It's been fun...
14 years ago
Friday, 11 December 2009
Main Task: Film
This is my final edit for the main task: It is entitled "The Confessions of Jack th Ripper."
Thursday, 10 December 2009
Monday, 16 November 2009
Thursday, 5 November 2009
Post Modern Theory
Postmodern theory challenges the modernist’s beliefs or “master narratives” associated with “progress,” “truth,” “human improvement,” “high art,” “science,” “technology” — the assumption that these “narratives” will lead humans to a greater sense of happiness and fulfillment. Postmodern perspectives are evident in much of contemporary art, film, architecture, fiction, and music, that challenges and even parodies traditional forms. For example, the Wiseman Art Museum uses alternative designs to spoof traditional forms of box-like buildings.
A leading theorist of postmodernism is Jean Baudrillard. Baudrillard posits that we are living in a word of “hyperreality” constructed largely of surface media images that challenges and undermines modernist notions of reality and truth. Douglas Kellner summarizes his thinking.
Baudrillard’s analyses point to a significant reversal of the relation between representation and reality. Previously, the media were believed to mirror, reflect, or represent reality, whereas now the media are coming to constitute a (hyper)reality, a new media reality — “more real than real” — where “the real” is subordinate to representation leading to an ultimate dissolving of the real. In addition, in “The Implosion of Meaning in the Media,” Baudrillard claims that the proliferation of signs and information in the media obliterates meaning through neutralizing and dissolving all content — a process which leads both to a collapse of meaning and the destruction of distinctions between media and reality. In a society supposedly saturated with media messages, information and meaning “implode,” collapsing into meaningless “noise,” pure effect without content or meaning. Thus, for Baudrillard: “information is directly destructive of meaning and signification, or neutralizes it. The loss of meaning is directly linked to the dissolving and dissuasive action of information, the media, and the mass media .... Information devours its own contents; it devours communication and the social .... information dissolves meaning and the social into a sort of nebulous state leading not at all to a surfeit of innovation but to the very contrary, to total entropy” (SSM, pp. 96-100).
Baudrillard cites the example of Disney World as an artificial construction of reality:
At Disney World in Orlando, they are even building an identical replica of the Los Angeles Disneyland, as a sort of historical attraction to the second degree, a simulacrum to the second power. It is the same thing that CNN did with the Gulf War: a prototypical event which did not take place, because it took place in real time, in CNN’s instantaneous mode. Today, Disney could easily revisit the Gulf War as a worldwide show. The Red Army choirs have already celebrated Christmas at Euro Disney. Everything is possible, and everything is recyclable in the polymorphous universe of virtuality. Everything can be bought over. There is no reason why Disney would not take over the human genome, which, by the way, is already being resequenced, to turn it into a genetic show. In the end [au fond], they would cryogenize the entire planet, just like Walt Disney himself who decided to be cryogenized in a nitrogen solution, waiting for some kind of resurrection in the real world. But there is no real world anymore, not even for Walt Disney. If one day he wakes up, he'll no doubt have the biggest surprise of his life. Meanwhile, from the bottom of his nitrogen solution he continues to colonize the world — both the imaginary and the real — in the spectral universe of virtual reality, inside which we all have become extras [figurants]. The difference is that when we put on our digital suits, plug in our sensorial captors, or press the keys of our virtual reality arcade, we enter live spectrality whereas Disney, the genial anticipator, has entered the virtual reality of death.
The New World Order is in a Disney mode. But Disney is not alone in this mode of cannibalistic attraction. We saw Benetton with his commercial campaigns, trying to recuperate the human drama of the news (AIDS, Bosnia, poverty, apartheid) by transfusing reality into a New Mediatic Figuration (a place where suffering and commiseration end in a mode of interactive resonance). The virtual takes over the real as it appears, and then replicates it without any modification [le recrache tel quel], in a pret-a-porter (ready-to-wear) fashion.
If this operation can be so successful in creating a universal fascination with only a tint of moral disapproval, it is because reality itself, the world itself, with its frenzy of cloning has already been transformed into an interactive performance, some kind of Lunapark for ideologies, technologies, works, knowledge, death, and even destruction. All this is likely to be cloned and resurrected in a juvenile museum of Imagination or a virtual museum of Information.
Click here for more material on Baudrillard.
Michael Real (1996) outlines some of the basic qualities of postmodernism:
Pastiche — combining together different styles and content from different periods within the same text, creating unusual combinations of borrowed styles from different eras. Music videos use a montage of images n from classic films, advertising, television, or rap, and filmed with unusual, non-traditional techniques.
breakdowns of master narratives featuring the final triumph of good over evil through science or human problem-solving, as well as a clear distinction between reality and fiction. This is evident in much of contemporary fiction by DeLillo, Carver, and Atwood, as well as films: Blue Velvet, Pulp Fiction, Mulholland Drive, Run Lola Run, and Memento, and the television series, Twin Peaks. The texts continually elude definitive interpretation of “true meanings,” by parodying and playing with alternative narrative development and assumptions about the meaning of images. The seemingly tranquil town in Blue Velvet is anything but tranquil. Pulp Fiction plays with three different versions of a crime story as borrowed from detective novels and B-crime films. Mulholland Drive, Run Lola Run, and Memento create alternative narratives around the same events, challenging audience assumptions about “what really happened.” Mulholland Drive portrays one version of events based on the traditional story of the innocent female who arrives in Hollywood to become a successful movie star, only to juxtapose that story against a darker version of the same events. Run Lola Run portrays three different versions of the same event. And Memento shows events occurring in reverse, dealing with issues of memory and time. Challenging traditional narratives or ways of knowing conveys the important role of the media in shaping perceptions of reality — that experience as mediated through media images and discourses.
the ways in communication technology creates mass reproduction of texts, creating copies for which there is no original, what Baudrillard (1983) described as a “hyperreality” based on simulation of reality. Much of contemporary art plays with the idea of endless copies or parodying of texts that only create a simulation of reality that focuses on the image or surface of reality. The sculpture, Jeff Koons, creates glossy statues of pop stars such as Michael Jackson, that parody the constant reproduction of pop star images.
the domination of conspicuous consumerism in which everything is commodified or commercialized; to some degree, postmodernism both celebrates and parodies consumer products, as evident in Target ads portraying multiple images of consumer products.
the fragmentation of sensibility and the plurality or multiplicity of perspectives evident in the often random juxtaposition of images in music videos or contemporary art. Films such as Pulp Fiction parodies different versions of reality by using a lot of references to images from previous films, including the image of John Travolta from Saturday Night Fever. This fragmentation and focus on surface images creates self-reflexivity — the need to reflect on the lack of coherent meaning, as well as an ironic humor.
A leading theorist of postmodernism is Jean Baudrillard. Baudrillard posits that we are living in a word of “hyperreality” constructed largely of surface media images that challenges and undermines modernist notions of reality and truth. Douglas Kellner summarizes his thinking.
Baudrillard’s analyses point to a significant reversal of the relation between representation and reality. Previously, the media were believed to mirror, reflect, or represent reality, whereas now the media are coming to constitute a (hyper)reality, a new media reality — “more real than real” — where “the real” is subordinate to representation leading to an ultimate dissolving of the real. In addition, in “The Implosion of Meaning in the Media,” Baudrillard claims that the proliferation of signs and information in the media obliterates meaning through neutralizing and dissolving all content — a process which leads both to a collapse of meaning and the destruction of distinctions between media and reality. In a society supposedly saturated with media messages, information and meaning “implode,” collapsing into meaningless “noise,” pure effect without content or meaning. Thus, for Baudrillard: “information is directly destructive of meaning and signification, or neutralizes it. The loss of meaning is directly linked to the dissolving and dissuasive action of information, the media, and the mass media .... Information devours its own contents; it devours communication and the social .... information dissolves meaning and the social into a sort of nebulous state leading not at all to a surfeit of innovation but to the very contrary, to total entropy” (SSM, pp. 96-100).
Baudrillard cites the example of Disney World as an artificial construction of reality:
At Disney World in Orlando, they are even building an identical replica of the Los Angeles Disneyland, as a sort of historical attraction to the second degree, a simulacrum to the second power. It is the same thing that CNN did with the Gulf War: a prototypical event which did not take place, because it took place in real time, in CNN’s instantaneous mode. Today, Disney could easily revisit the Gulf War as a worldwide show. The Red Army choirs have already celebrated Christmas at Euro Disney. Everything is possible, and everything is recyclable in the polymorphous universe of virtuality. Everything can be bought over. There is no reason why Disney would not take over the human genome, which, by the way, is already being resequenced, to turn it into a genetic show. In the end [au fond], they would cryogenize the entire planet, just like Walt Disney himself who decided to be cryogenized in a nitrogen solution, waiting for some kind of resurrection in the real world. But there is no real world anymore, not even for Walt Disney. If one day he wakes up, he'll no doubt have the biggest surprise of his life. Meanwhile, from the bottom of his nitrogen solution he continues to colonize the world — both the imaginary and the real — in the spectral universe of virtual reality, inside which we all have become extras [figurants]. The difference is that when we put on our digital suits, plug in our sensorial captors, or press the keys of our virtual reality arcade, we enter live spectrality whereas Disney, the genial anticipator, has entered the virtual reality of death.
The New World Order is in a Disney mode. But Disney is not alone in this mode of cannibalistic attraction. We saw Benetton with his commercial campaigns, trying to recuperate the human drama of the news (AIDS, Bosnia, poverty, apartheid) by transfusing reality into a New Mediatic Figuration (a place where suffering and commiseration end in a mode of interactive resonance). The virtual takes over the real as it appears, and then replicates it without any modification [le recrache tel quel], in a pret-a-porter (ready-to-wear) fashion.
If this operation can be so successful in creating a universal fascination with only a tint of moral disapproval, it is because reality itself, the world itself, with its frenzy of cloning has already been transformed into an interactive performance, some kind of Lunapark for ideologies, technologies, works, knowledge, death, and even destruction. All this is likely to be cloned and resurrected in a juvenile museum of Imagination or a virtual museum of Information.
Click here for more material on Baudrillard.
Michael Real (1996) outlines some of the basic qualities of postmodernism:
Pastiche — combining together different styles and content from different periods within the same text, creating unusual combinations of borrowed styles from different eras. Music videos use a montage of images n from classic films, advertising, television, or rap, and filmed with unusual, non-traditional techniques.
breakdowns of master narratives featuring the final triumph of good over evil through science or human problem-solving, as well as a clear distinction between reality and fiction. This is evident in much of contemporary fiction by DeLillo, Carver, and Atwood, as well as films: Blue Velvet, Pulp Fiction, Mulholland Drive, Run Lola Run, and Memento, and the television series, Twin Peaks. The texts continually elude definitive interpretation of “true meanings,” by parodying and playing with alternative narrative development and assumptions about the meaning of images. The seemingly tranquil town in Blue Velvet is anything but tranquil. Pulp Fiction plays with three different versions of a crime story as borrowed from detective novels and B-crime films. Mulholland Drive, Run Lola Run, and Memento create alternative narratives around the same events, challenging audience assumptions about “what really happened.” Mulholland Drive portrays one version of events based on the traditional story of the innocent female who arrives in Hollywood to become a successful movie star, only to juxtapose that story against a darker version of the same events. Run Lola Run portrays three different versions of the same event. And Memento shows events occurring in reverse, dealing with issues of memory and time. Challenging traditional narratives or ways of knowing conveys the important role of the media in shaping perceptions of reality — that experience as mediated through media images and discourses.
the ways in communication technology creates mass reproduction of texts, creating copies for which there is no original, what Baudrillard (1983) described as a “hyperreality” based on simulation of reality. Much of contemporary art plays with the idea of endless copies or parodying of texts that only create a simulation of reality that focuses on the image or surface of reality. The sculpture, Jeff Koons, creates glossy statues of pop stars such as Michael Jackson, that parody the constant reproduction of pop star images.
the domination of conspicuous consumerism in which everything is commodified or commercialized; to some degree, postmodernism both celebrates and parodies consumer products, as evident in Target ads portraying multiple images of consumer products.
the fragmentation of sensibility and the plurality or multiplicity of perspectives evident in the often random juxtaposition of images in music videos or contemporary art. Films such as Pulp Fiction parodies different versions of reality by using a lot of references to images from previous films, including the image of John Travolta from Saturday Night Fever. This fragmentation and focus on surface images creates self-reflexivity — the need to reflect on the lack of coherent meaning, as well as an ironic humor.
Tuesday, 3 November 2009
Monday, 2 November 2009
Inspiration
These two characters play on the idea of the number 2.
DR. Jekyll and Mr Hyde and Harvey Dent and Two face.
They are the same person with dual personalities, this is what I want to portray in Jack the Ripper, that he can turn Evil from Good in a split second.
Poster design Draft
This is my poster design draft. I got the inspiration from the idea that I had were Jack was scitzophrenic and had dual personalities. The poster reflects this with a normal/monster looking face. I also got inspiration from The film poster for Dr.Jekyl and Mr Hyde and the caracter two face from Batman.
Friday, 30 October 2009
Poster Idea
An inspiration for my poster, the split picture shows the characters dual personalities.
Poster Idea
I had the idea that to portray the two sides of Jack that the poster could symbolise this. Two face (Harvey Dent) from the Batman Comics was disfigured when acid was thrown into his face. This caused him mental trauma making him scitzophrenic. We could do something similar in the Jack the ripper poster to show the Doctor Jekyl Mr. Hyde aspects of his personality by having half his face disfigured.
Official Cast List
Alec Jordan: Jack the Ripper
Sophia Bracey: Girl
Christie Inman Hall: Narrator,Voice
Jack Gamble: Narrator,Voice
Sophia Bracey: Girl
Christie Inman Hall: Narrator,Voice
Jack Gamble: Narrator,Voice
Filiming Non Naturalistic scene
Filming for the no naturalistic scene began on Tuesday. Alec, Christie and Myself filmed adio for the radio script as well as the voices inside Jack's head. Filming for The scene itself should take place tonight if everything goes to plan. We will be using a darkend drama room and spotlight for the Inside of Jack's mind as he talks to the dead girl. If we cannot run this we shall film in the graveyard for the confrontation scene between Jack and The prostitue.
Sunday, 25 October 2009
Pulp Fiction Homework
In Pulp fiction there are many post modern media examples. The use of intertextual elements are used through out the film. There are references to many other films throughout Pulp Fiction. Pulp fictions were inexpensive fiction magazines also known as pulp. Wildly published between the 1920's and the 1950's, pulp fiction is also the name given to mass marketed paper backs since the 1950's.
Mia wallace's haircut is a reference to Louise Brook's in pandoras box
When Marcellus Wallace walks in front of Butch's car is a refrence to a moment in Psycho by Alfred Hitchcock where Marion Crane sees her boss walk in front of her in her car afteer she staels $40,000
Marilyn Monroes skirt lifting up in the restaurant is a reference to the film seven year itch where her skirt flies up over the subway grate.
Celebrities seen serving food/in Jack Rabbit slims are
Zorro
Elvis
Marlyin Monroe
Buddy Holly
James Dean
"How do you want that shake"-Buddy Holly
The weapons Butch considers before finally choosing a Katana are references to several films.
Hammer—The Toolbox Murders (1978)
Baseball bat—Walking Tall (1973); The Untouchables (1987)
Chainsaw—The Texas Chainsaw Massacre (1974);The Evil Dead II (1987)
Katana-Seven Samurai (1954); The Yakuza (1975); Shogun Assassin (1980)
Mia wallace's haircut is a reference to Louise Brook's in pandoras box
When Marcellus Wallace walks in front of Butch's car is a refrence to a moment in Psycho by Alfred Hitchcock where Marion Crane sees her boss walk in front of her in her car afteer she staels $40,000
Marilyn Monroes skirt lifting up in the restaurant is a reference to the film seven year itch where her skirt flies up over the subway grate.
Celebrities seen serving food/in Jack Rabbit slims are
Zorro
Elvis
Marlyin Monroe
Buddy Holly
James Dean
"How do you want that shake"-Buddy Holly
The weapons Butch considers before finally choosing a Katana are references to several films.
Hammer—The Toolbox Murders (1978)
Baseball bat—Walking Tall (1973); The Untouchables (1987)
Chainsaw—The Texas Chainsaw Massacre (1974);The Evil Dead II (1987)
Katana-Seven Samurai (1954); The Yakuza (1975); Shogun Assassin (1980)
Friday, 9 October 2009
Thursday, 8 October 2009
Monday, 5 October 2009
Graffiti allegedly written by Jack The Ripper
"The Juwes are the men that will not be blamed for nothing."
Radio Script
Radio Script
Music plays: Twinkle, Twinkle Little Star
Voiceover, Jack: Some people call me crazy, others insane. Some call me mad, some even call me disturbed. Adjectives mask my true identity, and so does my favourite name. Hello I’m Jack, Jack the Ripper.
Man2: Always watching always waiting always hunting, for you.
Jack: It’s time to fear the shadows little one.
Man: The confessions of Jack the Ripper, in cinemas (date)
Jack: And you can tell the Devil Jack sent you!
Music plays: Twinkle, Twinkle Little Star
Voiceover, Jack: Some people call me crazy, others insane. Some call me mad, some even call me disturbed. Adjectives mask my true identity, and so does my favourite name. Hello I’m Jack, Jack the Ripper.
Man2: Always watching always waiting always hunting, for you.
Jack: It’s time to fear the shadows little one.
Man: The confessions of Jack the Ripper, in cinemas (date)
Jack: And you can tell the Devil Jack sent you!
To do list this week
Things not done from last week:
Upload music: Music hasn't been recorded yet but it has been sorted as to what I will use
Upload script for radio
Upload Storyboard
Upload Poster design
Upload music: Music hasn't been recorded yet but it has been sorted as to what I will use
Upload script for radio
Upload Storyboard
Upload Poster design
Thursday, 1 October 2009
Wednesday, 30 September 2009
Friday, 25 September 2009
Prostitutes makeup
Jack The Rippers victims need to look as realisicly cut and stabbed as posibble without actually having been stabbbed. So I will do this by using latex skin wax, fake blood, face paints and makeup. I have researched some of the products I want to use and partook in a summer course in which we used latex skin and make up artistry.
Thursday, 24 September 2009
The Misfits-Die Die My Darling
The Lyrics of Die Die My Darling are significant to my media. The song is about a man who wants to kill his lover, or someone that he loves. Jack wants to kill the prostitues when his "Mr Hyde" self comes out causing him to to kill the prostitutes. I will have a scence showing his personality change where he is walking home and is a acosted by a lady of the night. Jack tells her to go and leave him be because "she won't like him when he's angry" She teases him and he changes from the timid shy man to a murderous beast.
Lyrics:
Ah
Yeah
Die, die, die my darling
Don't utter a single word
Die, die, die my darling
Just shut your pretty eyes
I'll be seeing you again
Yeah, I'll be seeing you, in hell
So don't cry to me oh baby
Your future's in an oblong box
Don't cry to me oh baby
You should have seen it a-coming on
Don't cry to me oh baby
I don't know it was in your card
Don't cry to me oh baby
Dead-end soul for a dead-end girl
Don't cry to me oh baby
And now your life drains on that floor
Don't cry to me oh baby
Die, die, die my darling
Don't utter a single word
Die, die, die my darling
Just shut your pretty mouth
I'll be seeing you again, yeah-yeah
I'll be seeing you, in hell
Don't cry to me oh baby
Your future's in an oblong box
Don't cry to me oh baby
You should have seen it a-coming on
Don't cry to me oh baby
I don't know it was in your card
Don't cry to me oh baby
Dead-end soul for a dead-end girl
Don't cry to me oh baby
And now your life drains on the floor
Don't cry to me oh baby
Die, die, die my darling
Don't utter a single word
Die, die, die my darling
Shut your pretty mouth
I'll be seeing you again
I'll be seeing you, in hell
Die-die-die
Die-die-die
Die-die-die
Die
Lyrics:
Ah
Yeah
Die, die, die my darling
Don't utter a single word
Die, die, die my darling
Just shut your pretty eyes
I'll be seeing you again
Yeah, I'll be seeing you, in hell
So don't cry to me oh baby
Your future's in an oblong box
Don't cry to me oh baby
You should have seen it a-coming on
Don't cry to me oh baby
I don't know it was in your card
Don't cry to me oh baby
Dead-end soul for a dead-end girl
Don't cry to me oh baby
And now your life drains on that floor
Don't cry to me oh baby
Die, die, die my darling
Don't utter a single word
Die, die, die my darling
Just shut your pretty mouth
I'll be seeing you again, yeah-yeah
I'll be seeing you, in hell
Don't cry to me oh baby
Your future's in an oblong box
Don't cry to me oh baby
You should have seen it a-coming on
Don't cry to me oh baby
I don't know it was in your card
Don't cry to me oh baby
Dead-end soul for a dead-end girl
Don't cry to me oh baby
And now your life drains on the floor
Don't cry to me oh baby
Die, die, die my darling
Don't utter a single word
Die, die, die my darling
Shut your pretty mouth
I'll be seeing you again
I'll be seeing you, in hell
Die-die-die
Die-die-die
Die-die-die
Die
Music That Has Influenced Me
This music has influenced me as they are all about how humans can be murderous to each other. Die Die my darling is about a man killing a woman and how he'll see her in hell, how she "should of see it coming on"
The Phantom of the Opera is about the beauty behind the beast and it influenced me of how Jack is deep down a loving caring soul with remorse.
Jack the Ripper by the Horrors... Well the title explains it all.
Wednesday, 23 September 2009
Make up practice
I plan to practice makeup for the prostitues wounds and bruises, on 25th 26th and 27th of September
Monday, 21 September 2009
Poster Design Influences
The way we see only the silhouette of the person in shot impacts the person looking at the poster. We do not know who the character is
The way the chracter of The Joker is shown in this shot affected my design. He is blurred and his face cannot be seen. This makes him seem menacing as we can't see his expression. The tagline of the film is written in blood and this is also how I would like my Film Title/Tagline to be written on the poster.
I like the way the Joker is placed in this Image from the cover of "Batman: The Killing Joke" and want Jack to be placed in a similar way on my poster. He will be to right of the page with only half his face shown by candle light. This picture influenced me, by the way the Jokers face is illuminated in certain places and shaded in others. Also only half off his face can be seen this is also how I want Jack to mbe shown.
The reason this Film poster from "Dead Silence" Helped Influence me is because of the way the Dummy is lit. I want Jack in my poster to be lit in a similar why but with half his face in shado due to a lit candle he holds in front of his face. This will give Jack the air of mystery and menace that I want to potray for his character.
Plans for this week
To do list
Upload Pitch
Upload Poster design
Upload Storyboard
Upload Alec's Monologue Transcript
Upload Music
Upload Pitch
Upload Poster design
Upload Storyboard
Upload Alec's Monologue Transcript
Upload Music
Gap In blog
There is a large gap here where I haven't blogged for a while. This is because my USB device with a lot of my work on has been stolen anlong with other things from my bag. Therefore I am having to retrieve a lot of the data from my laptop, wich is a poor excuse for a computor so I must sieve through everything I have saved onto it find thye Information.
Monday, 7 September 2009
A change of Heart
I have now decided to completely change my idea of doing a cartoon horror. I am now going to do a film based upon the events that occured late in the year 1888 surrounding the events of Jack the Ripper. I thought this Idea had a better story to it as it has a rich history wich i can research and make my own conclusions from. I have also decided to do it in a stylised way by having it filmed entirely in black and white but have bursts of the colour red every now and then as well as some coloured sequences.
For my A2 coursework I have decided to do a Five minute film which is part animation and part live action. As well as doing a magazine review and a poster.
My idea is to have live action going into an animation,
A man dressed in puritain costume is seen standing on a hill at sunset, he dissapears. We then see him appear near an old abandoned shack, which he enters. He then approaches a desk full of rusty objects and bits of paper. He sits down and begins to draw. When he moves away we see he has drawn a room. The room suddenly becomes coloured in and characters begin to appear, weird smiling monsters along with a little boy, they all stre intrestingly at the boy who cowers, the monsters have musical voices and talk to the boy who advances on them and screams.
My animation is meant to be creepy and sureal so that the viewer is left slightly creeped out and with questions as to whats happening. I have gained my ideas from many areas here they are.
Use of Inspiration:
The Twisted Tales of Felix The Cat
As a child I found the strange a colourful characters in this Tv shoow captivating. The chaacters were monsterous and hardly resembed any human being in any way, with charicature like features that made each and everyone of the animations stand out. It showed a darker side of animations with the characters doing strange and wonderful thing, as well as being strange and wonderful. There was always a slight sense of menace as well as Felix the main character always ended up in some kind of danger of Peril. The show inspired my characters in my animation as we don't fully know what these monsters are or who they are, thus changing the genre slightly to a cartoon horror. My creations have large caricature features for example large over egsaggerated eyes and mouths. some have long limbs and some lack important features that make these monsters human. This is inspired by the strangeness of Felix the cat.
Salad Fingers
Salad Fingers is a surreal physcological horrorFlash cartoon created by David Firth. He lives in a desolate post apocolyptic world with only himself and his "friends" Finger puppets Hubert Cumberdale, Jeremy Fisher and Marjory Stewart-Baxter who Salad Fingers provides the voices for, yet they come to life when he hallucinates or dreams. other humanoid cretures are Harry/milford cubicle, an agressive humanoid whom salad fingers hangs on a meathook believing him to be alive. Mable a small scared girl who picnics with salad fingers and whom Salad fingers hallucinates her with her eyes gouged out. Kenneth a corpse whom he dugs up and claims him t5o be his brother back from the great war. other characters include Horace horse collar, salad fingers toy horse, Mr Branches a tree 21 yards from Salad finger's house. Roger a radio that scares salad fingers into a cupboard and who talks similar to a dalek, Penny pigtails a girl salad fingers imagines whilst hiding from Roger, Bordois is sald fingers "little sister" who is a woodlouse. There are also several unamed characters including a boy salad fingers accidently cooks, a small child that falls in love with salad fingers and cages him using a bear trap as well as a screeching child whom salad fingers enquires to him about "the spoons". Finally Salad fingers is a green hunched humanoid man he is bald with no nose or ears and has long hairy " salad fingers" . He has a strange atrraction to rusty objects as well as a desire to experiment with pain. He appears to suffer from psycosis and give inanimate objects human names. He often hallucinates and has muderous tendencies, he is portrayed as child like and experimental.
Salad fingers has infulenced my main character in the animation sequence, a small child seemingly harmless who turns out to be a muderous psychopath and this character is based on the child that tries to marry salad fingers as well as elements of salad fingers himself. Also the desolate room in which the monsters redside ios a sald fingers influence.
Vincent Price in The Witchfinder General
My main character is dressed in puritain regalia like the Witchhunter Matthew Hopkins, Vincent price portrays the Humter in the film the witch finder general. I wanted my character to look strange and out of place and i thought that if i had him in period costume this would prortray a sense of wonder as to who this man is.
Doctor Who-Fear Her
In this episode the Doctor and Rose travel to the year 2012 as the world is getting ready for the olypics. The Doctor meets a girl who is inhabbited by a lonely alien and who has the power to draw real people and trap them in her pictures, people from the street begin to go missing and eventually the Doctor and half the world dissapear into the girls pictures. And the only way to stop her is to destroy the picture of her evil dad that she has drawn and to convince the alien to move on.
This episode influenced me as the characters in the girls drawing can move as if they have life and my character can draw pictures that move and seem real.
Life on Mars Camberwick Green sequence
In this sequence Sam sees himself as a character on Camberwick green appearing from the musical box. He also sees An avatar of Gene Hunt beating up a peadophile in Camberwick green style animation.
This has influenced me a it is a surreal sequence bought on by Sam Hallucinating in his drugged up state. I wanted my animation to be strange and surreal as none of the Characters seem like they belong in this world.
My idea is to have live action going into an animation,
A man dressed in puritain costume is seen standing on a hill at sunset, he dissapears. We then see him appear near an old abandoned shack, which he enters. He then approaches a desk full of rusty objects and bits of paper. He sits down and begins to draw. When he moves away we see he has drawn a room. The room suddenly becomes coloured in and characters begin to appear, weird smiling monsters along with a little boy, they all stre intrestingly at the boy who cowers, the monsters have musical voices and talk to the boy who advances on them and screams.
My animation is meant to be creepy and sureal so that the viewer is left slightly creeped out and with questions as to whats happening. I have gained my ideas from many areas here they are.
Use of Inspiration:
The Twisted Tales of Felix The Cat
As a child I found the strange a colourful characters in this Tv shoow captivating. The chaacters were monsterous and hardly resembed any human being in any way, with charicature like features that made each and everyone of the animations stand out. It showed a darker side of animations with the characters doing strange and wonderful thing, as well as being strange and wonderful. There was always a slight sense of menace as well as Felix the main character always ended up in some kind of danger of Peril. The show inspired my characters in my animation as we don't fully know what these monsters are or who they are, thus changing the genre slightly to a cartoon horror. My creations have large caricature features for example large over egsaggerated eyes and mouths. some have long limbs and some lack important features that make these monsters human. This is inspired by the strangeness of Felix the cat.
Salad Fingers
Salad Fingers is a surreal physcological horrorFlash cartoon created by David Firth. He lives in a desolate post apocolyptic world with only himself and his "friends" Finger puppets Hubert Cumberdale, Jeremy Fisher and Marjory Stewart-Baxter who Salad Fingers provides the voices for, yet they come to life when he hallucinates or dreams. other humanoid cretures are Harry/milford cubicle, an agressive humanoid whom salad fingers hangs on a meathook believing him to be alive. Mable a small scared girl who picnics with salad fingers and whom Salad fingers hallucinates her with her eyes gouged out. Kenneth a corpse whom he dugs up and claims him t5o be his brother back from the great war. other characters include Horace horse collar, salad fingers toy horse, Mr Branches a tree 21 yards from Salad finger's house. Roger a radio that scares salad fingers into a cupboard and who talks similar to a dalek, Penny pigtails a girl salad fingers imagines whilst hiding from Roger, Bordois is sald fingers "little sister" who is a woodlouse. There are also several unamed characters including a boy salad fingers accidently cooks, a small child that falls in love with salad fingers and cages him using a bear trap as well as a screeching child whom salad fingers enquires to him about "the spoons". Finally Salad fingers is a green hunched humanoid man he is bald with no nose or ears and has long hairy " salad fingers" . He has a strange atrraction to rusty objects as well as a desire to experiment with pain. He appears to suffer from psycosis and give inanimate objects human names. He often hallucinates and has muderous tendencies, he is portrayed as child like and experimental.
Salad fingers has infulenced my main character in the animation sequence, a small child seemingly harmless who turns out to be a muderous psychopath and this character is based on the child that tries to marry salad fingers as well as elements of salad fingers himself. Also the desolate room in which the monsters redside ios a sald fingers influence.
Vincent Price in The Witchfinder General
My main character is dressed in puritain regalia like the Witchhunter Matthew Hopkins, Vincent price portrays the Humter in the film the witch finder general. I wanted my character to look strange and out of place and i thought that if i had him in period costume this would prortray a sense of wonder as to who this man is.
Doctor Who-Fear Her
In this episode the Doctor and Rose travel to the year 2012 as the world is getting ready for the olypics. The Doctor meets a girl who is inhabbited by a lonely alien and who has the power to draw real people and trap them in her pictures, people from the street begin to go missing and eventually the Doctor and half the world dissapear into the girls pictures. And the only way to stop her is to destroy the picture of her evil dad that she has drawn and to convince the alien to move on.
This episode influenced me as the characters in the girls drawing can move as if they have life and my character can draw pictures that move and seem real.
Life on Mars Camberwick Green sequence
In this sequence Sam sees himself as a character on Camberwick green appearing from the musical box. He also sees An avatar of Gene Hunt beating up a peadophile in Camberwick green style animation.
This has influenced me a it is a surreal sequence bought on by Sam Hallucinating in his drugged up state. I wanted my animation to be strange and surreal as none of the Characters seem like they belong in this world.
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