Pleasure Dome & The Crit

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At the animatic crit I got some really useful feedback. Everyone seems to be saying that the  whole animation needs to be more dramatic, more explicit. Especially at the point of Ariel’s transformation. This is great because I completely agree, I felt the same way when I played back the finished animatic. The more recent Medea inspired character designs will also fit with this, showing a more obvious shift in costume than I managed to express in my first animatic. In fact there were quite a few things I really didn’t convey in the story boards, for example the sets, the shift in costume and the double exposures that were really important. I think I just needed a lot more detail and more panels, so the idea was clearer. Good practice though! I’m going to work on the improved one today.

I want to add lighting effects and stronger camera angles, and possibly even limit the back drops to plain black, and have a single sliding one when the moon appears at the end. Looking at Kenneth Anger’s Inauguration of the Pleasure Dome [above] is really helpful for inspiring visual drama; the ornate style of opera combined with the makeshift aesthetic of renegade filmmaking, the extreme coloured lighting with the context suggested by a few props.

Roll on some operatic melodrama!

Princess Raccoon

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A theatrical and stylised film by Seijun Suzuki. The sets resemble those in Kabuki, with consciously artificial looking sets and props. Some of the sets (shown in this boat scene) are superimposed traditional paintings, like Kawamoto’s animations!

Kihachiro Kawamoto’s  Dojoji

An Actor’s Revenge

I wrote about Kon Ichikawa’s film An Actor’s Revenge in my essay. As it happens this background is a lot like the one I’m developing for my set. Blue on black. Incidentally this film is playing on the screen near the film studios at college.