Pretty accurate. Pretty scary.
Pretty accurate. Pretty scary.
My fellow film studies classmate – Gianluca Baroni – sent me this film clip as inspiration today. Thank you GL.
Watch your thoughts, for they become words. Watch your words, for they become actions. Watch your actions, for they become habits. Watch your habits, for they become your character. And watch your character, for it becomes your destiny. What we think, we become. My father always said that. And I think I am fine.
– Margaret Thacher (Character) Movie Quote
I’ve been helping out at my old university – King’s College London – with their careers and employability office. A couple weeks ago, I went in to speak to current undergraduate and masters students at a career festival for the Film Studies program. After graduating in July, I now have 7 months of experience through my full-time job in a media agency. Walking down the all-too-familiar corridors created an interesting sensation:
Here I was in the exact same location and it’s very clear that it’s me who has changed and not the environment. In fact, the architecture, smell, feel, and people looked exactly the same as last year (when I was attending this career fair as a hopeful final year student). But this time, there was a different confident stride in my steps, not one of getting a first, but one of having job security figured out.
Most of the students were there looking for a way into the film industry. In that respect, I was their counter example of someone who veered away from the ‘artistic’ satisfaction of the creative arts for the more corporate world of marketing and advertising. I think speaking to the students was just as informative for me as it was for them. Nevertheless, I stood tall and explained my role and plans for the future in the business world.
Two weeks after the speaking event, the careers office asked me to write a blog post for them. And it finally came out, so I thought I’d share it (which was the point of my whole rant above). Enjoy:
It offers some insights and advice to university students trying to figure out what they want to do after graduating by drawing on my own experiences of job hunting/soul searching.
I obviously still have so much to learn about the world of work: what skills are most employable, how to change jobs, how to progress, how to balance work/life, etc. However, I still feel that I can offer advice and help to university students, especially because the experience of transitioning lifestyles is still so fresh in my memories. It’s important for people to stay in touch with university students as they progress in their careers because, essentially, those students are the future of the work force. Their desires, mentality, and capabilities are a direct reflection of generational changes, economic situations, and cultural values. And it’s very hard to know what the future holds if you don’t understand the people that will be working it because let’s be honest, most business are people-led first and foremost. So an understanding of the younger work generation is ALWAYS key to any company that wants to grow.
I’m looking forward to 2015, purely because of the animated films coming out. The line up is looking amazing with next year being the first time PIXAR releases two films in the same year. Check out some of the cool films coming soon:
Le Petit Prince (The Little Prince)
Minions (extension of Despicable Me Series)
Anyone else ridiculously excited?
I went to see The Imitation Game with Benedict Cumberbatch at the Empire cinema yesterday. As a media gal, I arrived early to watch the pre-roll adverts that are put on by Pearl & Dean (cinema advertiser).
My favourite was, but of course, the Chanel No. 5 Ad with the beautiful Gisele Bündchen. I love the marketing strategy of positioning Chanel No. 5 ads as ‘films’ and thus, correctly placing them on the big screen before a movie. The films, as with the brand, are always decedent, glamorous, and classy and they offer a beginning, middle, and end to the story. All I have to say is… these 3 minutes are filled with the perfect combination of sultry, yet elegant shots to create the perfect cinematography for the brand image of Chanel.
Some quotes by Mademoiselle Chanel:
Firstly I thought I’d share a little video from the director/animator KAZUHIKO OKUSHITA:
It’s an animation using the simplicity of a red line to create contour figures and shapes. The film has excellent fluidity, movement, and visual design… it’s definitely one of my favourite independent short animations! It reminds me of one of my favourite quotes:
“A line is a dot that went for a walk.” – Paul Klee
Secondly, I went to a figure drawing class tonight at the Vintage Emporium and Tea Rooms (14 Bacon Street, London, E1 6LF). The nude figure drawing classes are free and held every Tuesday from 7 – 9 PM. Absolutely not my best work, but I’m slowly getting back into the techniques! Here are some examples to hopefully inspire you to go to your local life drawing classes:
HOW I MET YOUR MOTHER QUOTES
“There are a lot of little reasons why the big things in our lives happen.”
– Ted, Season 4, Episode 22
“Look, you can’t design your life like a building. It doesn’t work that way. You just have to live it… and it’ll design itself.”
– Lily, Season 4, Episode 24￼
THE BUILDING AND ARCHITECT
The image shows one of my favourite architectural structures of the modern era. It’s Frank Gehry’s Guggenheim Museum in Bilbao, Spain. (Built 1997)
“The recent work of Frank Gehry epitomises both the folding and complexity theories without explicitly being based on either. Gehry is aware of the writings on both and respects them, but he is led more by his intuitive concerns. Nevertheless, his new Guggenheim Museum in Bilbao characterises the supple, pliant, moving qualities of the one and the notions of self-organising systems and the fractal order of the other.”
– Charles Jenks, “Post-Modernism and the Revenge of the Book,” in This is Not Architecture, eds. Kester Rattenbury (London and New York: Routledge, 2002), 191.
Gehry on design teams for architecture: “I collaborate with people on projects because it enriches the mix and gets you somewhere else that you wouldn’t have gotten to otherwise. When it’s really working, it is like holding hands and jumping off a cliff together.”
– Barbara Isenberg and Frank Gehry, Conversations with Frank Gehry (New York: Alfred A. Knopf, 2009), 155.
If you’re interested in Frank Gehry, I would recommend the documentary: Sketches of Frank Gehry (Sydney Pollack, 2006). It’s less than 90 minutes long and provides personal interviews with the architect about his career, creative process, and opinion on life.
This dissertation is situates within the growing research around the stylistic use of digital technology and new media in contemporary cinema. My main area of investigation will be the virtual camera in narrative computer-animated films, with a precise interest in musical cinematography. The term ‘musical’ refers to the narrative premise of analysing song or dance sequences, while the term ‘cinematography’ refers to the stylistic and aesthetic form of the camerawork. The musical context provides a point of consistency across the films and sequences chosen for formal analysis, thereby providing a lineage between different production methods and styles. Prince argues that that digital technology builds “on stylistic traditions established by filmmakers in earlier generations … while providing new and more powerful tools to accomplish these ends.” Likewise this dissertation will explore the stylistic developments in computer-animated films in relation to past cinematic traditions.
This investigation is structured around the aim of outlining and testing the term ‘digital cine-mobility,’ as a cinematic style, through comparisons with established stylistic traditions. Chapter One will explore the visual effects of cel-animation and computer-animation in relation to the Walt Disney Animation Studio. Chapter Two will study the moving camera of the American film musical. And finally, Chapter Three will scrutinize the term ‘digital cine-mobility,’ which we will initially define as, the selection of fantastical, playful, and impossible camera movements in computer-animated films. The concept of digital cine-mobility is framed around a lively camera that presents spatially dynamic, effortlessly integrated, and kinetically expressive movements. The aim of this investigation is to progressively examine, and attempt to define, the descriptive terms above.
 Stephen Prince, Digital Visual Effects in Cinema: The Seduction of Reality (New Brunswick, New Jersey, and London: Rutgers University Press, 2012), 4-5.
My Neighbour Totoro (Hayao Miyazaki, 1988)
Can we please take a moment to honour the framing, colour, lighting, and design of shots in Miyazaki animation? His animated films are visually beautiful and a nice stylistic difference from the traditional western aesthetics.
Note to Self: the cinema of Asia is artistically exceptional and I should watch international films more often.
Some Films to Watch:
All that Heaven Allows (Douglas Sirk, 1955)
American Beauty (Sam Mendes, 1999)
Back To The Future (Robert Zemeckis, 1985)
The ‘Burbs (Joe Dante, 1989)
Far From Heaven (Todd Haynes, 2002)
The Incredibles (Brad Bird, 2004)
The Graduate (Mike Nichols, 1967)
Happiness (Todd Solndz, 1998)
It’s a Wonderful Life (Frank Capra, 1946)
The Oranges (Julian Farino, 2011)
Pleasantville (Gary Ross, 1998)
The Stepford Wives (Bryan Forbes, 1975)
The Stepford Wives (Frank Oz, 2004)
The Truman Show (Peter Weir, 1998)
Some Academic Writing to Explain:
“Hollywood’s anachronistic vision in this regard stands as testament to the profound cultural influence of the suburban landscape in the postwar years: for the development and subsequent massive expansion – particularly in the years and decades following the end of World War II – of ‘suburbia’ entailed the construction of not only a new kind of physical landscape, but new psychic and emotional landscapes as well.”
– Robert Beuka, “’Cue the Sun’: Soundings from Millennial Suburbia,” Iowa Journal of Culture Studies 3 (Fall 2003). Accessed Online.
“Americans are obsessed with houses – their own and everyone else’s. We judge our selves and our neighbours by where and how we live.”
– Dell Upton, Architecture in the United States (Oxford and New York: Oxford University Press, 1998), 14.
“The city started out as the culprit. But by the postwar era, the suburbs had elbowed their way into that maligned position – the site of social dysfunction and pathology. Hell, it seemed, moved from the city to the suburbs – like everyone else.”
– Becky Nicolaides, ‘ How Hell Moved from the City to the Suburbs’ in The New Suburban History, eds. Kevin Kruse and Thomas Sugrue, (Chicago: University of Chicago Press, 2006), 80.
How do you feel about your white picket fence now?