensing : 55-250mm
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BGM :
C I N E M AT I C T I M E L I N E
CU MCU
MS MLS
LS
1 min
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2 min Nitesh Bharatwaj
CU MCU
MS MLS
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3 min
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4 min
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4:30 min Nitesh Bharatwaj
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C R E AT I N G A S PA C E B E Y O N D
F r a m e
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The camera movement in the movie holds a slow pace with elongated sequence and they traverse either perpendicular or parallel to the picture plane. This is complimented by the subtle actions of the character and in no place the film gives an experience of rush to its audience. While the movie explores the spaces in the frame, it further charts the space beyond the screen as well, an example would be the car sequence shown below. As the car enters the frame it continues to exit the before it re-enters suggesting the existence of the cinematic world beyond the frame.
Nitesh Bharatwaj
N O S TA LG I A
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N O S TA LG I A
Trakovsky's renders his visual images like an artwork with a single vanishing point, making it resemble paintings. In the sequence where the protagonist leaves the hotel the camera is placed in the corridor and moves away from the characters passing through the courtyard spaces. Ambient sounds of the outdoor spaces slowly grow into the scene preparing the audience to transition from indoor to outdoor sequence.
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Nitesh Bharatwaj
N O S TA LG I A
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FRAMING
Nitesh Bharatwaj
N O S TA LG I A
Travosky seems to have been under the spell of artists, especially from the renaissance period.
Renaissance period paintings seems to have me trakovsky's inspirations as he tries to convey a similar emotion through his dialogues, composition of the scene and characters in them. Symmetrical placement of characters in the backdrop of a doorway, mirror, buildings, landscapes complimented by the slow pace of actions and gestures of the characters.
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Another quality in travosky's visual material is its close association with elements like earth, water, fog, hair and trees, and creating an emotional material through not constrained to and logical bounds.
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MIESE EN SCĂˆNE
Nitesh Bharatwaj
ROPE
Two young men Brandon and Philip share an apartment in the city of New York. They murder their friend David just to prove that they were superior to them intellectually by strangling him with a rope and they hide him in a chest. On the same day they had planned to organize a part at their place inviting friends, their high school teacher and family of David. As Brandon becomes increasingly smug about him being smart Brandon slowly starts to suspect. The two-fold manner of story telling keeps the viewers intrigued through the film. Because the murder is revealed to the audience they are aware of the inside jokes and black shades of Brandon and Philip whereas the characters in the movie are not. Furthermore, this duality nature exists in the fundamental structure of the screenplay.
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Miese En Scene: The setting of the apartment, the furnitures, the art works, the food they eat, the piano, the panoramic window with the skyline in the backdrop, the drapes on the windows, the book shelves etc... entirely compliments to the actions of the characters and the setting of the story and are well juxtapositioned.
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Cityscape
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A panoramic collage of the apartment
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Nitesh Bharatwaj
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T H E F I L M I C S PA C E
Nitesh Bharatwaj
SNOW PIERCER
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As a result of a failed climate change experiment the entire world is frozen and all life has perished except for the ones on the train, Snowpiercer. However, the class system that exists in the real world is still rampant in the train with the rich enjoying the pleasures of life leaving the poor in the rear compartments deprived of not pleasures but even light and food. Hence, the deprived people fight their way back to the front fighting for equality. The compartments be it a school, restaurant, spa, aquarium in a way represent the encapsulated nature of the system we belong today.
The Axe Massacre What makes this particular fight compelling is the Tense shaky takes. The zooming -in of camera to the characters in the fight accentuates the impact to the viewers and the readable quick cuts emotes the sense of panic and scramble of the sequence making the audience a spectator in the train. Slow-motions: The sequence that shows the actions of Curtis in Slow-motion conveys the competencies of him and reinforces the idea his character is larger than life and the saviour of the tail end people. Low Key shots: The use of Low-key lighting on the characters in the entire sequence accentuates the drama, Chaos and a sense of panic in the scene. Lighting: The fight take different shades both in terms of action and visuals as the train passes through a tunnel. In complete darkness the fight is more auditory; Green tinge visuals in POV showing the shock that the tail section people and the use of fire that gives hope to the win back the battle
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Nitesh Bharatwaj
EXPRESSIONISM IN FIMS Although expressionism originated in painting and theatre, it made its way into the movies around 1920s and 1930s as a medium of peoples way to express their mental distress during that time period. An explicit reaction to the aftermath of World War 1. It was considered important to break away from reality to set no constraints to the limit of expression and hence resulted in exaggerated reality. Influence by style of expressions be it futurist, cubist, constructivist, organic etc...all are evident in the expressionist films. The bizarre and supernatural happenings in the story is greatly distinguished by the use of extreme camera angles, uncanny performances, bright light and dark shadows. Unusual of films made earlier, German expressionist films offered and still continues to offer its viewers an experience that is not just visual but added layers of emotion, myth and mystery. As Renne Tobe mentions in his book Film, Architecture and Spatial Imagination, not only are the characters in the expressionist films are caught in the demonic plots, so are the audience, caught between the diabolic link between human and the divine. Any story in such an expressionist backdrop would suggest that the path to redemption lies strewn with impossible barriers.
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Nitesh Bharatwaj
The Cabinet of Dr.Caligari
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The Golem
The Death Of Siegfrid
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Lyonel feininger, Study. on the cliff, 1912
Lyonel feininger, Gelmeroda Village Pond, 1922
Lyonel feininger, Church of the Minorities II
Nitesh Bharatwaj
EXPRESSIONISM IN ART Expressionist art was very influential in the twentieth century and it gave artists to express their emotional experience than capturing the physical reality that exits. It was not just restricted to paintings but ventured into various realms of music, theatre, literature, and architecture. Two groups known as The bridge and The blue rider are best known to have developed the expressionist art style in Germany.
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Use of vivid colours, bold defined lines, use of solid geometries, sweeping brush strokes were some of the defining characteristics of German art expression. Personal thoughts of the happenings around them were interpreted and expressed through their works for the audience to ponder about. This resulted in paintings with unnatural lines, overlapping forms, irrational volumes and landscapes. However, they deeply compliment the subject of concern that the artist is trying to convey. This style of expression became the core characteristics of the German expressionist movement which later made its way into theatres, movies, literature and other art forms.
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EXPRESSIONISM IN ARCH The Erich Mendelsohn's tower (1921) is great example of some of the early expressionist buildings. The Mendelsohn's tower located at Potsdam was designed to hold Alber Einstein's astronomical laboratory and was conceived from the sketches found in the trenches of WW1. The form further expresses the purpose for which it was built and showcases the striving efforts of human towards future advancement. Rudolph steiner's Second Goetheanum (1919) situated in Switzerland is another early example of expressionist buildings. Built as a school of Anthroposophy and a theater the building attempts to capture the expressions of earth or nature by the use of concrete tendrils. Lastly, the Grosse Schauspielhaus (1923) by Hans Poelzig's in Berlin is another early example of expressionist architecture with its interior sculpted with intricate stalactites geometries.
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Goetheanum (1923)
Grosse Schauspielhaus (1919)
Erich Mendelsohn’s Einstein Tower (1921)
Nitesh Bharatwaj
THE CABINET OF DR.CALIGARI Directed by Robert Wiene, 1920
The story begins by Franciz narrating that caligari arrived in his town to display his sleepwalker in the fairground as an attraction. Upon his arraival sereies of murder starts to take place in the town and the close friend of Franciz is murdered. Franciz accusses caligari responsible for his firends death. A series of investigation starts to take place and at this point caligari attempts to escape and during the escape Ceaser perishes. Determined to avenge his friends death Franciz chases caligari into a mental asylum. This is where the story unviels itself, Franciz is shown as a mentally disorder patient in a mental asylum who is under the care of Dr. Caligari himself. At this point it becomes evident to the audience that the entire story from the beginning has been hallucinated by Franciz to escape from his unfortunate reality.
MAIN CHARACTERS
Franciz
Caligari
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Ceaser
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Nitesh Bharatwaj
T H E S PA C E S It is evident that the crystalline imagery of Lyonel Feininger's had a great influence in creating the town that Caligari visits. The town square is represented as a collection of unfamiliar forms and almost emerges as an unfolding. The nature of the streets, the blindspost along the laneways, the irrational openings of the houses, the steetlamps all combines to give the viewers an image of an Urban life. It is features like these that helps the movie connect to the real world in its unreal setting. There is a diversity of forms and volumes to the spaces shown in the movie for instance the police station, town square, Asylum, Caligaris house etc...Even with features like the twisting alleys, inclined windows such expressionist treatments still evokes the features of a mediaeval town that is located on an isolated mystical space far away from reality.
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Nitesh Bharatwaj
The Townsquare
Caligari's House
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Police Station
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ARTISTIC REFERENCE A very close connection between the production design in the movie and the early expressionist artworks implies its strong influence in the making of the surreal town that Caligari visits. a b
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Lyonel feningers, Newspaper readers
Lyonel feininger, Church of the Minorities II
5 Ludwigmeidner, thecornerhouse
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Ludwig Meidner The apocalyptic landscape
lyonel-feininger, in a village near Paris Street
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Dream / Hallucination
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Reality
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PROJECT
UNKNOWN/UN
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Nitesh Bharatwaj
NBUILT
Building a conceptual NarrativeBrief
My interest for the project grew when I started speculating about certain plausible event that could have taken place between these two shots in Franciz perspective (ie. As an extension of his dream/Hallucination). And I came up with a sequence that takes place in a Italiansque town that Caligari visits; where masters like Caligari train sleepwalker to do crimes under their commands.
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Post this sequence the movie takes interesting twists! They reach an asylum and Dr. Caligari is portrayed as the director of the Asylum and Franciz is a mentally disordered patient under the care of Caligari and his assistants. So, the entire story from the beginning is the Hallucination/ Dream of Franciz.
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Nitesh Bharatwaj
EXPRESSIONIST ELEMENTS Key takeaways from the book, Chapter 1
“ German Expressionist film nature is to suggest chthonic depths referent of myth hidden in the shadows, in the dark corners or recesses of a town square, even among a concatenation of uneven rooftops where elements of composition combine in an emotional effect.” “ the emotion in the narrative is often expressed through an examination of the horizon and the ground or buildings that shape its form“
“Landscapes imbued with soul thrust themselves up into the sky “ “repletion of artificialities”
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“ through the bizarre and often supernatural happenings that occur in the narrative. “
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Existing Town Of Francis
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E X PA N D I N G T H E W O R L D
The landscape beyond The Somnambulist Town
Caligari
Concept 64
Scene plan 0
10
20m
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Francis
Scene 1 Behind the town
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Nitesh Bharatwaj
Lateral Movement to the Buildings
The focus of the exercise was to produce extreme distortion to the buildings with inaccurate shapes and angles. It resulted in creating sharp forms carrying oblique and curvilinear lines, inclined facades that keeps away the daylight, buildings leaning on eithersides deying the rules of gravity etc... all collectively brings a mysterious and hallucinating sense to the designed town. A few expressionist precedence by Lonel Feniniger.
The Village pond of Gelmeroda, lyonel feininger
Gaberndorf II, lyonel feininger 67
Church of minorities, lyonel feininger
Nitesh Bharatwaj
BUILDING THE TOWN
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The set design in the movie greatly reflected qualities of the german expressionis paintings. The unfamiliar forms of the buildings, fragments of lane ways, cornered buildings, street lamps etc...were used to compose an image of an urban life. To compliment with the style presented in the film. The following exercise were carried out to experiment on the forms of the buildings for the town that the characters visit.
Seismic Movement to the buildings 68
BUILDING THE TOWN The designed buildings were used to compose the setting for the town that caligari visits. Elements like narrow serpentinous laneways, stepped crossways, water canals, were introduced to create a venetian ambiance to the town. Scene Action: Caligari attempts to storm into the town with Francis behind taking cover to not get spotted by caligari.
Caligari Francis 69
Nitesh Bharatwaj
The Somnambulist Town
Scene plan 6
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0
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Scene 2
A D D I N G D E TA I L S Some of the intresting qualities of venetian architecture includes curving forms, undulated surfaces, use of vivid colors, tightly packed buildings, symmetical fenestration arrangements etc...The buildings of the somnambulist town was rendered with similar finer details including low-pitched roofs, flat toofs, narrow laneways with rectangular tall buildings, overhanging balconies, tall paired windows with segmented arches above, hooded moldings running around the fenestrations were incorporated to the buildings of the town.
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Scene 3
Scene description Caligari storms into the town attempting to enter one of the house. Franciz taking cover, carefully observes Caligaris movements.
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REVIEW Mid - semester Feedback
Building up suspense/fear= ‘being denied of understanding of world’ eg. sight/ auditory/ other sense. // shadow/fog, claustrophobia think about how your architecture can push the idea of denial of senses (lack of windows) etc. the colors in the scenes of the film could capture more of a mysterious and a sense of fear vibrant but dangerous color Ad Astra (2019) , camera wobbliness from Blair Witch Project Freudian- unhomely (unheimlich) Push your architecture to create that fear Physical manifestation from emotional suspense Dis-empower the character as much as possible Style of image/architecture Start with monochrome first (composition) then only start playing camera movement/placement and scale Shaun Tan’s “The Arrival” German Expressionism produce more visual material and conduct more rigorous research into Expressionism and Futurism. The architecture you have produced needs to be a lot more dynamic, imaginative and complex.
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Direction ahead...
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I feel there is a great opportunity to capture the emotion into the architecture to create a sense of mystery, Fear, Suspense to the audience and to the character Francis. I feel this can be achieved by redesigning certain elements of the town. Some of the pointers from the panel guests helped me identify some of elements that could build the character of this project more. 1. Uncanny expression of the town 2. Illegible structures and elements 3. Creating a sense of visual denial 4. Interplay with atmospheric effects and geometries 5. Deeper research into expressionism and Futurist Movement Looking ahead, with a sequence of happenings decided; I would want to start working more on the architecture of the town to express the emotions involved. Some of the ways to achieve it would be to push the elements of architecture – the walls, windows, heights, texture, Shadows, and Fog etc‌ Also, I would want to parallelly get feedback on the style of drawings I am working on presently and make progress in them too.
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I TA L I A N F U T U R I S M
Nitesh Bharatwaj
BELLA
History Futurism emerged in Italy during the early 1900's under the strong influence of poet and activist F.T. Marinetti. Futurism meant dynamism, simultaneity, speed, the embrace of the machine and the modern industrial city and most importantly the rejection of everything in the past. Marinetti in his work "The Futurist manifesto" highlights the viewpoints of the futurist art movement, embracing the value of speed, destruction, and violence necessary for a new age of Italian national grandeur. Some of the key contributors to the Futurist movement were Umberto Boccioni, Carlo Carra, lugi Russolo, Giacomo Balla and Gino severni.
An affinity for Motion
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The chronophotographic works of E'tienne-Jules Marey, a french physiologist inspired the artists of the futurist movement. His works depicted the movement of animals and humans as one single image with the help of his self-made chronophotographic gun that could record 12 consecutive frames per second. Encapsulated by the idea of dynamism the artists were constantly looking for ways to represent the objects sensation's, rhythms and movement in their works. This is evident in the works of Giacomo Balla, Dynamism of a dog on a leash, Umberto boccioni, Futurist city, Unique forms of continuity in space, Funeral of the Anarchist Galli by Carlo Carra, Gino severini's, Dynamic Hieroglyph of the Bal Tabarin etc.... to name a few.
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Unique forms of continuity in space, Umberto boccioni
Dynamic Hieroglyph of the Bal Tabarin, Gino severini
Dynamism of a dog on a leash, Giacomo Balla 79
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Funeral of the Anarchist Galli, Carlo Carra
The City Rises, Umberto boccioni 80
Lyonel Feininger, Streets
Umberto Boccioni, The Street Enters the House
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BUILDING A FUTURIST ARCHITECTURE ANTONIO SANT’ELLA in his work "Futurist Architecture" speaks about how architects of the time should refrain the use of Kaleidoscopic details, repetitive forms of Gothic arches, Egyptian pilasters, ordered columns and capitals etc....He further argues that the application of such details to the buildings have only resulted in cities showcasing a century-old image which should otherwise be a representation of ourself and the time we belong. Antonio Sant'ella highlights the role of futurist architects to be not finding new patterns of mouldings, architrave designs for fenestrations, and intricate details for pilasters and orders of column but rather finding new forms, new lines, new harmonies, and new volumes to build cities that are dynamic and mobile with buildings that do not have ornamentation but rather strong lines with new volumetric spaces, elevators that run like serpents on the façades, Streets that plunges into the ground deep, with transport facilities to mobilize the metropolis population, pedestrians with high speed conveyor belts, etc...
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These characters are evident many of the futurist art works of Umberto Boccioni, Gino Severini, Carlo Carra. The street enters the house by Umberto Boccioni depicts a scene where a woman from her balcony looking on to a construction work of a factory. The elements that highlights the scene are the fractured buildings that are framing it. Furthermore, the elements of a riotous crowd, the construction activity, penetrating prancing horses etc...gives the viewers an insight of Boccioni's inclination towards creating new vivid forms, volumes and energies rising to a new world.
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The Street Enters the House, Umberto boccioni
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Simultaneous Vision, Umberto boccioni
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L I G H T I N G A N D S TA G I N G
Nitesh Bharatwaj
THE MAN FROM LONDON
Building Artificiality The initial long sequence of events that takes place in the movie are entirely staged on an artificial set. However the strong application of lighting, staging of characters, gentle movements of the camera, Mise En Scene, use of atmospheric fogs, high contrast in the frame composition compliments to the mood that the director attempts to create. The key frames discussed in the next page breaks down 3 elements : 1. Creating depth in space 2. Introducing a visual link 3. Use of lighting and atmospherics
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Key frame 1 portrays has characters silhouetted in the foreground observing the events taking place at a distance away. The use of atmospheric fog and explicit lighting further accentuates the animated actions happening in the background. Elements such as rail tracks, trains acts as visual guides for the audience. Key frame 2 is a contrast to the previous, all the characters are in bright light but they are highlighted by the pitch black background. The handrail along the periphery and the light source overhanging lamps.
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"K E Y
FRAME 1
Analysis
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Visual Guides Compositional Guides
Depth in space
Visual Link
Light and atmospherics 87
"K E Y
FRAME 2
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Analysis
Visual Guides Compositional Guides
Depth in space
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Visual Link
Light and atmospherics 88
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DEEP FOCUS
Nitesh Bharatwaj
CITIZEN KANE
A Visual innovation The use of deep focus to separate the characters was one of the visual innovation that Citizen Kane brought to cinema and this stood apart Orson Welles from the earlier filmmakers who were using various focal lengths to separate the characters from the background or draw the attention of the audience to a particular detail. This was achieved by using a Smaller aperture (smaller aperture = more depth of field) resulting in crisp image and careful use of lighting to guide the viewers into the characters or key details of a scene that the director wants the viewers to see. The two key-frames discussed in the next page gives us an understanding of this technique.
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The composition of the key frames discussed in the next page allows the audience to read the whole frame at once similar to a painting with each layers adding elements to the story. Keyframe 3 shows a scene which holds Kane’s mother signing documents that would decide her son’s future, in the middle Kane’s father expressing his dislikes over his wife’s decision and behind the window at the background, Kane himself playing oblivious to the happenings inside. Key-frame 4 shows Jim Getty (in the dark foreground), Kane’s political rival onlooking to a large decorated public gathering of Kane. The well-lit canvas of Kane on the stage (as background) announces his mightiness and how he has become a larger than life icon.
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"K E Y
FRAME 3
Analysis
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Visual Guides Compositional Guides
Depth in space
Visual Link
Shades of Light
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FRAME 4
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Analysis
Visual Guides Compositional Guides
Depth in space
Visual Link
Shades of Light
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"K E Y
the chiaroscuro effect 93
Nitesh Bharatwaj
NOUN Chiaroscuro (noun) ¡ chiaroscuros (plural noun)
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- The treatment of light and shade in drawing and painting.
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Citizen kane, 1941
Light
Dark
Restricting viewers perspective The interplay of light and dark makes the audience restrict their sight-line to the characters and their actions of a scene. Furthermore, the staging of characters in the light or dark portrays the nature and intentions of the character itself. 95
Nitesh Bharatwaj
The Hands of orlac, 1924
Light
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Dark
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The Third Man, 1949
The cabinet of Dr. Caligari1 1920
Moving Shadows Silent films has made extensive use of moving shadows and blind spots to express an impending doom in a sequence. As an additional later Film noir uses shadows to portray the pessimistic view of the world. 97
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The Hands of orlac, 1924
Nosferatu, 1922
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CONCEPT SKETCHES Key frames
1 Entry to town Scene Description in the perspective of Francis His steady pound of devilish footsteps echoed into my ears as he climbed down a flight of stairs. On my descent I found myself in a surreal land, it seemed like a town that was painted in shadows. I was trapped in between soaring towers that reached the sky and the deeper life in the abyss, it seemed like there was no escape from there.
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2 Inside the town There were signs of life around, flickering lamps, smoking chimneys, chirping crickets but I could see none. It was as if they all knew he was in the town and refrained to get under his sight. He suddenly stormed out of a shelter and certainly did not look delighted. Just as he took a fleeting blurred glimpse behind, I took cover, I could almost hear my heart hammering in my ears as I saw his monstrous shadow grow on to the mighty door ahead.
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Scene Description in the perspective of Francis
CONCEPT SKETCHES Key frames
3 Entry to town Scene Description in the perspective of Francis A look into what is beyond the door.
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4 The templum of Evil Scene Description in the perspective of Francis
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With all the courage I had I went past that door, It seemed like a town that was deluged by the heavy rains, cold winds bled through as the town was covered in silken layer of fog, my thoughts froze by the stillness around, as I saw him row his dinghy into what looked like Templum of Evil!
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5 The Sanctum Scene Description in the perspective of Francis As i stood gazing at the sanctum inside, I shivered as though ice replaced my spine, It looked like a demonic cave burrowed out of a cliff, a labyrinth of twist and turns with enough light just to see inside but not enough reveal itself
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6 Inside the Sanctum Scene Description in the perspective of Francis
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Inside there were constant moans and creeks, a musty and putrid odor filled the still air, the walls and ceiling were taken by molds and webs in clusters, Crusty rags hung from the ceiling and lay on the ground, the faint movements showed there was life underneath them, and i told myself “soon they would become his sleepwalkers�...
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7 The Sanctum Scene Description in the perspective of Francis He is a predator that hunts its prey, keeps it captive for his experiments, and sends them to sleep on his command
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8 Inside the Sanctum Scene Description in the perspective of Francis
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As I managed to find my way out , I saw him row his dinghy into what looked like a deeper abyss, to a more monstrous land beyond that, I did not have the nerve to go to so I decided to retreat...
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Nitesh Bharatwaj
His steady pound of devilish footsteps echoed into my ears as he climbed down a was painted in shadows. I was trapped in between soaring towers that reached 109
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a flight of stairs. On my descent I found myself in a surreal land, it seemed like a town that the sky and the deeper life in the abyss, it seemed like there was no escape from there.
There were signs of life around, flickering lamps, smoking chimneys, chirping crickets but his sight. He suddenly stormed out of a shelter and certainly did not look delighted. Just hammering in my ears as I saw his monstrous 111
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I could see none. It was as if they all knew he was in the town and refrained to get under as he took a fleeting blurred glimpse behind, I took cover, I could almost hear my heart s shadow grow on to the mighty door ahead.
With all the courage I had I went past that door, It seemed like a town that was deluged b my thoughts froze by the stillness around, as I saw him 113
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by the heavy rains, cold winds bled through as the town was covered in silken layer of fog, m row his dinghy into what looked like Templum of Evil!
As i stood gazing at the sanctum inside, I shivered as though ic out of a cliff, a labyrinth of twist and turns with enoug 115
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ce replaced my spine, It looked like a demonic cave burrowed gh light just to see inside but not enough reveal itself
Inside there were constant moans and creeks, a musty and putrid od webs in clusters, Crusty rags hung from the ceiling and lay on the gr and i told myself “soon they wou 117
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dor filled the still air, the walls and ceiling were taken by molds and round, the faint movements showed there was life underneath them, uld become his sleepwalkers�...
He is a predator that hunts its prey, keeps it captive for hi
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is experiments, and sends them to sleep on his command
As I managed to find my way out , I saw him row h a more monstrous land beyond that, I did not h 121
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his dinghy into what looked like a deeper abyss, to have the nerve to go to so I decided to retreat... 122
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Caligari into templum
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Caligari in a shelter
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Scene plan
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The Somnambulist Town
Reading List Film, Architecture and imagination, Renne Tobe The Architecture of the screen, Cairns, Graham Framed Ink: Drawing and Composition for Visual Storytellers, Marcos Mateu-Mestre Futurism, ANTONIO SANT’ELIA Back to the Futurists; The avant-garde, Elza Adamowicz and Simona Storchi
Tutorials https://www.youtube.com/watch?v=om6uEktFodA https://www.youtube.com/watch?v=Qjqn_XqPHcY https://www.youtube.com/watch?v=jG6DU1aWoDM&t=686s https://www.youtube.com/watch?v=BeJC0tQCqx4 https://www.youtube.com/watch?v=Nk442B3huy4&list=PLVy-kfeO3luZBntTPZ9289QOlSjjIobWx https://youtu.be/hsd-JLqDV8c https://design.tutsplus.com/articles/photoshop-in-60-seconds-create-custom-brushes-from-texturegraphics--cms-27196 https://youtu.be/o30pmCEvaKw
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