nichshermanrr

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Publication

The publication I have targeted for my editorial is EMPIRE magazine. I think this is the most appropriate publications as their main article is normally a feature on either big, upcoming films or a look back on classic films for things like an important anniversary or revisit of a film. for example EMPIRE have recently bought out an issue that has a main article all about revisiting Quentin Tarantino’s Reservoir Dogs. I think my article would suit an issue like this; looking back on why we can’t help but get drawn in by nostalgia, and also quite current as one of the films I will be talking about has been released this year.

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MAKING OF SPECIAL FEATURE

Notes from the special features of Ghost in the Shell (1995)

MAKING OF- “japanimation” DGA digital generation animation SOUND- use of a spatializer to create a sound unlike anything in the real world Momoru Oshii: 

Q: “why did you decide to direct Ghost in the Shell. Oshii answered:                  A: “My intuition told me that this story about a futuristic world carried an immediate message for our present world… I thought this theme would be more effectively conveyed through animation.”

Q: “why is the film set in Hong Kong” A: “Since the information network isn’t visible, I tried to think of how I could visually represent it. It would be pointless to show the monitor of a personal computer. However, if you think about Hong Kong, you imagine a city teeming with information. For example there are countless signs and a cacophony of voices and sounds which flow through the city.” Past projects: “Urusei Yatsura II, Beautiful dreamer”                         “Red Glasses”                          “Patlabor II”

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Notes and quotes taken from article above:

- Effects house MPC, which won this year's visual effects Oscar for its work on "The Jungle Book", provided more than 1,000 shots for "Ghost in the Shell".

- MPC discovered new shooting techniques and software tools in the process 

- MPC was also involved in conjuring the movie's futuristic city. The visual effects team created a library of futuristic buildings and highways teeming with simulated crowds and vehicles. Among the towering skyscrapers are giant advertising holograms, dubbed 'Solograms'. MPC made some 372 Solograms and other holograms to fill the city.

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Scott McCloud- Understanding Comics.

US comics- Action to action- goal oriented characters moving from one action to another 

JAPAN comics- Aspect to aspect- things are moving and happening but its not the character,

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used for talking about the new GITS score. it doesn't invoke enough emotion; there are no stand out pieces. what you see is what you get in the score.

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Scott McClous- understating comics.

Japanese style comics: aspect to aspect - time is abandoned for the exploration of space

^ this is like the original GITS; its drawn out shots of the futuristic Hong Kong

American style comics: action to action - goal oriented comics with goal oriented characters.

^this is more like the new GITS. moving from one shot to the next to progress the characters goals and actions. 

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“An editing and compositing master class, each shot of Speed Racer lingers for mere flashes, with overlaid background and foreground action. It’s clear the directors are playing up the manga and animated style — and translating that to film as best as possible. Winks and nods to the drifting of The Fast and the Furious and Mario Kart’s lightning-bolt and spiked-shell whimsy are intentional and effective.” - Jon Humbert