GREAT encapsulation of the uncanny! You deal with the theme with confidence and creativity - not simply by rote, but rather in application. A strong intellectual foundation for all that is to come! In regards to your written assignment, I find the specific focus very satisfying - I really get the sense that you're now using your understanding of the uncanny to 'unpack' other experiences - a new vocabulary for deciphering the work of another. My only point would be that, in addition to the colour red, Roeg uses other visual motifs just as repeatedly - for example, mirrors/reflecting surfaces. I just wonder if, for the purposes of a 1,500 written assignment it may pay to open up the 'visual motif' to 'motifs' - just to give yourself a little more content with which to juggle. I have a suspicion, you know, that Don't Look Now is going to grow on you, Chrissie and some of your issues with the 'plot' (which is non-existent arguably), may melt away accordingly. Certainly, I find it drags, but then I catch myself wanting it to be something that it patently is not. For example, I always find the scene with the police officer in the office frustrating, because I want the film's denouement to arrive - but then I end up noticing just how bloody sinister that exchange is, and then he sees the two old women out of the window, and I start admiring the scene that frustrates me! I think it's the sign of a film with a lasting hold on the imagination - but no, it's certainly not story-driven.
In regards to your proposed scene - the idea of the dressing room has potential definitely, but there's a danger I think, in creating a very satisfying scene in terms of a rich, theatrical atmosphere - a warmth that comes from back-stage narratives and a certain romance. I wonder perhaps if you might fold in an additional element to trigger some associated unease? Obviously, Black Swan created a deeply forensic, desaturated view of 'back stage' life at odds with most romanticised views of theatre life; and yesterday's film, Suspiria, used glossy, highly-saturated decor to good effect. I wonder if you might use the idea that it is a clown's dressing room, for example - which would give you some additional associations to riff on;
Also, you might want to consider a more voyeuristic composition - looking through a half-open door into the scene (maybe the corridor outside is cool in terms colour temperature, and the dressing room 'Suspiria' hot?) - maybe too you can use the mirror/matte painting to reflect something in the rest of the room - the open door? I'd suggest you want to consider your framing/cropping/occlusion to greater effect.
Anyway it's early days - and I'm excited to see where this goes!
OGR 13/12/2011
ReplyDeleteHey Chrissie,
GREAT encapsulation of the uncanny! You deal with the theme with confidence and creativity - not simply by rote, but rather in application. A strong intellectual foundation for all that is to come! In regards to your written assignment, I find the specific focus very satisfying - I really get the sense that you're now using your understanding of the uncanny to 'unpack' other experiences - a new vocabulary for deciphering the work of another. My only point would be that, in addition to the colour red, Roeg uses other visual motifs just as repeatedly - for example, mirrors/reflecting surfaces. I just wonder if, for the purposes of a 1,500 written assignment it may pay to open up the 'visual motif' to 'motifs' - just to give yourself a little more content with which to juggle. I have a suspicion, you know, that Don't Look Now is going to grow on you, Chrissie and some of your issues with the 'plot' (which is non-existent arguably), may melt away accordingly. Certainly, I find it drags, but then I catch myself wanting it to be something that it patently is not. For example, I always find the scene with the police officer in the office frustrating, because I want the film's denouement to arrive - but then I end up noticing just how bloody sinister that exchange is, and then he sees the two old women out of the window, and I start admiring the scene that frustrates me! I think it's the sign of a film with a lasting hold on the imagination - but no, it's certainly not story-driven.
In regards to your proposed scene - the idea of the dressing room has potential definitely, but there's a danger I think, in creating a very satisfying scene in terms of a rich, theatrical atmosphere - a warmth that comes from back-stage narratives and a certain romance. I wonder perhaps if you might fold in an additional element to trigger some associated unease? Obviously, Black Swan created a deeply forensic, desaturated view of 'back stage' life at odds with most romanticised views of theatre life; and yesterday's film, Suspiria, used glossy, highly-saturated decor to good effect. I wonder if you might use the idea that it is a clown's dressing room, for example - which would give you some additional associations to riff on;
http://3.bp.blogspot.com/_fr44lIzC03k/TM2ELgydoZI/AAAAAAAACPI/pNzUt_zI1FU/s1600/chaplin+clown.jpg
http://intuart.com/billbinzen/archive/people/people-Images/30.jpg
http://www.theage.com.au/ffximage/2005/04/16/CLOWN_wideweb__430x223.jpg
Also, you might want to consider a more voyeuristic composition - looking through a half-open door into the scene (maybe the corridor outside is cool in terms colour temperature, and the dressing room 'Suspiria' hot?) - maybe too you can use the mirror/matte painting to reflect something in the rest of the room - the open door? I'd suggest you want to consider your framing/cropping/occlusion to greater effect.
Anyway it's early days - and I'm excited to see where this goes!