During the group meeting we discussed how we were going to convey the theme of ‘Psycho terror’. We wanted to create a sense of normality still present within the room. We had ideas of how to interpret and convey the deeply disturbing internal and psychological suffering that Gregor suffers after his transformation. The idea of his presence in his metamorphosis state, seeping through the interiors of the room, got us to think how we could suggest this change. As the character’s feeling of detachment from the rest of the family, become clear after his transformation, he locks himself in his bedroom. We had the idea of some type of slime or roots growing through and around the double doors to show his metamorphosis state creeping up on the family even though there is still a sense of normality in the room. The emphasize on the use of light to create shadows was suggested to us to reflect the physiological horror Gregor expresses during his experience. We discussed the family’s situation that is increasingly made apparent to the reader through Gregor’s family’s pressurization on him to work due to their mound of debts.As He dies in the end, we wanted to focus on the ending of the novel. We wondered how we could represent this change in mental state and also his physical state. We had an idea of showing this through the deterioration of the room and just beyond it. This could be shown through crumbling damp walls and pealing wallpaper. I drew several designs to show my initial thought after our group discussion.
This design of Gregor’s bedroom incorporates the ideas of his metamorphosis seaping through the cracks in the room. The combination of peerling wallpaper, slime on the handle and tatty curtains.
For this design I wanted to suggest particular substances described in the narrative through their visibility within the room. The idea of the room changing with him to sustain him needs interest me.
For this drawing I experimented using pastels and pencil to recreate mould creeping in around the double doors and edges of the room.
This photograph demonstrates the appearance of a cluttered and disorganised place. The light captured coming in through the windows interested me further. The deteriation of the walls and the dull greeny greys. These colours covey the shades I think of when imagining Gregor’s bedroom. The dark pealing paint suggests the room has been left like that for a period of time. This could convey the tale of psychological terror Gregor experiences through cluttered dark corners and the stain walls
Fig.2. Trilogy of Illusion
This is one of five rooms featured as part of a 15-inch-tall house in Susanne Kutter’s exhibition accompanied by this quotation, "How about if I sleep a little bit longer..” which shows the artist’s exploration of isolation and psychological detachment. The simplicity of the design with the motif of the butterfly creating an uneasy atmosphere inbetween the washed out walls constructed from uneven cardboard. The shoebox style room Interpretations of Franz Kafka’s Metamorphosis uses natural light sources projecting through the window. The multi bulb chandelier creates a focus point in the centre of the room, the butterfly supports the narrative of Gregor’s transformation and the crooked corners distort the room’s dimensional appearance. The two white doors add to the clinical sense like the rest of the discoloured white walls, it also shows the designer creating links between the aesthetics of the room in correlation to the narrative. The sense of change is shown through the damp and increasingly discolouring of the walls from the bottom upwards as it engulfs the room into shadows.
I thought it was worth researching into old, decaying wood affected by weathering or diseased. This would give me the perspective on colours that would allow me to re create this effect around the edges of my Windows to incorporate the sense of Gregor’s transformation physically seeping in. I chose these pictures as I felt they represented decay and gradual deteriation to surroundings.
Fig.3. Inside of a tree, rainforest, Olympic Peninsula
I found these photographs taken by Kaufmann, which direct a real sense of reality in an unsuperifical but through exposer of nature’s distortions in size, shape and colour. The aesthetics of this photograph shows the representation of nature through this idyllic scene. The moss which dominates the majority of the bark on the tree trunk this gives a sense this snippet of the landscape remains untouched adding a mystical essence to the photograph. The use of light illuminating the variety of earthy shades adds a further dimension drawing the viewers attentions inwards.
Fig.4. Canberra
The light filtering through the canopies in amongst this rich and life full forest shows the artist capturing the essence of nature. Peeping Tom Review
For the next screening in our lecture programme we watch the Psychological horror Peeping Tom directed by Michael Powell in 1960. The scene begins with the main character following his victim, revealing his lust for capturing expressions of fear. The character's emotionally damaged mind provokes his need to subject his victims to fear before they produce the facial expression of total terror that he desires. The character is presented as being a quiet person, shown in the scenes between him and the women he photographs, which also suggests that the character lacks self esteem. The film shows an interesting perspective of the human psyche and how it can be affected as a result of abuse during childhood. This relates to the experiments his father used to conduct on him often involving the main character's father recording himself shining a torch on his face of his child whilst sleeping, showing that the director is exploring the effects of light in an unconscious state, and the possibility of it being a cause of his mentality, fueling the characters drive to achieve a photograph displaying the most horror. The character achieves this fantasy by leading them into a false sense of security before terrifying them. The director goes about capturing this using his camera, producing a genuine expression of terror, showing the characters psychotic need to visualise terror. This out of all the film screenings is the one which i hold in the highest regard, due to the way the film explores the human psyche and how it can be altered through earlier environmental experiences.
Aliens 3
We watched the making of Aliens 3 in fast forward, showing an incredible transformation in the set. The building of the set is structurally and visually impressive through its sheer size and dimensions, as the set was specifically designed for the environment in which the metallic beasts inhabit in the film. In order to do this it had to be built in a studio location as there are no current existing buildings. The alien’s armour and beastly nature is suggested through the metallic finish of the multi dimensional structures that the set consists of. The set imitates an industrial arena for the strategy and elimination game, which has been incorporated into all three films. H.R.Giger’s illustrations express his surrealist nature and style through the mechanical structure which makes up the organisms.
Visual Narrative-sets and Sensibility
Fig 5There are particular reasons for choosing a controlled environment in the form of a studio. This may be as a result of particular needs of the plot, for example a recurrence of light or the need for it to be constantly dark. This allows the director and producers to achieve the correct sense of atmosphere through aspects such as weather if effects are required. Another reason for choosing a studio for the set is because location work can be impractical due to its size or permanent interior aesthetically not suitable for the set. Also, if the film is based on a mythological place, it would need to be constructed in a studio environment, due to the fact that no such environment exists. Location work involves its own problems in particular in period sets, as choosing a historical site for the setting will not come without authentic disguising of modern features. Noise is another factor taken into consideration when choosing a suitable set as well as privacy if it is susceptible to interference by the public it may make it difficult to obtain a traditional look when filming.
Another problem faced when using a contemporary location in a historical context location may not to appropriate. Such as having difficulties with access or the location not requiring everything the set features. Another factor to think when using a contemporary location you may need to hide unwanted detail, such as covering a contemporary post box by boxing it up. The future of film making with use a combination of models and CG which will make it possible to still make a set without being in a studio environment. This will remove physical sets which will perhaps lower the extravagant budgets for 21st century film.
Ken Adams, as a result of his work from 1960-80 for his futuristic design, sense of dedication through the way he supports the plot and the narrative successfully through design, became an extremely influential production designer. His popularity in the world of mass film production was clear due to his design of the nuclear reactor in Dr. No, one of the most successful films in the James Bond series. This led to his designs being used in countless productions from this point on. Due to the popularity and success of the Bond films a bigger stage was built in order to keep up with the ever-extravagant displays of action that were included in their plots. His designs for the Bond films became so big a stage was built, dedicated to the Bond film, of which the largest is in Europe. Films include Dr Strangelove, Sleuth and numerous Bond films highlights the extent of his success as a production designer. Adams also designed the car for Chitty, Chitty, Bang, Bang alongside the James Bond team. Sleuth made in 1972 was the story of a man who discovered his wife was committing adultery it originally was filmed in The Athelhampton House in Dorset due to the grand exterior. However the producers decided to film the interior shots at Pinewood studios as the Athelhampton House’s interior did not support the script adequately. After filming the motion picture, Legend in 1984 a fire broke out in the stage from a gas canister, resulting in the stage being destroyed, the first of three disasters caused by the equipment involved in the set.
The inside of Fort Knox in Gold finger
This design explores dimensional ideas which elevates the space and lighting. This shows the pure and limitless imagination of Ken Adam needed in order to create a realistic and supportive set.
Everything in film is an Illusion
Fig 6 The Great train robbery
We were presented with a still of the film ‘The Great Train Robbery’, featuring a group of bandits directed by Edwin Stanton Porterin 1903. Many of the features within the set have been made through technical painting in order to create the three dimensional aspect as seen on the surface. The window above the door on the left of the still proves suitable for the background set as it brings light to the centre of the room and fixes the viewers eyes on that point, where the action is taking place.
I watched a section from the film to see how the narrative is supported and how the set demonstrates the importance of tension between the actors and the space around them. It is structurally an interesting set, a lot of objects, jam packed with focus points. The shadows are excentuated, the background music creates an undertone of suspense, pshycological disturbances are hinted through the actors uncontrollable laughter throughout sections of the scene, even though there is a suspected murder. There is a presence of reality making the narrative believable to a audience.
List of Illustrations
Fig 1 http://arts.muohio.edu/faculty/Benson/RussianConstructivism/tatlin.htmFig. 3 Kaufmann, Walter (1978) Inside of a tree, rainforest, Olympic Peninsula [Photograph]
In: Time Is An Artist Page 24. New York: Reader’s Digest Press
Fig. 4 Kaufmann, Walter (1978) Canberra [Photograph]
In: Time Is An Artist Page 25. New York: Reader’s Digest Press
Fig 6: The Great Train Robbery [Still photograph]
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