Brief - Character Design - 29/10/09

I have done drawings of close up details that will make each of the characters more distinct and less generic and less like other characters.

Brief - Character Design - 29/10/09

I decide to put the character in different pose and draw from different perspectives to show more personality from each character.

Brief - Character Design - 28/10/09

I looked at the colours that I used to paint my characters and they seemed to bright for the stone age era as everything would be dirty because of the surroundings that lived in e.g. caves and doing hunting. So to get a dirty effect I muted doen all the colours using saturation, tint , colour temperature and exposure.

Brief - Character Design - 28/10/09

To give my characters more individuality I have researched bags for the sidekick , jewellery for my villian and tattoos and spears for my hero

Spears

Tattoos

Bags

Jewellery

Brief - Postmodernism - 25/10/09 - Essay Intro

'Slash art, Mash-ups and Sweding all reflect postmodernism, discuss the characteristics and theories that make them post-modernism.'

In this essay I will discuss how slash art , mash-ups and sweding, are all postmodern. Slash art is art created by fans that focuses on the depiction of romantic and sexual relationships between characters of the same sex. Mash-ups are the combination of videos that have no relevance to each other in real life but are put together in a stlyise and well excuted way. Sweding is when you recreate a film but it is unedited and each scene is only one take so what ever goes wrong stays in the clip. I understand postmoderism to be embed in all cultural, intellectual and artistic areas but lacks any organisation and encompasses complexity, contridiction, ambiguity and diversity but everything is still interconnected in a way.

Brief - Spoof - 24/10/09

After looking at the films from the 1960's for King Kong's comeback I decide to see what he would look like in some of the costumes he would have to wear in the films.

Laurance of Arabia / Kong of Arabia

James Bond - Dr No. / King Bond
























King Cassidy and the Sundance Kid

Brief - Postmodernism - 21/10/09

After the lecture will Phil today I think I canincorporate some of the ideas that were spoke about into my postmodernism essay.

The parts I might be able to include are

- Binary Oppostion
- Deconstructivism
- Problematization
- ' We live , not in reality but in the reflection of it'

Brief - Spoof - 21/10/09

1960's films that Kong could be in

- Chitty Chitty Bang Bang
- Batman
- Great Escape
- The Sound of Music
- Dr No
- Cleopatra
- Laurance of Arabia
- The Good, The Bad and The Ugly

Brief - Spoof - 21/10/09

After looking over all of my groups ideas based on King Kong, we have decided to focus on an idea that both me and Keith sort had.

The Idea

Start
- Newspaper spinning and stops with the headline about Kong about a comeback

Middle
- Newspaper spins with headlines about Kong in new films and other stuff
- See Kong in the role of films chosen e.g. Robocop
- Occurs several times

End - Not sure about ending yet













After pitching this to Alan - He gave the group some advice about if it is gonna be based on a comeback then the scenes and roles Kong has to be in have to be from 1960's films e.g Dr No. and Laurance Of Arabia.

Brief - Character Design - 19/10/09

Over the past week I have been developing my ideas further based on justin and phils advice to improve my characters . I have tried to give them more of a personality through there looks and props and make their role more identifiable.

Sidekick

To improve my character I have
- Taken out the cross eyes as it made him look to weird and fraudy eventhough he is ment to be wise.
- I have made his clothes look more rugged and old to fit the period more.
- I have made his clothes have many pockets which he puts the stone tablets in that he reads from, it gives him a sort of illegal dealer feel I think which makes him a little bit more shifty.
- I added some asymmetry to his anatomy to make his look unbalanced to give the audience a clue about his unstable personality.

Hero

With this character i have had no advice yet but to improve it I have

- Made the character a bit more cartoony to fit in with the villian and sidekick better

- I have given him a bow and arrow too, as in my original character notes I said he would carry one.

- I have put rips into his loin-cloth to fit in better with the stone era and to show he is like a hunter and a fighter that has been attacked.

Villian

To improve the character

- I have put him in a more animalistic pose to fit in with his character being brought up in the wild.

- I have given him scars and open wounds to show he has had to fight in the wild and has been battling all of his life.

- I have made his structure more bulky and powerful and strong due to his upbring in the wild and having to work hard to survive.

Brief - Postmoderism - 19/10/09

This is a link to the essay about 'The Death Of The Author' by Roland Barthes

http://evans-experientialism.freewebspace.com/barthes06.htm

From his essay I have picked out a large amount of information that i understand and that may become a crutial part in my own essay.

In his story Sarrasine Balzac, describing a castrato disguised as a woman, writes the following sentence: ‘This was woman herself, with her sudden fears, her irrational whims, her instinctive worries, her impetuous boldness, her fussings, and her delicious sensibility.’ Who is speaking thus? Is it the hero of the story bent on remaining ignorant of the castrato hidden beneath the woman? Is it Balzac the individual, furnished by his personal experience with a philosophy of Woman? Is it Balzac the author professing ‘literary’ ideas on femininity? Is it universal wisdom? Romantic psychology? We shall never know, for the good reason that writing is the destruction of every voice, of every point of origin. Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing.

Proust himself, despite the apparently psychological character of what are called his analyses, was visibly concerned with the task of inexorably blurring, by an extreme subtilization, the relation between the writer and his characters; by making of the narrator not he who has seen and felt nor even he who is writing, but he who is going to write (the young man in the novel — but, in fact, how old is he and who is he? — wants to write but cannot; the novel ends when writing at last becomes possible), Proust gave modern writing its epic.

Surrealism, though unable to accord language a supreme place (language being system and the aim of the movement being, romantically, a direct subversion of codes—itself moreover illusory: a code cannot be destroyed, only ‘played off’), contributed to the desacrilization of the image of the Author by ceaselessly recommending the abrupt disappointment of expectations of meaning (the famous surrealist ‘jolt’), by entrusting the hand with the task of writing as quickly as possible what the head itself is unaware of (automatic writing), by accepting the principle and the experience of several people writing together.

Linguistically, the author is never more than the instance writing, just as I is nothing other than the instance saying I: language knows a ‘subject’, not a ‘person’, and this subject, empty outside of the very enunciation which defines it, suffices to make language ‘hold together’, suffices, that is to say, to exhaust it.

The removal of the Author (one could talk here with Brecht of a veritable ‘distancing’, the Author diminishing like a figurine at the far end of the literary stage) is not merely an historical fact or an act of writing; it utterly transforms the modern text (or — which is the same thing —the text is henceforth made and read in such a way that at all its levels the author is absent). The temporality is different. The Author, when believed in, is always conceived of as the past of his own book: book and author stand automatically on a single line divided into a before and an after. The Author is thought to nourish the book, which is to say that he exists before it, thinks, suffers, lives for it, is in the same relation of antecedence to his work as a father to his child.

In complete contrast, the modern scriptor is born simultaneously with the text, is in no way equipped with a being preceding or exceeding the writing, is not the subject with the book as predicate; there is no other time than that of the enunciation and every text is eternally written here and now. The fact is (or, it follows) that writing can no longer designate an operation of recording, notation, representation, ‘depiction’ (as the Classics would say); rather, it designates exactly what linguists, referring to Oxford philosophy, call a performative a rare verbal form (exclusively given in the first person and in the present tense) in which the enunciation has no other content (contains no other proposition) than the act by which it is uttered

Having buried the Author, the modern scriptor can thus no longer believe, as according to the pathetic view of his predecessors, that this hand is too slow for his thought or passion and that consequently, making a law of necessity, he must emphasize this delay and indefinitely ‘polish’ his form. For him, on the contrary, the hand, cut off from any voice, borne by a pure gesture of inscription (and not of expression), traces a field without origin—or which, at least, has no other origin than language itself, language which ceaselessly calls into question all origins.

We know now that a text is not a line of words releasing a single ‘theological’ meaning (the ‘message’ of the Author-God) but a multi-dimensional space in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations drawn from the innumerable centres of culture.

Similar to Bouvard and Pecuchet, those eternal copyists, at once sublime and comic and whose profound ridiculousness indicates precisely the truth of writing, the writer can only imitate a gesture that is always anterior, never original. His only power is to mix writings, to counter the ones with the others, in such a way as never to rest on any one of them.

Did he wish to express himself, he ought at least to know that the inner ‘thing’ he thinks to ‘translate’ is itself only a ready-formed dictionary, its words only explainable through other words, and so on indefinitely

Baudelaire tells us (in Paradis Artificiels), ‘created for himself an unfailing dictionary, vastly more extensive and complex than those resulting from the ordinary patience of purely literary themes’. Succeeding the Author, the scriptor no longer bears within him passions, humours, feelings, impressions, but rather this immense dictionary from which he draws a writing that can know no halt: life never does more than imitate the book, and the book itself is only a tissue of signs imitation that is lost, infinitely deferred.

Once the Author is removed, the claim to decipher a text becomes quite futile. To give a text an Author is to impose a limit on that text, to furnish it with a final signified, to close the writing. Such a conception suits criticism very well, the latter then allotting itself the important task of discovering the Author (or its hypostases: society, history, psyche, liberty) beneath the work: when the Author has been found, the text is ‘explained’—victory to the critic.

Hence there is no surprise in the fact that, historically, the reign of the Author has also been that of the Critic, nor again in the fact that criticism (be it new) is today undermined, along with the Author.

Let us come back to the Balzac sentence. No one, no ‘person’, says it: its source, its voice, is not the true place of the writing, which is reading. Another—very precise— example will help to make this clear: recent research (J.-P. Vernant) has demonstrated the constitutively ambiguous nature of Greek tragedy, its texts being woven from words with double meanings that each character understands unilaterally (this perpetual misunderstanding is exactly the ‘tragic’); there is, however, someone who understands each word in its duplicity and who, in addition, hears the very deafness of the characters speaking in front of him—this someone being precisely the reader (or here, the listener). Thus is revealed the total existence of writing: a text is made of multiple writings, drawn from many cultures and entering into mutual relations of dialogue, parody, contestation, but there is one place where this multiplicity is focused and that place is the reader, not, as was hitherto said, the author.

The reader is the space on which all the quotations that make up a writing are inscribed without any of them being lost; a text’s unity lies not in its origin but in its destination. Yet this destination cannot any longer be personal: the reader is without history, biography, psychology; he is simply that someone who holds together in a single field all the traces by which the written text is constituted.

Which is why it is derisory to condemn the new writing in the name of a humanism hypocritically turned champion of the reader’s rights. Classic criticism has never paid any attention to the reader; for it, the writer is the only person in literature. We are now beginning to let ourselves be fooled no longer by the arrogant antiphrastical recriminations of good society in favour of the very thing it sets aside, ignores, smothers, or destroys; we know that to give writing its future, it is necessary to overthrow the myth: the birth of the reader must be at the cost of the death of the Author.

Brief - Post-modernism - 16/10/09

After the lecture on wednesday I have decide to look at another route into the essay with slash art, mash ups and sweding and how they are postmodern.

Slash art is fan art that focuses on the depiction of romantic and sexual relationships between characters of the same sex. See Below

Mashups is the combination of multiple source of video which have no relevance to each other but put together in a well excuted way. See Below



Sweding is when you recreate a film ( pretty much same as a parody). These remakes are unedited with only a single take per scene.

Work From The Summer - Cars - Ferrari Enzo and Volkswagon Beetle

Brief - Post-modernism - 14/10/09

This is a pastiche - It is a collective composition of New York City which has turned the buildings to words saying what each building is.

Brief - Post-modernism - 14/10/09

I am not 100% sure what my title is going to be but it could be about pastiche so I thought I should start looking at the meaning of the word and examples which could be used.

Pastiche - Is when you create a piece of work in imitation or satirizing of another piece of work.
Pastiches can be in the form of both film and art - this is shown by the scream and its pastiches below.

Works can be pastuched many times with different twists each time - probably the most well known pic is the mona lisa and it has been pastiched 100's of times