Persepolis by Marjane Satrapi.
Persepolis is a dialogue heavy autobiographical graphic novel about the main character's evolution from a child to an adult living in Iran during the 1980's. Marjane witnesses the drastic change from a more democratic environment to an oppressive dictatorship. Among some of her recollections, Marjane recounts the hostility for simple pleasures like certain articles of clothing, music, alcohol, parties, and other everyday things most people take for granted. Recreational forms of entertainment and socializing were deemed “decadent,” and were forbidden. As social oppression grew, the progressive views of her family affected her perspective of the political landscape. Not only do you see Marjane mature from a child to a teenager, you see the evolution of her attitudes towards religion and politics. The main character is based on Satrapi herself, so the dialogue feels as if she is engaging the reader directly in real time.
The graphic art style is simple in terms of character design and color. The characters are simplified in a semi-cartoon fashion, but visually have emotional weight because of the high contrast black and white giving each scene intensity. There are humorous moments, but the majority of content is poignant and ominous given the emotional evolution of the main character. The detail and shape is reminiscent of Russian nesting dolls. Color-wise, the graphics resemble the pop art styling of Andy Warhol with high contrasts between light and dark tones.
As for the layout, each little moment is given a smaller box for that particular action or piece of information. This is to create a sense of movement within the still imagery, and to convey continuous action so the story feels fluid. This graphic novel would serve well as storyboards for an animated adaptation.
As an artist, Satrapi definitely has an Auteur’s Voice. Her graphic novel is unique and insightful, and her perspective is engaging and sympathetic throughout. The art style matched the sobering mood of her story perfectly. Most graphic novels use color to hold the reader’s attention, but the high contrast black and white matched the serious tone of a young woman trading her idealism for realism perfectly. It's as if the reader is watching a historical documentary. I would highly recommend this graphic novel to anyone looking for strong imagery coupled with fascinating and heartbreaking stories told authentically from an author’s perspective.
Saturday, March 25, 2017
Thursday, March 23, 2017
Assignment 09: Voice and the Auteur Theory
Sofia Coppola & Auteur's Voice
The Virgin Suicides (1999)
Marie Antoinette (2006)
Lost In Translation (2003)
Sofia Coppola heavily used light effects (both natural and orchestrated) to illuminate characters, or for emphasis on a particular part of a scene. Sometimes light was used to immerse the viewer in the beauty of the surroundings, or to create a sense of mood whether it be excitement, intensity, loss, or uncertainty. Light might sparkle or glow for optimism, or be dim and narrow to convey a sense of dread.
In the case of The Virgin Suicides, Sofia's color palette (which was warm and golden) reflects the idealistic psychology of the main characters, and the whimsical view of the boys re-telling their story. There is a paradox of optimism and beauty against anguish and strict limitations. Light glistening through the trees seems to demonstrate the girls' hope in spite of their isolation, which makes their fate more poignant. The girls wanted to believe in something better. Lost In Translation also has a dreamlike quality with muted colors to portray the city of Tokyo in a calm, sophisticated manner as opposed to the bright, frenzied, overly energetic way Tokyo is represented the majority of the time. Marie Antoinette's color palette emphasis is on bright pastels, reminiscent of Versailles itself with vibrant colors everywhere. The dreamy environments makes the audience feel enveloped in the scenery as opposed to something dark they want to escape. Sofia uses color to create a sense of atmosphere based on the mood and emotional mindset of her characters or their era.
The music used in Sofia Coppola’s films is generally contemporary with hints at the era being conveyed. The Virgin Suicides soundtrack captures the style of the mid to late 70's, but also the mood and mindset of the Lisbon girls, especially Lux. You can practically feel the desperation of these sisters in the melodic, but melancholy arrangements. The music seems to illustrate the longing for some sort of answer to everything that happened to the girls. In the case of Marie Antoinette, the guitar is used to depict Marie Antoinette’s overall perception of being an outsider in the middle of Versailles. While this seems like an odd choice for such a period piece, Marie Antoinette demonstrated a more modern feminine mindset not representative of her era. The score in Lost In Translation is mostly guitar with a contemporary feel that is mellow and melancholy to communicate the emotional neglect felt by the two main characters. Sofia takes great care in her films to choose music that serves the emotional weight of any scene.
Sofia Coppola took great care developing entire worlds for her characters to live in. She even shot extra footage not necessarily planning for it to be used in the final film. For The Virgin Suicides, Sofia recorded “home movies” of the Lisbon girls when they were younger. While this never appeared in the final film, this was done because she loved the source material and wanted to expand the world of the Lisbon girls. For Lost In Translation, Sofia shows us Charlotte's world with Polaroids, notebook sketches, and by her travels to see monks worshiping. This is meant to show the audience the character's genuine interest in Japanese culture rather than simply a personal trip as a means to escape. As a director, Sofia observes the good writer's rule of “Show, don't tell”. In the case of Marie Antoinette, we see Marie observing the members of royalty within Versailles, and her reactions to the social dynamic and cultural norms. We see everything she witnesses as a revelation and a paradigm shift because she was in an arranged marriage, and everything good and bad is out of her control.
Sofia puts great emphasis on costume and set design. In The Virgin Suicides, the clothing, hair, make up, and music are all authentic to the 1970’s, as well as general attitudes. The neighborhood is reminiscent of suburban life in the 1970's. Marie Antoinette was filmed on location in Versailles, and the costuming and hair resembles classic paintings from the 1700's. In Lost In Translation, the clothing style and hair is contemporary and understated so the viewer focuses more on character emotion and surroundings. From film to film, Sofia's visual authenticity is consistent, and so is audience immersion.
Each shot in Sofia's films feels like a well thought out piece of photography. Great care was taken in structuring each shot so there was intimacy with each character. Moments are illuminated with beauty, even in the darker moments. Thoughtful lighting from scene to scene makes the audience want to stay invested in the atmosphere. Even dark moments are aesthetically pleasing as opposed to making the audience on edge or uncomfortable. This leaves the audience free to feel for the characters instead of themselves.
When depicting a tragedy, Sofia Coppola takes great care to show the emotional weight of the scene rather than glorify its violence. Visual details that might be considered vulgar are avoided out of respect for her characters. Some of the dead are depicted in silhouette allowing the audience to view the tragedy without feeling fear or offense. Sofia prefers her audience be engaged by atmosphere, story and characters rather than repelled by graphic visuals.
The camera shots, at times, almost appear “third person” as if we are in the room. We are privy to character emotions at their time and place. During action scenes, the camera might move with the characters as if we are along, or shot from character point of view. The camera might point toward the sky if the characters are looking up. The audience feels as if they are sharing time with the characters through the camera movements and angles. Story is furthered by what we witness in addition to the dialogue we hear. Cinematography includes shots from a variety of angles and perspectives so the audience feels the vast atmosphere of the cities or landscapes along with the characters. Sofia's love for filmmaking and photography is represented in the visuals captured by the cameras under her direction.
Specifically with Marie Antoinette and The Virgin Suicides, Sofia puts great emphasis on femininity. Both Lux and Marie are depicted as having more modern and idealistic attitudes than their eras (or circumstances) would allow. They both express frustration of having a more modern view, but suffering the limits placed upon them by their time. In the case of Lost In Translation, Charlotte is somewhat isolated from all things familiar because of her husband’s work abroad as a photographer. The interactions she observes between her husband and his friends is merely shallow conversation. When she expresses her desire for more meaningful connections with people, she's dismissed as being a snob. Charlotte, too, is a woman seeking a more meaningful existence than her circumstances provide.
Based on these subtle cues in tone, lighting, character development, and mindful unfolding of story, I’d say that Sofia Coppola definitely has an auteur's voice. She does not shy away from her emotional connection to the material, and expressing it through the characters. Her father, Francis Ford Coppola, had a great influence on her as an artist. His directorial style combines memorial dialogue with intense visuals which are strong enough to further story. However, Sofia developed her own style based on material that inspired her. As a young art student, I have always been a huge fan of Sofia's work for its beautiful cinematography. The Virgin Suicides has been a favorite film of mine since I was 14. Compared to other filmmakers, Sofia's visual style conveys the emotional depth to the audience that, for me, feels like poignant non-verbal story telling. We aren't just following with our eyes, we are feeling with them.
Monday, March 13, 2017
Assignment 08: "The Goose Father" Screenplay Outline
A collaborative project between Ga Young Choi, Amanda Jow, and Natalie Palumbo.
Act 1: The main character, Gilho Pak, has sent his family to America to have a better life while he stays behind in Korea to financially support them. He is searching for a tenant to room with him.
We are introduced to his new tenant, Wuseong, who is an exuberant college aged man who arrives with a goose. Gilho is both baffled and irritated to have to live with Wuseong's goose, but attempts to mind his own business and study his plants. One day, Gilho is attacked by the goose, and becomes extremely defensive around the bird. Tensions are eased when Wuseong prepares a lavish meal for Gilho. As they share the meal, Wuseong mentions reading Gilho’s first poetry book, to which Gilho is extremely embarrassed his old poems were discovered. The moment again softens when Wuseong mentions he is not fond of most people, but he enjoys Gilho’s company.
As time passes, Wuseong is shown to be a talented singer, actor, and photographer (shown in a quick paced montage). Gilho reacts with fascination to Wuseong’s carefree, uninhibited personality. Wuseong's unconventional nature is further made clear when he is seen acting and singing while wearing sponges on his feet to clean the floor. Gilho discovers that Wuseong had been training to become a Thespian actor, but quit college because the courses weren't helping him.
Gilho finally asks about the goose Wuseong brought with him. Wuseong says he believes the goose is his mother reincarnated. Wuseong tells Gilho that his mother promised to come back when she passed, and he was convinced the goose was she.
Act 2: Through Gilho’s travels to the karaoke bar and the slums, and we see his growing disinterest in women, which is becoming more evident the more time he spends with Wuseong. Sensing mutual attraction, Wuseong attempts to kiss Gilho. In an effort to resisting his primal urges, Gilho recoils and slaps him. Wuseong, feeling remorseful and humiliated, flees the apartment so Gilho can calm down.
Next, we see Gilho going to drink with his military friends to reminisce about their youth. Afterwards, he is stopped by two prostitutes, and is saddened to see one of them has eyes that reminds him of Wuseong. Later, Gilho meets with his military friends again to eat at a barbecue restaurant. Gilho points out the owner's pet pig in a cage, and wonders if the pig can smell the flesh from his own kind. [Perhaps a metaphor for feeling trapped, helpless, and at risk.] All the men are enduring a similar situation where they are supporting their families who are outside the country. They reminisce about their youth to cope with the hardship of being alone, but also to humble the younger ranks that have it easier.
Act 3: Gilho returns home with his drunken friend, Taeyeong, and finds the goose in the room. The drunken friend starts to chase it, and gets attacked. He wanted a feather from it’s plumage to use it as a quill pen. Wuseong bursts in to protect the goose from Taeyeong, who ends up collapsing on the nearby couch. Gilho, Wuseong, and Taeyeong soon fall asleep.
Gilho awakes a short time later to discover the first full moon of the year shining through the balcony window. Standing on the balcony is Wuseong gazing at the moon holding the goose. For a brief moment, Gilho can see the spirit of his mother standing next to Wuseong. This vision eludes to the fact that the goose is, indeed, Wuseong’s mother reincarnated.
Gilho joins Wuseong on the balcony, finally giving into his romantic feelings. Gilho admits, “I've been lonely. I've been lonely all my life.” He quietly hopes Wuseong’s mother will accept him. Gilho puts his hand on Wuseong’s face, and leans in to kiss him. [fade to black]
Act 1: The main character, Gilho Pak, has sent his family to America to have a better life while he stays behind in Korea to financially support them. He is searching for a tenant to room with him.
We are introduced to his new tenant, Wuseong, who is an exuberant college aged man who arrives with a goose. Gilho is both baffled and irritated to have to live with Wuseong's goose, but attempts to mind his own business and study his plants. One day, Gilho is attacked by the goose, and becomes extremely defensive around the bird. Tensions are eased when Wuseong prepares a lavish meal for Gilho. As they share the meal, Wuseong mentions reading Gilho’s first poetry book, to which Gilho is extremely embarrassed his old poems were discovered. The moment again softens when Wuseong mentions he is not fond of most people, but he enjoys Gilho’s company.
As time passes, Wuseong is shown to be a talented singer, actor, and photographer (shown in a quick paced montage). Gilho reacts with fascination to Wuseong’s carefree, uninhibited personality. Wuseong's unconventional nature is further made clear when he is seen acting and singing while wearing sponges on his feet to clean the floor. Gilho discovers that Wuseong had been training to become a Thespian actor, but quit college because the courses weren't helping him.
Gilho finally asks about the goose Wuseong brought with him. Wuseong says he believes the goose is his mother reincarnated. Wuseong tells Gilho that his mother promised to come back when she passed, and he was convinced the goose was she.
Act 2: Through Gilho’s travels to the karaoke bar and the slums, and we see his growing disinterest in women, which is becoming more evident the more time he spends with Wuseong. Sensing mutual attraction, Wuseong attempts to kiss Gilho. In an effort to resisting his primal urges, Gilho recoils and slaps him. Wuseong, feeling remorseful and humiliated, flees the apartment so Gilho can calm down.
Next, we see Gilho going to drink with his military friends to reminisce about their youth. Afterwards, he is stopped by two prostitutes, and is saddened to see one of them has eyes that reminds him of Wuseong. Later, Gilho meets with his military friends again to eat at a barbecue restaurant. Gilho points out the owner's pet pig in a cage, and wonders if the pig can smell the flesh from his own kind. [Perhaps a metaphor for feeling trapped, helpless, and at risk.] All the men are enduring a similar situation where they are supporting their families who are outside the country. They reminisce about their youth to cope with the hardship of being alone, but also to humble the younger ranks that have it easier.
Act 3: Gilho returns home with his drunken friend, Taeyeong, and finds the goose in the room. The drunken friend starts to chase it, and gets attacked. He wanted a feather from it’s plumage to use it as a quill pen. Wuseong bursts in to protect the goose from Taeyeong, who ends up collapsing on the nearby couch. Gilho, Wuseong, and Taeyeong soon fall asleep.
Gilho awakes a short time later to discover the first full moon of the year shining through the balcony window. Standing on the balcony is Wuseong gazing at the moon holding the goose. For a brief moment, Gilho can see the spirit of his mother standing next to Wuseong. This vision eludes to the fact that the goose is, indeed, Wuseong’s mother reincarnated.
Gilho joins Wuseong on the balcony, finally giving into his romantic feelings. Gilho admits, “I've been lonely. I've been lonely all my life.” He quietly hopes Wuseong’s mother will accept him. Gilho puts his hand on Wuseong’s face, and leans in to kiss him. [fade to black]
Assignment 07: Adaptation
“The Graduate” starring Dustin Hoffman, Anne Bancroft, and Katharine Ross (directed by Mike Nichols) is considered an iconic film for its controversial themes at the time the film was made. It was so groundbreaking for it's time, the film has become synonymous with the late 60's as helping to define the era. For this assignment, I will be responding to the screenplay for “The Graduate” as the director.
According to the screenplay, the story takes place in 1967. “The Graduate” is best represented using the language, fashion, hairstyles, make-up, musical score, interior and exterior design elements reminiscent of the mid to late 1960’s. Researching the time frame in which this story takes place is necessary to realistically reflect the era and how each character would look. Attitudes of the times would have an impact on the characters behavior and plot, and the viewers need to feel they are viewing this era authentically. Reviewing films that have successfully recreated the nostalgic feel of the 60's is helpful during period research. In short, it needs to look and sound like the 60's so you “feel” the era. Fashion trends can be faithfully replicated using vintage style guides matching the era and economic level and age of the characters.
As far as costuming is concerned, the attire must have nostalgic 60's look. If the design and fashion choices aren't authentic, it will distract the viewer and prevent them from feeling immersed in that time frame. Ben’s costuming, for example, must convey an entitled, privileged attitude so his actions seem consistent with his character. I believe the costuming must convey overall affluence so the audience expects maturity, and their foolish actions appear paradoxical.
Mrs. Robinson’s character must appear like she materially has everything a person could want. However, her obvious privilege stands in contrast with her unfulfilled emotional state. She must be depicted as someone attractive for her age rather than someone struggling to maintain youth by wearing fashions meant for a younger woman. Mrs. Robinson would most likely wear muted, darker tones tailored to represent an upper class lifestyle, which has left her feeling ignored and suffering a mid-life crisis. Because she appears to accept her station in life, she is able to hide in plain sight while using her authority to seduce Ben unbeknownst to her husband and young adult daughter.
Elaine must be depicted as the most sincere and thoughtful of the characters. Her innocence should be obvious amid the scandalous behavior. Her fashions, while well made given her character's affluence, should be playfully styled for a young woman reminiscent of the era. Hair and make up should reflect her youthful optimism that matches the style of the late 60's. Her conveyed goodness represents all the opportunities available to her as compared to her mother having been limited by her choices.
The set design should reflect the interior furnishings of a successful upper middle class family in the late 1960's. Family moments should include popular foods of the day, as well as music of the era, or a score with a vintage feel. Fashion magazines from the late 60's as well as period photography can help replicate an authentic era feel.
As for film direction, it should be shot from Ben’s perspective, except for the scenes when Mrs. Robinson is making an overture, or another character is attempting to take control. There should be an emphasis on who has the power in each shot by angling down on the character being controlled, or up on the character that is in control. The camera should level out only when both characters have equal control in a scene, or a monumental moment, such as Elaine fleeing her wedding to run off with Ben.
Lighting and cinematography would be reminiscent of publicity stills taken in late 60's of (now) iconic celebrities, such as Marilyn Monroe and the Kennedys. The film would be shot in color, but the color choices for clothes and interiors would be muted cool tones giving the film a “black and white” in color feel similar to intensely lit publicity shots of the era.
Because of the strength of the screenplay, recreating The Gradate on camera would be a reasonable task as the artistry and tone are consistent throughout. As a director, you should keep as close to the source material as possible with only small adjustments for screen adaptation. To avoid adjustments for pacing might leave in moments that add nothing to further the story, or may change the perception of characters from the author's intention. For example, Stanley Kubrick’s 1952 adaptation of the controversial novel, “Lolita” only seemed to borrow character names, and oversimplify the plot to exclude any scandalous content. Adrian Lyne’s 1997 Showtime Original film version of “Lolita” more closely followed the dark theme of the novel with only pacing adjustments. The screenplay for The Graduate is well thought out, all that is needed is to marry the characters, story, and dialogue to visuals.
According to the screenplay, the story takes place in 1967. “The Graduate” is best represented using the language, fashion, hairstyles, make-up, musical score, interior and exterior design elements reminiscent of the mid to late 1960’s. Researching the time frame in which this story takes place is necessary to realistically reflect the era and how each character would look. Attitudes of the times would have an impact on the characters behavior and plot, and the viewers need to feel they are viewing this era authentically. Reviewing films that have successfully recreated the nostalgic feel of the 60's is helpful during period research. In short, it needs to look and sound like the 60's so you “feel” the era. Fashion trends can be faithfully replicated using vintage style guides matching the era and economic level and age of the characters.
As far as costuming is concerned, the attire must have nostalgic 60's look. If the design and fashion choices aren't authentic, it will distract the viewer and prevent them from feeling immersed in that time frame. Ben’s costuming, for example, must convey an entitled, privileged attitude so his actions seem consistent with his character. I believe the costuming must convey overall affluence so the audience expects maturity, and their foolish actions appear paradoxical.
Mrs. Robinson’s character must appear like she materially has everything a person could want. However, her obvious privilege stands in contrast with her unfulfilled emotional state. She must be depicted as someone attractive for her age rather than someone struggling to maintain youth by wearing fashions meant for a younger woman. Mrs. Robinson would most likely wear muted, darker tones tailored to represent an upper class lifestyle, which has left her feeling ignored and suffering a mid-life crisis. Because she appears to accept her station in life, she is able to hide in plain sight while using her authority to seduce Ben unbeknownst to her husband and young adult daughter.
Elaine must be depicted as the most sincere and thoughtful of the characters. Her innocence should be obvious amid the scandalous behavior. Her fashions, while well made given her character's affluence, should be playfully styled for a young woman reminiscent of the era. Hair and make up should reflect her youthful optimism that matches the style of the late 60's. Her conveyed goodness represents all the opportunities available to her as compared to her mother having been limited by her choices.
The set design should reflect the interior furnishings of a successful upper middle class family in the late 1960's. Family moments should include popular foods of the day, as well as music of the era, or a score with a vintage feel. Fashion magazines from the late 60's as well as period photography can help replicate an authentic era feel.
As for film direction, it should be shot from Ben’s perspective, except for the scenes when Mrs. Robinson is making an overture, or another character is attempting to take control. There should be an emphasis on who has the power in each shot by angling down on the character being controlled, or up on the character that is in control. The camera should level out only when both characters have equal control in a scene, or a monumental moment, such as Elaine fleeing her wedding to run off with Ben.
Lighting and cinematography would be reminiscent of publicity stills taken in late 60's of (now) iconic celebrities, such as Marilyn Monroe and the Kennedys. The film would be shot in color, but the color choices for clothes and interiors would be muted cool tones giving the film a “black and white” in color feel similar to intensely lit publicity shots of the era.
Because of the strength of the screenplay, recreating The Gradate on camera would be a reasonable task as the artistry and tone are consistent throughout. As a director, you should keep as close to the source material as possible with only small adjustments for screen adaptation. To avoid adjustments for pacing might leave in moments that add nothing to further the story, or may change the perception of characters from the author's intention. For example, Stanley Kubrick’s 1952 adaptation of the controversial novel, “Lolita” only seemed to borrow character names, and oversimplify the plot to exclude any scandalous content. Adrian Lyne’s 1997 Showtime Original film version of “Lolita” more closely followed the dark theme of the novel with only pacing adjustments. The screenplay for The Graduate is well thought out, all that is needed is to marry the characters, story, and dialogue to visuals.
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