Experimental Film

'Experimental Film requires a different kind of spectatorship.' Has this been your experience? [35]

Experimental films are full of strange mixtures of images, situations, words and expressions that may not tell a cohesive story but, in the end, don't have to in order to achieve an emotional goal. This type of film therefore requires the spectator to shift their conventional cinematic expectations to accommodate more radical narrative techniques, themes and meaning construction. 

Un Chien Andalou, the infamous 1929 surrealist short film from Luis Bunuel and Salvador Dali, attests to this. 

The first time I viewed this experimental film I enjoyed it, however I wasn't fully aware of the deeper meaning within. I felt that the absence of dialogue and a linear narrative made me more on edge. It is so often the case with mainstream films that they become predictable through the narrative and dialogue. Because of the absence of these in this film, it meant for a more enjoyable viewing experience as I was unaware of where or what I was being led to. The main purpose of this film is to shock you, which is reinforced through the use of surrealism. The way in which the images are put together hold no obvious meaning which forced me to question and think about possible meanings or messages. For instance in the opening of the film it shows a close up of a women's eye being sliced open with a cut-throat razor blade. The following long shot shows a man dressed in women's clothing riding a bicycle down the road. This coupling of shots are designed to baffle and confuse you as they have no logical relation between them. The cutting of a woman's eye, I found shocking but found it enjoyable as it a break from the norm of mainstream film. I do believe that experimental films such as Un Chien Andalou require a different of spectatorship and at first was a challenge. Despite enjoying this challenging spectatorship, viewing other experimental films after experiencing this one, things began to fall into place and I began to not only understand the concept of experimental film but enjoy them as each individual one is completely different and has its own personal factors that make you confused and think differently.


Chris Marker became known internationally for the short film La Jetée (1962). It tells of a post-nuclear war experiment in time travel by using a series of filmed photographs developed as a photomontage of varying pace, with limited narration and sound effects. Now add your personal response and discussion of spectatorship issues

Maya Deren’s Meshes of the Afternoon (1943) is a work that maintains all of the mystery, tranquility, unpredictability, and personal attachment that is ever present within the world of dreams. Now add your personal response and discussion of spectatorship issues

Reflective Analysis Urban Story

Taking inspiration from new wave film, our take on an urban story was predominantly based around 'Le Haine' as well taking knowledge from both 'City of God' and 'Chung King Express'. We took key themes of these urban stories and attempted to portray them in our own short film through cinematography, narrative, framing etc. In our film, there is a clear lack of narrative. In most main stream films, this would be a downfall, yet in Urban Stories the lack of narrative projects the fact that these characters have little to do and spend most of their time doing nothing. They are lethargic and lack motivation due to their situation.  In La Haine the three main characters are shown to frequently walk around without any specific reason, reinforcing the fact that these characters have little to do and are bored. Recreating this in our own film, meant capturing shots of the one character in our film alone, walking aimlessly through various urban locations. The shots used were a mix of long shots, midshots, and close ups which are all used in Le Haine throughout. Extreme close ups for example, can emphasise the concept of being trapped, as well as long shots projecting the emotion of loneliness. The choice of music for our urban story worked considerably well in my opinion. 'Peace-1998' being a psychedelic pop-rock song, contrasted well to the nature of this film. Much like the opening sequence to Le Haine where video footage of riots is accompanied with Reggae music. The messages and themes commonly associated with psychedelic music is freedom and peace, which are binary oppositions almost to the themes that run throughout Le Haine as well as other urban stories such as there lack of freedom and the lack of peace or harmony.

Annotated Catalogue

Can the cinematic depictions of the character Hannibal Lecter be perceived as auteuristic?

Films

Item 1: Silence of The Lambs (1991) This is the second film of the series based on the 4 novels written by Thomas Harris. In this film, Hannibal Lecter  (played by Anthony Hopkins) is shown as a prisoner throughout the majority of the film as opposed to 'Hannibal' (2001) which is set after his escape from captivity. Because of this, it allows the audience to observe the nature of this character and learn certain aspects of his personality. He is first introduced in this film behind his glass prison cell, as he is questioned by the rookie FBI agent Clarice Starling (played by Jodie Foster). This is the perfect film to choose as my focus film as he is behind glass throughout the film allowing me to study this character thoroughly.

Item 2: Hannibal (2001) This is the second film of my three, I chose this for my second focus film as it is the next film in the series and is a development from 'The Silence of The Lambs' in regards to the relationship between Hannibal and Agent Starling as well as a development in Hannibal's personality. In this film he is not in captivity which leads him to committing acts that reveal his true psychotic self, at the same time as maintaining his well mannered respectful and sophisticated nature.

Item 3: Manhunter (1986) This is the first film to be made and on the first novel (Red Dragon) which was later re-made into the film Red Dragon. In this film Hannibal Lecter is played by Brian Cox as revealed that he based his performance on a well known serial killer Peter Manuel. It is because of this fact that I have decided to use this film as one of my focus films as it will allow me to discuss and argue whether the cinematic depictions of the character Hannibal Lecter be perceived as auteuristic or whether it is down to individual actors adapting the role of Hannibal Lecter.

Articles

Item 4: "Who plays Hannibal Lecter the best?"
http://www.charactergrades.com/exclusives/dr-hannibal-lecter-who-plays-him-best
This is very helpful as it allows me to discuss and gain an insight into how this character is played by other actors.



Item 5: "Why Hannibal continues to charm and haunt us"
http://www.theglobeandmail.com/arts/television/why-hannibal-lecter-continues-to-charm-and-haunt-us/article10736070/   This is an article about the character of Hannibal Lecter and why it is that people still are appealed by his character. This is useful as it explains to me why it is that people are still intrigued yet 'haunted' by this character.

Item 6:"The Birth of a Killer"
http://philosophypress.co.uk/?p=770

 Item 7:  Article giving a brief overview of Hannibal Lecter throughout each film. It also states about how each actor takes on the role of Hannibal. I am using this as I believe it will give me good topics to argue on my question, such as Brian Cox basing his performance on an already known serial killer Peter Manuel. This is very useful as it will allow me to argue whether Hannibal Lecter is an auteur character is he changed and altered in relation to the actor.
 http://en.wikipedia.org/wiki/Hannibal_Lecter#In_film

Item 8: "Hannibal Lecter is a feminist"
http://timothystanley.co.uk/1/post/2013/01/hannibal-lecter-is-a-feminist.html

Videos

Item 9: http://www.youtube.com/watch?v=WoR2ymL6J50 
Gaspard Ulliel discussing taking on the role of Hannibal Lecter in the film Hannibal Rising. I am using this as it gives an in depth discussion of how Gaspard takes on the role of Hannibal as he plays a younger version of the Hannibal we see played by Anthony Hopkins. I feel that this is very useful as it is primary evidence from actors talking about how Hannibal,as a character, is constant but also tweaked slightly in relation to the actor. Gaspard talks about analysing Anthony Hopkins as Hannibal and learning certain mannerisms and movements, as well as adding his own personal touch to the character. This allows me to argue whether Hannibal Lecter is an auteur character or not. Does it still count if the character is portrayed at different age all together?
http://www.youtube.com/watch?v=WoR2ymL6J50

Item 10: Mads Mikkelsen talking about the adaptation of the character Hannibal Lecter as he undertakes the role for the TV Series Hannibal. Stating that it is set in a time before Hannibal is capture he says that this gave him a chance to do something different with the character. I am using this as a clear and strong point to argue whether time periods change the actors ability to alter the character of Hannibal Lecter. For example if Hannibal is to be played at time younger than in previous films (Silence of the Lambs) does it mean that this character has not yet developed into what was played by Anthony Hopkins?
http://www.youtube.com/watch?v=OmLRRLRhZU0

Item 11: Gaspard Ulliel talking again about undertaking the role of Hannibal and the freedom he had with it. He goes into detail about picking and choosing certain aspects of Anthony Hopkins performance but the majority of his acting was inspired by reading books about similar serial killers which became helpful to him. This is useful as it is a strong point to state when arguing whether Hannibal is an auteur character as cases where the actor has change, so has subtleties in the performance of Hannibal Lecter.

Rejected Items

Item 12: Hannibal Lecter: Orgin, Facts and Fiction' I decided that this item should be rejected as despite being very insightful on the character of Hannibal Lecter, it is strongly based on the Thomas Harris novels as opposed to my focus films therefore I cannot use this information to strengthen my argument as I am questioning the performance of Hannibal within the films.

http://www.crimelibrary.com/serial_killers/weird/lecter/1.html

Item 13:

 http://voices.yahoo.com/the-evolution-hannibal-lecter-149249.html?cat=38

Item 14: 

http://www.denofgeek.us/movies/hannibal-lecter/140360/hannibal-lecter-a-character-retrospective

La Haine

How far does the impact of the films you have studied for this topic depend on distinctive uses of film technique?


Throughout the film, camera angles, framing and positioning are all used to portray the three characters and how they each have there own identity. After the three boys split in the narrative,  they are brought back together when Vinz is waiting for them at the station. Said, in this shot is shown by the use of positioning and framing, to be the person who brings the three back together after the situations throughout the narrative cause them to split. The impact of this for me, is that the three characters are each representing a factor of the French Motto 'Liberté, égalité, fraternité. In the beginning sequence of this film, Vinz is shown to be the dominant figure of the group through positioning and framing. As the narrative develops, the positioning alters to show the different representations of the characters. 

In this shot the use of mise en scene also carries deeper meanings. Above the three boys, there is a large clock. Throughout the film, time is a key motive in the sense that it is only a matter of time before something happens again i.e violence. Usually after a change in location or time, there is a straight cut to a digital clock on the screen showing the time, accompanied with the sound of a ticking clock. The impact from this is that the social issue at hand in France, is a re-occuring issue. It may disappear for brief parts throughout the film but it always resurfaces. This circular motion of re-occuring issues is similar to the way that the media circulates these problems through newspapers, TV etc. Time, a key motive of the film, also works in a circular motion, and is never ending. Personally I think that this circular motion represents the fact that these urban issues are never ending and shall keep resurfacing. 

Interviews

Michael Pitt


MP: One of my biggest realizations is that, in not making it specifically about anyone or times or dates, he allowed people to look at a human being in that situation. And not like a rock icon. Someone that people already have, like, ideas about what they are in their heads, you know?

MP: Gus is just—Gus has no ego, and it's really easy to be friends, and we're interested in a lot of the same things. I mean, I love being around him and learning—I mean, he knows so much, you know?

G: What was it first about his work that captivated you from the outside as a viewer?
MP: I guess the fact that it was like a film that I had never seen before. You know, my first film that I saw of Gus's was Private Idaho, and I just remember—I just had never seen anything like that before on film, and I had watched a lot of films.


Gus Van Sant

How did Sonic Youth’s Thurston Moore become involved as music consultant?  I needed to have somebody that knew the music scene. I met him at a few NYC gatherings and asked him to be a musical advisor on the film. For any and all questions on music, bands equipment and so on. I went over with him and brought Mike (Pitt) who brought his guitar and I remember he played a song.

At the film’s end we remain unsure exactly how Blake dies. Can you comment on that significant choice, to leave the matter open? When he (Blake) was looking up, it is sort of his revelation, whatever it may be. You see it from the tabloid point of view, just from the hillside and you’re not really part of it.

Finally, as used brilliantly in “Last Days,” there is “time-looping” device that also drives “Gerry” and “Elephant.”
 Well, “Elephant” is one that has the most extensive and successful circling of time, because of those characters being so separate. We were attempting that same thing in “Last Days” but then we realized that Mike’s character, Blake, was so dominant that it was hard to go-off with other characters for really long periods of time.


Were there any favorite or affecting films that influenced “Last Days”?
One of the influences on all three films is Bela Tarr’s “Satantango.” Another is Chantal Akerman’s film “Jeanne Dielman” from 1975.

Control

 

Control is a 2007 biographical film about the life of Ian Curtis, singer of the late-1970s English post-punk band Joy Division. It is the first feature film directed by Anton Corbijn, who had worked with Joy Division as a photographer. The screenplay by Matt Greenhalgh was based on the biography Touching from a Distance by Curtis' widow Deborah, who served as a co-producer on the film. Tony Wilson, who released Joy Division's records through his Factory Records label, also served as a co-producer. Curtis' bandmates Bernard Sumner, Peter Hook, and Stephen Morris provided incidental music for the soundtrack via their post-Joy Division act New Order. Control was filmed partly on location in Nottingham, Manchester, and Macclesfield, including areas where Curtis lived, and was shot in colour and then printed to black-and-white. Its title comes from the Joy Division song "She's Lost Control".

 
''On 17 May 1980, two nights before Joy Division is due to depart for America, Ian returns home and begs Debbie not to divorce him. When she refuses, he angrily orders her out of the house. After drinking alone and writing Debbie a letter, he has another seizure. Regaining consciousness the following morning, he hangs himself from the clothes line in the kitchen. Debbie discovers his body and staggers into the street, crying for help. The news of Ian's death leaves the remaining Joy Division members stunned, while Tony consoles Annik. Ian's body is cremated.''

                                  

Last Days

 

Last Days is a 2005 American semi-biographical drama film directed, produced, and written by Gus Van Sant, and is a fictionalized account of the last days of Nirvana frontman Kurt Cobain. It was released to theatres in the United States on July 22, 2005, and was produced by HBO. The film stars Michael Pitt as the character Blake, based on Kurt Cobain. Lukas Haas, Asia Argento, and Scott Patrick Green also star in the film. This is the first film from Picturehouse, a joint venture between Time Warner's New Line Cinema and HBO Films subsidiaries to release art house, independent, foreign and documentary films.

 

''Introspective artist Blake is buckling under the weight of fame, professional obligations and a mounting feeling of isolation. Dwarfed by towering trees, Blake slowly makes his way through dense woods. He scrambles down an embankment to a fresh spring and undresses for a short swim. The next morning he returns to his house, an elegant, if neglected, stone mansion. Many people are looking for Blake—his friends, his managers and record label, even a private detective—but he does not want to be found. In the haze of his final hours, Blake will spend most of his time by himself. He avoids the people who are living in his house, who approach him only when they want something, be it money or help with a song. He hides from one concerned friend and turns away another. He visits politely with a stranger from the Yellow Pages sales department, and he ducks into an underground rock club. He wanders through the woods and later plays a new song, one last rock and roll blowout. Finally, he stumbles into the greenhouse next to his mansion. Soon after his friends leave, while looking back into the greenhouse one of the friends looks in from the car to notice a man in an orange jumpsuit. The next morning by a worker he is found dead. A spectre of the musician, naked, slowly climbs out of his dead body and up the ladder possibly to the "nirvana" waiting above.''