Task 1 : Critical evaluation

The final group project piece that we have created relates to the subject of ‘the uncanny’ in a number of ways. Firstly, the content in itself has an eerie appearance to it and allows the audience to feel disconcerted.  Within our first session on the module, we looked into the theory of the uncanny as well as some artist work on the subject which mainly concerned itself with the human body as a theme. As a group, we liked this as a whole concept and knew from the offset that we intended to create a piece which focused on a human body with an uncanny element, which is where the idea behind our piece initially originated from.

Early in the module, I researched into artists currently exploring both the uncanny as a subject and the use of a human body in their work. In doing so, I came across the sculpture based work of artists Ron Mueck and Liu Xue and found the concept of combining the features of an animal and human being together an interesting route to consider following.  With this idea still in mind, the main focus for us as a group at such an early stage was to question how to best approach the set build and design, and within this what kind of atmosphere we wished to create in doing so. Reflecting on our individual project proposals seemed to work as a successful basis for this, as we discovered along the way that a few themes were consistent throughout all of our ideas. Sarah and I both had ideas focusing on childhood and the imagination, whereas the others had creepy, horror like imagery present throughout their varying ideas.This contrast allowed us to really think creatively and develop an idea that combined the two themes together, which provided us with a creative challenge as from the beginning we wanted to create a piece that couldn’t be read literally in terms of the uncanny being directly understood as horror like.

We began the process of forming a new combined idea by researching into common themes of both horror and childhood, and I began researching dreamlike sequences and a darker side to fairytale stories during this stage.I enjoyed researching this area, as I discovered a lot of interesting articles about sinister interpretations to common fairytales and how these can be perceived in a quite uncanny way if looked at from a different angle. After individually collating our findings, we developed the idea for the set being based in a woodland location as this is present in both childhood fantasy story worlds as well as many visual horror narratives. The process of idea development from here relied on us working together with the studio space made accessible to us to come up with the practical logistics of a set build that would be an achievable target to reach given the tight time schedule we had been assigned.  After looking at a set of images including projections onto tents and outdoor spaces, we liked the idea of using shadows to create an uncanny effect, and initially we thought about the idea of creating an installation piece of work. However, after some further research, a group discussion and a tutorial, we found out that actually this might not be the best route to take in terms of gaining access to the materials and props needed given the limited three walls structure and space available to us. This led us to have a rethink as a group in terms of how to best approach combining our creative ideas with the spacing issue we were faced with. This led us to reconsider our initial idea of combining a fairytale with a horror like element, and from here we developed the concept of building a structure within a woodland setting.

 

After researching sets of images and current film set structures, we decided it would be an enjoyable challenge to take on to build the set as a wooden shack. Taking influence from a recent trend in horror films being set in wooden cabin like buildings, we decided to push this idea and continue to develop it. We were aware that this would present us with a challenge for a number of a reasons, mainly due to the amount of detail we wanted to put into the piece and the limited amount of time we had as outlined on the brief. After organising further meetings to view visual references and discuss imagery, we decided the best way for us all to contribute and be effective with our time was to split into smaller groups to work on smaller assigned tasks. We set up a project group online to share influences and discuss our schedule further which was an effective way of communicating throughout the course of the module. I think that this was a key strength; our organisation and communication with one another throughout the module allowed us to keep up to date with the project and all feel we had an equal contribution to the final completed piece.

This also allowed us early on to utilize the skills and interests of each member of the group working collaboratively; whilst Billy, Terry and Ryan prefer the post production side to things, myself, Sarah and Carrie had a stronger interest and knowledge of the logistics of the set build and art direction side to the project. Whilst we collected materials needed to design and decorate the set, the others helped with this but also collaborated to discuss the post production side and how what we were working on would transfer itself in the edit.I am also interested in Producing and so I took charge of some of the other  formal tasks required to meet the brief, such as setting up a collaborative moodboard page on Pinterest, working out the best way to budget our resources needed for the practical set build workshop and initially setting up the group conversation to allow us to share documents relating to the project with one another

Once we began on the practical set build, the wallpapering and painting was a joint effort which allowed us to discover further where our individual strengths and weaknesses lie. Although the wallpapering appeared a bit bumpy at first, we got around this creatively as a group by ensuring that when we put the sticks over the top, the texture built up enough to create an untidy look, which essentially is what we were aiming to achieve through creating a wooden shack structure.

Sarah and I also had difficulties getting the sticks to stay on the wall and realized we really should have carried out further research into this as all we had was PVA glue and this occurred at a time when the prop cupboard was locked. We got around this by doing the best job that we could and by emailing Susannah for advice, but in hindsight a better approach would have been for us to fully look into the possibilities of this before we arranged to book out the studio and devote the day to doing this task. Luckily, on this occasion we had allowed ourselves enough time so that the full group could come in the following week and help us out by getting a glue gun which made the process a lot less time consuming whilst still allowing us to achieve the desired unkempt texture to the walls that we set out to achieve. The rest of the set decoration task was enjoyable and we felt really able to experiment creatively with our options, which was partly due to the theme being the uncanny. We decided to add a few extra elements to the walls such as red paint handprints and a few painted photos as well as taxidermy animals splattered with paint, to further give the impression of a lived in yet abandoned space, as this is what we wanted the audience to question consistently throughout the piece.  

After the set was in place and decorated, the next focus was on the appearance and positioning of the character performance piece. Referring back to our original ideas and research on a fairytale and horror combination, Billy suggested bringing a pig mask in to the studio and we began to discuss how to combine this with a human performance, using the theme of movement to create an uncanny effect and appearance. Ryan agreed to perform, whilst Terry directed and the rest of us filmed. After some practice and experimenting with different ways of moving out of the cut out window space on the back wall of the set, we were ready to film this scene. Although at the time both on camera and in person the green screen looked well positioned, we realized later on in the edit stage that we could have done a better job of lighting the green screen. Another requirement of the brief was to incorporate a visual effect in some way, and we decided to do this via creating a fire in After Effects. However, another problem that we encountered with this which became apparent in the edit again, was that placing a visual marker on the position of the fire within the set would have been a good idea to ensure editing was a less time consuming process. This is definitely something I would take from this experience and approach differently in future projects.
  

I feel that this module went smoothly and that we have achieved what we set out to without it feeling rushed at all, which was due to the organisation of ourselves in part but mainly due to the strong organisation of the entire module. I think the final piece reflects what we set out to achieve and follows the subject well, as well as including all of the elements as outlined in the brief. If I was to approach a similar task again, I would consider spending further time in the studio sessions to fully ensure that the content was planned out at the time enough so that the edit was also considered which would save us time later down the process. The final piece reminds me in parts of the dreamlike sequences in Twin Peaks (Dir. David Lynch, 1990.) which I took influence from during the project development stage, and I think our overall film is a strong piece which although isn’t perfect reflects upon our creative problem solving and experimentation.

Final film submission

Group Proposal

Set deep in a mysterious dark forest lies an abandoned wooden shack which feels horribly claustrophobic and cramped. The shack has 3 visible walls covered in sticks and unusual objects such as bloody handprints, animal heads and items that seem disturbing to the average person. The shack is dark but has a somewhat warm glow to it. There is a large open window along the main wall and just below is a seat covered in mis matched fabrics. The view outside of the window is bleak and leaves fall softly past the window. We pan around the room as if we are confused by the bizarre items within the shack. Suddenly a figure appears and begins to crawl through the window.

The figure appears human at first, until we see the figures head. A pig head attached to a human body. We track in. The pighead comes towards us as if he will jump out of the screen. We are confused as the pighead appears human but not human enough. He sits on the fabric covered seat. Suddenly he starts to dance as if he’s in a trance like state. Back and forth. Tracking in and out. The movements are uncanny and very unusual and uncomfortable to watch. It’s as if we are seeing 2 of the same character adding to our confusion and uncanny effects. Suddenly the character starts a fire and again we see the unusual items in the shack and begin to question what is reality. Pighead looks directly at us.We cut to black.

Further visual research - Exploring 'the uncanny' in film

Below is some research into films and filmmakers that consistently work with the idea of the uncanny and examples of how they successfully achieve this.

The uncanny in the films of Michael Haneke

(Image from Hidden/Cache (Dir. Michael Haneke, 2005.) )

Michael Haneke consistently portrays the theme of the uncanny within his film work, which can be seen in the form of things not appearing quite as they seem, for example the way in which homes are represented as places of fear and unease, instead of how the audience expects a traditional home environment to be; a place of safety.

(Research source/further completed reading : Haneke and The Uncanny - http://www.academia.edu/167835/Uneasy_Domesticity_in_the_Films_of_Michael_Haneke )


The Shining (Dir. Stanley Kubrick, 1980)

(Image from The Shining  (Dir. Stanley Kubrick, 1980.)

Stanley Kubrick's The Shining is a great example of how the uncanny can be represented in film by breaking traditional genre rules and audience expectations attached to a particular subject or theme. Unlike many traditional horror narratives, the film does not create a sense of fear in the viewer around one scary subject, but instead it gives off a general sense of unease as throughout it the viewer is aware of an underlying creepy tone and the knowledge that something doesn't feel quite right, despite the cause of this not being obviously shown. This can be noted in several scenes in The Shining, however one key example is when we see Danny riding the tricycle around the hotel corridors; the viewer is unsure what to expect around the next corner, but has a sense of uneasiness and fear of the unknown.


Vertigo (Dir. Alfred Hitchcock, 1958.)
















(Image from Vertigo (Dir. Alfred Hitchcock, 1958.)

Hitchcock was inspired by Freud's ideas. His classic film Vertigo draws on the idea of blending perception and reality and what we consider as recognisable with an uncanny element. Freud's written theory of the uncanny states these two different sides to the subject, as he writes about the difference between the uncanny that we read up about or imagine ourselves and the uncanny that we experience. Throughout Vertigo, many themes are present which reflect upon Freud's theory of the uncanny. Some of these are portrayed through contrast, such as the fear of heights, character obsessions, the way that insanity is portrayed and character observations. Through consistently changing how characters and subjects are represented and changing the viewer's initial viewpoints throughout the film, Vertigo employs the theme of the uncanny as the one which is most consistently present and which the viewer becomes aware of the most.

Research source/further completed reading: www.art3idea.psu.edu/417/notes/2-vertigo.pdf 

Artist research - Joseph Cornell

Another artist whose work explores the theme of the uncanny is Joseph Cornell. As an artist, he is recognised for questioning and challenging viewer's initial response to his work and opening up new perceptions of his pieces. Through employing this, he explores the concept of 'the uncanny' by challenging perspectives and allowing the viewer to reconsider his work in a new, not previously or obviously considered way. Cornell's work is often concerned with themes of childhood, mystery and space. He also uses the technique of juxtaposing items which are unpredicted which also creates a sense of un-canniness to his projects. His work is inspired by Surrealism and he was also noted for his work as an experimental avant-garde filmmaker as well as artist.

Cornell's art work included collected found objects which he assembled into boxes, creating 'shadow boxes' by which he became known for. These were often covered by a glass pane and organised into a juxtaposed position, allowing light and shape of the surfaces to work together. The main idea behind this work was for him to create a visual representation of the elements to our imagination that we can't ordinarily see, such as our memories, dreams, ideas and thought processes - and collate these all into one collection.

The 'uncanny' is a theme that is consistently present throughout Cornell's art work; as an artist he was concerned with the idea of turning everyday items into something mysterious and almost magical. In doing so, the viewer sees a seemingly ordinary looking object and is drawn into reconsidering the item and it's value in a new light.

The way that his artwork distorts the viewer's perception of time is another way that the theme of the uncanny is present. Showcasing objects from the past in modern forms, as well as using symbolism to suggest more abstract concepts (e.g. part of an old, destructed wind up clock to show the passing of time) gives his work a nostalgic theme in a modern environment.

Image source : http://www.tate.org.uk/art/artists/joseph-cornell-946

Artist Research - The Uncanny as a theme

Many artists explore the theme of 'the uncanny' within their work, going down a number of various routes. Because of it's broad meaning and the range of interpretations that can be taken from the subject, artists have expressed the theme through a number of different pieces and new creative work is continuing to emerge on the subject.

Researched example :

Gregor Schneider - Haus Ur
Gregor Schneider is a German artist who works mainly with spaces as an on-going theme and whose artwork focuses on creating uncanny environments. Through creating a sense of darkness and eeriness within his work, the work becomes something entirely new to how the viewer first experienced it, and therefore creates mystery and intrigue surrounding it which allows the observer to think further into the work .

(photo collection sourced from: http://www.gregorschneider.de )

For example, an ongoing project of his entitled Haus Ur (above)shows a developed remade version of his childhood home. The work features rooms hidden within others, small spaces that lead to nowhere and shut off doors - all of which ensure the viewer is intrigued and enticed into wanting to explore these spaces further. The subject of the uncanny comes across in this way within his work - in that 'the home' is now reimagined as a place to feel trapped, almost maze like and that disconnects the viewers original interpretation of the sight of the house to its interior. In some ways this work can also be viewed as a literal and physical representation of 'the uncanny'; delving into hidden areas could be representing the pushing away of fear that will resurface in another form, as suggested under psychoanalytical theory.


Workshop project
Connecting this to our own creative project, I think this will be a really useful as well as interesting collection of artwork to be aware of and research more into, as well as the rest of Schneider's work. Building a set from scratch has been a fun element to the module, however reading more into it after the set build has been completed, I have discovered a lot more content about the in depth ways that a theme can be explored within the design of a production in a not so literal way. When we first created our set we understood and applied as a group the theme of 'the uncanny' quite literally directly into our set build, in that we knew from the beginning we intended to create a space with a creepy appearance.

However, after researching further into artists work based on the same subject, I have discovered more about the subtler ways in which even individual elements to a space within a set can be used to created the impression of a theme - such as the use of objects within the main interior space in the above mentioned Haus Ur exhibition by Gregor Schneider. Using space as a whole to create the impression of a theme and thinking less literally about a theme or subject is an interesting concept to develop on in future projects and  is an area that I have taken away from this particular piece of research.

Start of the edit - After Effects tutorial session



In the week before the Easter holidays, we imported all of our footage from the previous weeks studio sessions into Adobe After Effects and had a quick recap of the basic elements to both this as well as Adobe Photoshop and Premiere. Carrie, Sarah and I were the only members of our group to attend the session, however in some ways this did work out quite well as it meant that it wasn't  too crowded around the one computer screen and we all had something to be individually working on.

Personally, I find using the Adobe Creative Suite for post-production work to be the most convenient, as  I find the interfaces simple and easy to navigate around when working on the same film on more than one programme. The programmes being interlinked in this way allows us to be able to make amends on Photoshop and then import these straight into After Effects, making the editing process for this project in particular a lot smoother and less time consuming.

We used this post production intro. session to review our footage in an edit and explore the options that were available to us after identifying the strengths of the film as well as the problem areas that we will be trying to fix, or come up with creative solutions for as a group, over the next two weeks. This session was useful in terms of us being able to see the problem areas and view all of our footage on a larger screen, as well as being able to refamiliarise ourselves with editing, as this is an area we haven't all been able to work on together for a while and that is a useful skill to have.

I made sure to take some notes down in the session so that when we come in over the next few weeks to work on the edit, we can refer to these to know how to do certain set tasks, such as sorting out any green areas left around parts of our green screen footage and how to connect After Effects to Photoshop etc., in order to hopefully make the post production stage of our project go quite smoothly.