Mise -En-Scene

An emphasis on mise en scène to create meaning (or even to keep meaning ambiguous), is often contrasted with an editing technique called montage. Rather than relying on the composition within the shot, montage relies more on how different shots are put together to create meaning.

The director is ultimately the one who decides on the design of the mise en scène but he or she depends on the cinematographer, the costume designer, the set designer, and the art director for assistance in creating the “look” of the film.

Mise en scène refers to how space is used in individual shots to create

dramatic or emotional effect, or symbolic meanings throughout a film.

Chandigarh, The High Court, India, Le Corbusier, architect, 1955.

Lucien Hervé was one of the great architectural photographers of the twentieth century and widely

recognized for his collaborations with Le Corbusier from 1949 until the renowned architects death in

1965. Hervé approached his subjects, specifically the buildings he was commissioned to document,

with a particular focus on conveying a sense of space, texture and structure. Through a strong con-

trast of light and shadow, Hervé defined the dialogue between substance and form as well as placing

emphasis on building details. In this way, the photographer was able to communicate the depth of a

room, the surface of a wall, or the strength of a buildings framework. However, Hervé the master of

architectural photography has eclipsed Hervé the photographer, whose career began as early as 1938

and whose subject matter varied widely.

Lucien Hervé (born László Elkán the 7 in Hungary and died 26 in Paris) was a French photographer of Hungarian origin. He was notable for his architectural photography, beginning with his work for Le Corbusier.“Lucien Hervé is one of the rare photographers to combine a humanist outlook with an architect’s eye. His character-istic style of cropped frames, plunging or oblique views, and pared-down compositions tending toward abstraction distinguish his work from that of his contemporaries

Charlotte Perriand Chair, Unité d’Habitation, Marseille, Le Corbusier, architect; 6 x 6 negative

Ronchamp Chapel, Le Corbusier, architect, 1953; cropped 6 x 9 negative.

In The Blob 4, a sack with the look of a huge silicon implant covers a women’s torso, the bulk sliding like swollen flesh towards the camera. The Blob embodies the embarrassement and vulnerability of human physicality. In an accompanying video pice, a woman is shown trying to drees the blob in women’s clothing, struggling as if with an unwieldy, bloated body. In both the photographs and video, the blob carries psychological connotations of the human body as irrational and uncontrolled.

Chicago artist Jeanne Dunning investigates the human body to create color photographs that question issues of identity, sexuality, and the interior and exterior self. Drawing from a variety of sources, Dunning’s images appear to be other than what they are: a piece of fruit resembles a human orifice; a woman’s head appears to be shaped like a phallus; a human hand takes on a smooth yet lumpy intimacy. In another series, Dunning’s body seems dwarfed by a huge, unidentified mass, leaving the viewer to project his or her own phobias and fetishes onto the images. Referred to as “representations that have been explicitly coded as representations,” by The Los Angeles Times, Dunning’s photographs at once fascinate and disturb, attract and repulse.

Born in 1960, Jeanne Dunning was educated at Oberlin College (BA, 1982) and The School of the Art Institute of Chicago (MFA, 1985). Since her first exhibit at the Feature Gallery, Chicago in 1987, Dunning has had many shows in both the United States and Europe, includ-ing solo exhibitions at the Museum of Contemporary Art, Chicago; James Harris Gallery in Seattle; and Feigen Contemporary in New York. Her group exhibitions include the Musée d’Art Contemporain de Bordeaux, France; Museum of Modern Art, New York; Tenth Bien-nale of Sydney; and the Whitney Biennial. Dunning’s works are included in the permanent collections of the Art Institute of Chicago; Milwaukee Art Museum; and Museums of Con-temporary Art, Los Angeles. Currently teaching at the School of the Art Institute of Chicago, Dunning lives and works in Chicago.

Application on Liquid Latex, the skin has to be moisturised before the application of the Liquid Latex. The Latex will be dry in 15 min

The colour of the Latex does not match with the skin ...

Using make up will create the skin colour wanted for the footage

Photos from the Deformation Footage Test 1

Photos from The Deformation Footage Test 2

Alternative background for the Mise en Scene “The Deformation”

Loch Ness Monster Facts

Loch Ness Monster Fact: The first recorded sighting of the Loch Ness Monster was in 565 AD by St Columba. In fact St Columba saw the monster twice in that year.

Loch Ness Monster Fact: The monster was first seen in the River Ness before becoming more closely associ-ated with the loch.

Loch Ness Monster Fact: The next reference to the monster was in 1933 when Mr and Mrs Spicer reported seeing a large animal crossing the road in front of their car.

Loch Ness Monster Fact: Nessie is usually described as having a small head, long neck, broad body, four flip-pers and a long tail.

Loch Ness Monster Fact: The scientific name for the Loch Ness Monster is a plesiosaur, which is a type of carnivorous aquatic, usually marine, reptile.

Loch Ness Monster Fact: The Loch Ness Monster cannot be a mammal as it does not have to breathe air. If it needed to surface in order to breath air it would most probably have been seen by many before now.

Loch Ness Monster Fact: Nessie is the most famous cryptid in the world. The word 'crypyid' is used in crypto-zoology and refers to a hidden creature or living creature which might exist.This should not be confused with unreal or mythical creatures. For a beast to qualify as a cryptid there needs to be some form of evidence of existence. This can mean being mentioned in folklore or that there have been 'sightings'.

What People Know About L

och Ness?

The Loch Ness Monster has a serpentine appearance and is about 30 - 40 feet long. It has a small head and a long, narrowed neck about 6 feet long. It has a bulking body with a vast hump and flippers 6 - 8 feet long. The portrayal implies a prehistoric plesiosaur or Archaeoceti whale.

The Loch Ness Monster inhabits the narrow Loch Ness Lake in Scotland.

Nessie has been reported as early as the 6th century.

There has been no 100% video or photographic proof that the Loch Ness Monster exists. Also, no remains of the animal has been reported. Sightings could possibly be that of a motor boat. It could also have been a manatee or a zeuglodon (primitive whale). Others could have seen a long-necked seal, giant otter, a giant sea slug or an overgrown eel. Sightings could also have been caused by an underwater wave, pushing debris to the surface that might make it look like a strange animal.

Photo taken by London surgeon Dr. Robert Wilson, known as ‘Sergeon’s Hoax’ © Fortean

Some people think the Loch Ness Monster could be pleisosaur © Lee Krystek 1996

This is supposedly the first recorded picture of Loch Ness. It was taken in 1933 by Hugh Gray

When there were still many sightings of Nessie in 1934, the Bertram Mills Circus of London decided to pay £20,000 if it was caught alive. Some people started building cages for the monster, like this for example. © Fortean Picture Library.

Loch Ness from Urquhart Castle

Pond Photos

WATER BETWEEN HANDS

The protagonist has problems, she intends to be a nice girl, she tries, but fails and “her soul feels like a parallel to the river and she knows the river well because she lived on its banks since she was a little girl”.

The Journey

Life is like water through your fingers, chills us or burn us, we clean or spot us, but we can not retain or capture it. That’s the parallel: we suffer life and makes us happy and we can never hold

Metáforas

El significado de la vida va cambiando tras los años vivi-dos, ya que de pequeños queremos crecer y de mayores

niños volveríamos a ser.

Cosas simples que van marcando el principio de quienes somos, aprendiendo a ser nosotros.

Estuve conduciendo, y al ver la carretera, el lago, las montañas a lo lejos, las nubes, un sin fin de cosas que me han hecho ver como la vida a pasado de ser niños.

Mirando fijamente la carretera y ver que no tiene fin, los giros, los cambios de sentido, curvas, desviaciones, solo

sigues y buscas tu camino, si lo intentas y lo haces.

La vida entonces no es sino una continua sucesión de oportunidades para sobrevivir, cada quien es dueño de

sus éxitos y fracasos, las circunstancias son solo medios para lograrlo y luchar mas.

En el fondo son las relaciones con las personas lo que da sentido a la vida.

La vida es hermosa, vivirla no es casualidad.

METAPHORS

The meaning of life is changing after the years con-sumed. When we are children we wish to be adults

and when we are adults we wish to be children again.

Simple things that mark the beginning of who we are, learning to be us.

I was driving, and seeing the road, the lake, the mountains in the distance, clouds an endless number

of things that made me see how life has gone from being children.

Looking at the road and see that there is no end, turns, changes in direction, curves, detours, and just

looking your way, if you try and do it.

So, Life is a continues succession of opportunities to survive, everyone is their own successes and failures, the circumstances are just means to achieve and fight

more.

In the end are the relationships with people that give meaning to life.

THE JOURNEY TO LOCH NESS