For this week's post I am branching off a topic I covered on my blog in the Motion Graphics & Animation course. Since I gave the evolution of the title sequence in cinema I thought it would only be fair to do a little segment on the intertitle also referred to as a title card. These filmed printed pieces of text generally conveyed dialogue or narrative on screen to the audience and were simply known as titles during the silent film era. The earliest known use of intertitles was in 1901 for the British film "Scrooge or Marley's Ghost." Here is a look at the silent film and also the intertitles toward the end.
In film today intertitles are still utilized every once in awhile to distinguish various acts of a film or provide a poem, quotation, phrase, etc... Although with the development of sound on film their are still traces of this technique as a modern day artistic device. For example even though intertitles aren't used to narrate the film anymore they are used in Frasier as a gimmick, in BBC's drama Threads and lastly in Law & Order to give date and location; sometimes even more information. Intertitle/title card may be a term of the past but is still apparent in our media world today. Here is some more examples of intertitles...
"The Birth of a Nation" (1915)
"The Cabinet of Dr. Caligari" (1920)
This is a slightly more stylistic intertitle/ title card.
When Professor Sinclair wrote the name "Luis Bunuel" on the board the very first day of class, I assumed this fellow could be someone worth knowing about. So, tapping into that "beginning of the school year ambition," I dutifully researched the filmmaker. This is what I found:
"Un Chien Andalou", Bunuel's first film, proved unable to be ignored by the world. It's shocking. It's disturbing. And it makes absolutely no sense. But then again, that was the point. Working closely with famous surrealist Salvador Dali, the filmmakers vowed that the script could contain: "No idea or image that might lend itself to a rational explanation of any kind..." Even more, Bunuel explicated that, "Nothing, in the film, symbolizes anything. The only method of investigation of the symbols would be, perhaps, psychoanalysis."
Now, one must note, I was not yet aware of the lack of rational concepts when I initially hit the play button on the sixteen minute film. You can image then, how hard my brain was working to find symbolism in the madness. If you haven't yet had the pleasure of watching this particular piece of artistry, I urge you to click the video and watch it now. If you haven't watched "Un Chien Andalou" and don't intend to, allow me to give you a quick rundown.
A woman's eyeball is cut open. A man wearing nun's habit falls off his bicycle on the side of the road. Insects come out of a man's hand. A woman gets run over. Rape almost happens. The rapist drags two pianos covered in rotting donkey corpses across the room. A woman's armpit hair grows on a man's face where his mouth used to be. AND MUCH MUCH MORE!
Even if weird isn't necessarily your thing, one has to give credit to Bunuel for his boldness. Once I understood that the film couldn't be, well, understood, I actually found myself really enjoying the piece. There's no doubt that "Un Chien Andalou" is shocking. But imagine the reactions the short must have evoked when it first came out in 1929. In conclusion, there's a reason we should research the people Professor Sinclair asks us to. If I hadn't, I would have missed out on this particular gem.
Last blog post of the semester! It has been fun. I want to give a shout out to Samantha, Dave, and Maddie. We managed to work on all three projects together. Great group. I'm going to miss you guys and Maddie, congratulations on graduating. Good luck with everything!
This semester has confirmed my love of editing. I definitely feel that it is something I am good at and a skill that I want to continue to learn about and perfect. I especially like editing audio. I realize I love making music and sound effects fit visuals. Working on Rat Bastard and having to find the best music to fit the mood of the film was both challenging and exciting for me. I had a similar experience in Fiction Field I. For our final project in that class, we had our music composed by a student in Whalen. The day before it was due, we mixed the audio with the video. It. Was. Awful. The music didn't match up at all, and it sounded like elevator music. This was a silent film. We needed playful, upbeat, music that helped tell the story. So that night, before it was due, I downloaded three royalty free songs that I sliced together to make the soundtrack for the film. I didn't tell my professor that I mixed the audio, he still thought it was composed by a Whalen student, and he loved it! I ended up telling him that I had done it, and he was impressed. It is something I like doing. To me it is like figuring out a math problem. It takes time and concentration to fit every piece together, but when it comes together it is so rewarding. Here is a link to my film from last semester.
Last year in my Fiction Field I class, with Steve Gordon, he showed us a series of short films that focused heavily on special effects. One film that changed my perspective on how large of an impact special effects can have on the emotional and visual aspects of a short film, was the short film Nuit Blanche, a Stellar Scene production. The film is directed by Arev Manoukian and focuses on the connection between two strangers and explores their interactions in a fantasy world. I was captivated by the film's ability to display an array of emotions in less than 5 minutes and fully engage the viewer with beautiful music and exceptional special effects. The film is silent and black and white, focusing on the actions of the characters and the tragedies created by their love at first sight.
The most intriguing part of the film is the use of special effects. The first step used to making this film was constructing the backgrounds and landscapes piece by piece, from a variety of city landscapes and building structures. Each building was carefully constructed and built to portray the dark feelings associated with this story of fantasy. The director then used green screens the place the actors in these locations. To portray the car accident and glass shattering, each piece of the vehicle was placed in several frames and layered behind the actor. This created a sense of realism and made the car accident very emotional for the viewers. The special effects are done so flawlessly that you believe the accident really took place. The director also altered the lighting present in each shot, creating a dark and dismal look.
I recommend every film student to see this film. It is an excellent of example of how short films can have an incredible impact on an audience and that sometimes the most powerful films are done without dialogue. Nuit Blanche is an excellent example of extensive special effects and how flawlessly scenes can be created. Manoukain does an incredible job of portraying the emotional complexities of love at first sight and the sometimes unavoidable tragedy. This film is beautiful and proves that the shortest of films can be the most time consuming. Please check out both videos and take the time to appreciate the beauty of this short film.
