Evaluation

Evaluative research report

The first task we were set within Creative Project Realisation was the workshop project in which we were to work as part of a small group to design and build a set. This set would become the setting for a short film sequence, depicting “the uncanny”.

In order to design a set and film sequence which work together to create the uncanny, we first had to fully understand exactly what “uncanny” means. I therefore began by conducting research into the uncanny and the various routes we, as a group could take for our workshop project. Using the Freudian concept of the uncanny where by something, whether it is a situation or a particular object seems familiar yet foreign; I was able to establish how an individual may respond and the unease they may feel when faced with said situation or object. This allowed me to understand the aim of an artist or film-maker and the purpose of an uncanny piece.

I researched various artists and film-makers that favour the uncanny and create pieces for the purpose of provoking a response of unease from the viewer. These artists and film-makers work in differing ways and create vastly different pieces however the overall finished product, so to speak, can be recognised and categorised under the same heading of “the uncanny”; for example, Ron Mueck is an artist whom crafts sculptures of human beings, working carefully on their facial expressions and the realism of the sculpture through detail and texture. Although Mueck works to create a realistic human being and character, the artist also aims to cause a feeling of strangeness for the viewer. In order to do this, Ron Mueck designs the life-like sculptures to a large or small scale. The surreal scale of the figures, combined with the realistic form, characteristics and general detail create confusion for the viewer which in turn, evokes acknowledgment of the uncanny.

Whilst Ron Mueck and other artists such as Sandy Skoglund show how the uncanny can be demonstrated through the use of 3D sculptures which an individual can get close to and perhaps interact with, I wanted to research how the uncanny can be generated within the world of 2D film. I therefore looked at the work of Jan Svankmajer.

Svankmajer’s Jabberwocky (1971) involves the use of well recognisable objects such as toys and the technique of stop motion animation to create a short film. Within the short film, Svankmajer renders the toys somewhat monstrous as they partake in acts of cannibalism; in doing so, Svankmajer is presenting the audience with objects associated with childhood innocence and showing them in a contrasting, unfavourable light. This results in the audience feeling uncomfortable as the film-maker is manipulating their memories and experiences of the objects and providing them with a substitute image of a surreal act.

I found Jan Svankmajer’s ability to provoke the uncanny inspiring and hoped to emulate his work within our workshop project, through taking a recognisable object and manipulating it to produce doubt for the viewer.

Initially, as a group we met to discuss the possible routes established through our research of “the uncanny” and how our ideas could be combined and realised. From this we were able to establish a definite route and create a project proposal which included a tag line, log line and description of the film sequence.

Within our workshop project, we wished to portray an aristocratic man, in a high-class country home setting and to alter the reality of such a scene by replacing the man’s head with that of an animal. Whilst this would add to the uncanny ambience we were aiming for, we needed to establish how visual effects and special effects could be used to reinforce said ambience.

As it was a requirement to use green screen within our sequence, we discussed how this could be incorporated and successfully realised within the “story” we had proposed and set we had imagined. Within our set, we had a picture on the wall; this provided us with the perfect setting for our green screen visual effect. Instead of having a picture frame on a solid wall, we would use a board with a square shape hole and use an ornate picture frame as boarder. We would then position the green screen on the studio wall, behind the set. This would allow us to superimpose a landscape scene within the hole to create the impression of a picture hanging on the wall of the country home, in which the man would appear and walk towards the frame, thus bringing the picture to life. We then planned to show the man climbing out of the frame and into the set we created, before casually taking a seat and waiting for the cycle of the man appearing in the landscape scene to begin again.

We were also required to use special effects which include anything done on set, on the day of the shoot. As our sequence did not include any acts involving blood, it was somewhat difficult at first to come up with a suitable special effect. After some deliberation, I said I would draw the outline of a stag’s head/hunting trophy and cut it out to create a template which we could then hold in front of a light to cast a shadow on the set wall. This would work to foreshadow the events and add to the arguably eerie atmosphere we were creating.

Once we had created the storyboard, the next stage was to build the set using the skills learnt in the workshop and the set building guide provided. The illustrated guide shows how to position the boards and use A-frames and weights to secure them in a safe manner. As a group, we set up three boards, supported by A-frames and clamps. We decided to use clamps as our actor would be climbing through the board and we needed to ensure they were secure, to avoid any mishaps and injury.

During a timetabled session, we erected the set and began applying the wallpaper and paint purchased. When purchasing the wallpaper and paint, we carefully considered how the texture and colour would affect the scene we were hoping to create. We decided that woodchip textured wallpaper would add to the old fashioned feel of the space whilst the deep purple paint would allow the picture frame and props to stand out. As well as purchasing wallpaper and paint, we were required to find props to dress our sets. I therefore created a shopping list of all we would need and began searching for the objects listed. Many of the objects, we sourced from others and the storeroom within the studio except from a candlestick holder, I found at a second-hand vintage shop.  

During the second timetabled session in the studio, we began to dress our set with the sourced and purchased props. In addition to this, we used lino flooring and covered a chair with fabric and cushions to reduce the possibility of losing any sense of a realistic space through the revealing of a studio floor or classroom chair. As we worked effectively as a group and carefully planned our set building and set dressing timetabled sessions, we completed the requirements within plenty of time. We therefore decided that rather than trying to source the correct size and shape picture frame, we would utilise left-over ornate wallpaper from another group and paint it gold before cutting out each individual swirl and flower. Emma and I did this within our own time and had the pieces ready to glue onto the wooden frame during the timetabled session. I am pleased that we decided to do this as I feel it shows our dedication to the project and adds a personal touch to our set.

For the shoot, we sourced a stag head and an actor and I created a shot list and schedule. As we had very limited time to shoot each shot, I attempted to encourage the cinematography group to use the schedule I provided, however due to delays in setting up the equipment we had to prioritise certain shots which rendered my schedule redundant. However, we were able to shoot enough footage which when combined with the footage shot in the green screen studio would work to create our short film sequence.

To create the sequence, we used After Effects. Within After Effects, we were able to use techniques taught during the edit session to remove the green screen and replace the empty space with the landscape scene and shot of the stag walking towards the frame and climbing out. I found the process easy to follow and felt confident in my abilities to superimpose the stag into the landscape scene. It was therefore decided that I would work on the scene in which the stag appears on the pathway within the wood and walks towards the frame before climbing out, into the set. Daryl would produce the end scene whilst Emma would create the establishing shot and piece together the finished short film sequence. I believe separating the shots and completing one each allowed us each to use After Effects and show our own individual skills whilst the final sequence shows how we also worked together as a group to realise our uncanny piece.

Overall I am extremely pleased with our workshop project, I believe we have adhered to the brief and created an effective film sequence which can be categorised under the heading “the uncanny”. I feel confident that we have successfully shown how we can use both visual and special effects to manipulate a sequence and provoke a certain response from the audience. I also believe that as an individual, I have contributed well within the group both ideas wise and practically as I created the storyboard, shot list and schedule and worked on the art direction which is arguably the essence of the sequence. However, if I were to begin the project again, I would ensure that the equipment was set up within a short period of time on the day of the shoot which would mean we could use a schedule to ensure all desired shots were captured. This would give us more to work with in post-production and a longer sequence could be created.

Whilst producing our workshop project, I was also working on my personal project for which we were required to plan and design an installation or short film sequence which encompasses visual and special effects. I began by researching how special effects can be used to foreshadow events and help tell a story, I therefore looked at Telling Mark (2004, Guy Ducker) in which a scar is shown on an actor’s face. This immediately sparks the interest of the viewer and one begins guessing the events leading up to the injury.

As I had a strong idea which I was content with and I was confident I could research and establish how to realise, I created a basic spider diagram illustrating the subject matter and props which would be needed to dress the set, along with which effects could be used to tell the story. To further express my vision and support my idea, I created two moodboards, one showing the mood and tone of the desired piece and the other showing the design of the space.

Although I was familiar with the subject matter, I wanted to research further into BIID as a deeper understanding would guarantee I could effectively represent the disorder within my film sequence. I wished to show a character whom suffers from BIID, at the end of his tether so to speak; a man on the edge that refuses to resign himself to the life others suggest. In order to show this, I needed the character to partake in a truly drastic act, to take matters into his own hands and create the life he desires. Within my personal project therefore, I wanted to use special effects to show the man amputating his own leg using a hedge trimmer.

I researched how to use special effects to create body parts which can then safely be cut into and how to produce fake blood using basic ingredients. I also looked into how sparks can be created in After Effects as this visual effect would help to express to the viewer how sharp and dangerous the tool is which consequently foreshadows the act about to take place.

I believe that researching how special and visual effects can be realised and thus the subject matter represented both realistically, helped me to write a successful description of the film sequence and create a power-point presentation which acts as a visual aid when presenting my personal project to my peers and tutor.

Overall, I feel that within the workshop project, I have shown how I can work as part of a group and how my individual contribution has benefited the group when creating our short film sequence. I believe that we achieved what we intended to, that is, to present the audience with a familiar setting and use props and visual effects to manipulate the reality ever so slightly in order to provoke the uncanny. I also feel that within my personal project, I have successfully shown my ability to design and realise my own ideas whilst presenting an understanding of how visual and special effects can be used and created.