#first full-length narrative feature film

[lifewithaview]

The Story of the Kelly Gang (1906)

The Story of the Kelly Gang, directed by Charles Tait in 1906, is the first full-length narrative feature film produced anywhere in the world. Only fragments of the original production of more than one hour are known to exist and are preserved at the National Film and Sound Archive, Canberra. The original poster and publicity booklet provide confirmation of those fragments’ authenticity and together this material represents the unique and irreplacable beginning of feature film culture.

The original film was over an hour at a time when films rarely exceeded few minutes. Only fragments of the original production of more than one hour are known to exist and are preserved at the National Film and Sound Archive The restoration is now 32 minutes long. Considered as one of the first feature film in history.

Stars : Elizabeth Tait - John Tait - Nicholas Brierley

[absolutebl]

helloo...

i know i'm late, but i just binge watching Triage last night. i kinda love it that the mystery about the story revealed gradually. and the leads had nice chemistry, despite the low heat. and i enjoyed bingeing on it and pulling an all nighter.

so, i'd like to ask you, do you have any recommendations on bl series like Triage that are completed or ongoing, that the show would be enjoyable on binge watching?

it's super fine if you don't answer this.

thank youu and have a nice day.

10 BL Series to Binge Watch with Complex story elements

Okay, I'm not really a binger so these are my best guesses at keeping the tension alive. Also it seems like you want something on the meaty end in terms of length so only Thai and Taiwanese stuff qualified.

Case study: Triage (so obviously that would be on this list)

1 Until We Meet Again

YouTube

Without question, a work of narrative genius with a powerful and cohesive romantic backbone and stellar performances. It is (to date) the only Thai BL (of c.250 watched) that I’ve rated a 10/10 predominantly on the basis of story structure. That said it is also very well cast (and it’s a BIG cast), with solid production values, and enduring pair branding as well as being the best Thai BL from a storytelling perspective. I think the story is good enough to carry the tensions. I also binges this on my first watch (it was already out when I discovered it) so I can attest to it being bingable. More discussion on why I love it so much here.

2 He's Coming to Me

YouTube

Boy and ghost boy fall in love, must solve ghost’s murder. Peak pining but also pretty tame, features my favorite sweet but important coming out sequence. The third in my precious triumvirate of unbeatable Thai BLs, that are only nominally BL because the story, acting, and production values are so good. (Together with UWMA & 1k*).

3 Not Me

YouTube

GMMTV gave us a dark disestablishment narrative (in a time of civil unrest) with established queer award-winning director Anucha and starring the biggest guns of BL, OffGun and THIS WAS AN AMAZING THING to get to experience at the time - nerve racking but remarkable. But was it ACTUALLY BL? It certainly has a lot of BL elements, but in the end romance was not what this show was about, or even what it was genuinely trying to be as a performance piece. Still a remarkable moment in Thai cinema, certainly worth your time. Don’t worry, it all ends happily. Full review.

4 I Feel You Linger in the Air

grey (YouTube for some)

I truly loved this time travel romance BUT for the ending it would have gotten a 10/10 from me. IFYLITA is an exquisite BL, from filming techniques to narrative framework (much like Until We Meet Again). Steeped in history and family drama it edges into lakorn (but no as much as To Sir With Love and with way less scenery chewing). This is an elegant and classy BL… from Thailand which normally doesn't even try for classy. If HEA's are NOT important to you, you'll be fine, but I struggled. More here.

5 Kiseki: Dear to Me

Gaga & Viki Y

The plot is totally ridiculous and slightly unhinged, but that’s normal for Taiwan. It involves all the tropes under a very casual framework of gay mafia gangs + food = love. Absolutely every character is queer. There’s a gum-ball machine of cameos, elder gay rep, great chemistry from all pairs, and a KILLER side couple. As a result Kiseki is a poster child for Taiwanese BL, and I happen to love Taiwanese BL. Bonus? They also managed to END IT WELL, which we cannot expect from Taiwan. (Triggers for knife play, child abuse, lingering trauma.)

6 Make a Wish

grey (Trailer)

(from Sammon - Manner of Death & Triage) about a doctor who can see the dead and strikes a bargain with a wish-granting irreverent tree angel to try and cure himself - naturally they fall in love. Stars Fluke Natouch opposite not Ohm, but who cares bc Fluke has chemistry with everybody. Once again the Thai afterlife is incredibly bureaucratic but I enjoyed the premise and the unfolding of the story (it’s not predictable but still satisfying and with nice little twist). I like that the doctor is just gay af and has a fag hag bestie and everything. The cast is excellent but the comedic stylings are often too overblown and tonally off. It had sad parts and did make me cry but is ultimately happy with a great sex scene, good smiley kisses, and all the agency.

7 HIStory 3: Trapped

Viki

Basically the definition of enemies to lovers from Lin Pei Yu. This is a cop + the mafia man he is chasing but WAIT, they fall in love. Added bonus side couple: assassin and nerd cop ALSO falling in love. It’s great. All the leads are stellar. Its high heat, fun action, and a bit of a mystery drama but pretty about all of it. My only warning is that the main couple doesn’t entirely end up together, it’s implied, but… amorphous ending.

8 Never Let Me Go

YouTube

Bodyguard romance where poor boy must watch over rich boy for family obligation reasons. Simple premise well executed with a few bumps that made it feel like it was trying to tackle too much (when it wasn’t). Still, an enjoyable show that benefited from being handed to PondPhuwin who did a stellar job with their roles and chemistry. Of GMMTV handing out new series to established pairs in 2023 this is one of the most successful IMHO. It's typically Thai in that it's a bit bloated and has a confusing plot, but at least it HAD a plot and the central relationship is solid and loyal. The Our Skyy 2 follow up is great too. And very much adds to the cannon in a fun way rather than feeling superfluous - making this show ultimately 14 eps rather than 12.

9 The Eclipse

YouTube

GMMTV does gay Blacklist with a good boy/bad boy pairing. This is a good show but the cast is excellent and the leads are absolutely flawless, which elevates it beyond just "a good show." We got a nuanced and multifaceted burgeoning relationship: philosophical (and socio-political) conflict contrasted to moments of empathy; flirtation contrasted to moments of genuine affection, plus plenty of angst. This narrative is less about love than it is about courage and tenderness. However, near the end the pacing was off and the plot frustrating. Still, this is an enjoyable watch, with a finale that features verbal consent and a fun blooper reel.

10 Ghost Host Ghost House

YouTube

This is light horror combined with family drama built around a well executed BL trough-line that felt honestly queer with fantastic chemistry from the lead pair. (I hope that we see more of them.) Pluem delivers the softest most seductive krap ever, Tod Techit (Kewin) is one of the prettiest humans on the planet, and watching these boys flirt over noodles is an unalloyed pleasure. Use of I/you pronouns is super interesting and cute as well. For me, personally, the surrounding cast, premise, and story didn’t resonate but if you like a touch of gothic in your BL this might appeal.

BONUS!

3 Will Be Free

YouTube

Queer AF crime thriller about three 20 somethings on the run after accidentally killing an assassin: a grifter, a nerdy mafia kid, and a stripper. They're chased by more assassins out for revenge.

It’s actually a remarkable piece of storytelling, using a pressure cooker of tension and suspense to bring about investigations into what love, romance, friendship, and identity actually mean. This show probably doesn’t qualify as BL but it does qualify as very very queer.

What it does well is examine many different aspects of queer identity, morality, and life choices based on repression and or acceptance of that identity using the framework of a crime triller.

It’s an adventure narrative, our three main characters are on the run together, being chased by assassins who are themselves dealing with the grief that results from love, all kinds of love. Meanwhile the 3 protagonists fall in love with each other and explore the boundaries and meaning of friendship/love.

Manner of Death

WeTV

Gay romantic suspense series with added cactus baby. Doctor & Mafia boy can't keep hands off each other, so also end up with chili plant baby.

Am I making sense? No? Well neither does it, but ho boy is it fun to watch MaxTul do... whatever it is they're doing.

I like MoD a lot but I’m conflicted over it being actual BL. It’s a great gay romantic suspense, although the mystery element is its primary weakness.

MaxTul, the Kings of Chemistry, are, of course, perfect and perfectly cast (and chemically unfair), but their romance thread is more a distraction than an addition. Still, I could watch them make-out the phonebook. Watch along here.

(source)

[male1971]

The Origins of The Mummy

Stories about mummies coming to life predate the discovery of King Tutankhamun's tomb in 1922, and the idea of resurrected mummies has been present in literature and folklore long before Universal's The Mummy (1932) hit the big screen.

Origins of Mummy Stories: The ancient Egyptians believed in the afterlife and practiced mummification to preserve the bodies of the deceased for their journey to the next world. However, ancient Egyptian texts themselves do not contain tales of mummies coming back to life in the way modern horror stories depict. The concept of mummies as reanimated corpses began to take shape much later, influenced by 19th-century fascination with Egypt and the supernatural.

Pre-Discovery Mummy Stories in Literature: The idea of cursed or reanimated mummies in fiction dates back to the early 19th century, long before the discovery of King Tut's tomb.

"The Mummy!: Or a Tale of the Twenty-Second Century" by Jane C. Loudon (1827) – This is one of the earliest works of fiction involving a mummy. In this futuristic novel, a mummy named Cheops is revived in the 22nd century, although the story is more science fiction than horror.

"The Mummy's Foot" by Théophile Gautier (1840) – A French short story in which a man buys an ancient Egyptian mummy’s foot as a curiosity. The foot belongs to a resurrected princess, who reclaims it in a dream-like narrative.

"Some Words with a Mummy" by Edgar Allan Poe (1845) – In this satirical short story, an ancient mummy is revived and discusses the superiority of ancient Egyptian civilization compared to modern society.

"The Jewel of Seven Stars" by Bram Stoker (1903) – This Gothic novel by the author of Dracula tells the story of an archaeologist who discovers the mummy of an Egyptian queen, and through rituals, attempts to revive her. The novel is one of the earliest works that explores the supernatural resurrection of a mummy in a horror context, complete with curses and rituals.

"Lot No. 249" by Sir Arthur Conan Doyle (1892) – A short story in which a university student uses an ancient Egyptian scroll to reanimate a mummy for sinister purposes. This story is often cited as a key influence on the modern mummy horror genre and popularized the concept of a vengeful, reanimated mummy.

Influence of King Tutankhamun's Tomb:

The discovery of King Tut's tomb in 1922 by Howard Carter, and the subsequent fascination with Egyptology, reignited public interest in mummies. The media also sensationalized the "Curse of the Pharaohs," after several people involved with the excavation died under mysterious circumstances, although these were largely coincidental. This renewed interest in Egyptology and ancient curses provided a fertile backdrop for the creation of The Mummy films in Hollywood.

Early Mummy Films:

Universal’s The Mummy was not the first film to feature mummies, but it was the most influential. Here are some earlier examples of mummy-themed films:

"The Mummy" (1911) – A silent short film, likely one of the first films to feature a mummy as part of the plot. It was a comedic take on a mummy coming to life.

"Cléopâtre" (1899) – Directed by French filmmaker Georges Méliès, this early silent film featured an Egyptian mummy being revived. Méliès is known for his pioneering use of special effects, and this film explored magical themes, including the reanimation of a mummy.

"The Eyes of the Mummy Ma" (1918) – This German silent film starred Pola Negri and featured a cursed Egyptian tomb, though the mummy itself does not play a central role in the way it would in later films.

Universal’s The Mummy (1932):

Universal’s The Mummy, starring Boris Karloff as Imhotep, is not the first work to depict mummies coming to life, but it is the first full-length feature film centered on a resurrected mummy as a horror figure. Directed by Karl Freund, The Mummy follows the story of an ancient Egyptian priest, Imhotep, who is resurrected after an archaeological expedition and searches for his lost love, whom he believes has been reincarnated.

Universal's The Mummy set the template for later mummy films, unlike some of the earlier mummy stories, The Mummy incorporated elements of romance and reincarnation, establishing the theme of the resurrected mummy searching for lost love, which became a hallmark of later mummy films.

[the-visual-journey-blogg]

Lotte Reiniger (1920s): An Inspiration to Modern Animation Directors

(10 minutes reading)

By Sofi Ojeda

Lotte Reiniger was a talented German artist born in Berlin, she displayed remarkable, self-taught skills in creating intricate paper silhouettes from an early age. She incorporated these silhouettes into her homemade shadow theater with the influences she drew from traditional Asian shadow plays. Reiniger's talent led to an introduction to her later partner Koch, who not only designed her animation studio but also served as her producer and camera operator until his death in 1963.

Reiniger's enduring fascination with timeless fairy tales permeated her animations, including notable works such as "Aschenputtel" (Cinderella) and "Dornröschen" (The Sleeping Beauty) from 1922. However, her most remarkable achievement was "The Adventures of Prince Achmed," a pioneering project created in collaboration with her husband and others over three years, celebrated as the first full-length animated film in history.

Although, Reiniger created various works in different countries before and after the war, she never ventured into another full-length feature film. Nevertheless, her unique animation style continues to exert a profound influence on a diverse range of cinematic creations, from Disney classics to the enchanting world of Harry Potter, leaving an indelible mark on the realm of animation.

Pioneering Techniques

Furthermore, Reiniger's legacy transcends her era, as her pioneering techniques, including cut-out animation (where body parts are separated and manipulated with anchor points and a skeletal structure). And her silhouette art underscores one of the most recognized design principles—silhouette—in character design and object recognition. This principle facilitates viewers' comprehension of visual information and enhances their grasp of the narrative.

Having gained insight into her techniques, let's explore some examples of her influence.

Inspiration to Animation Directors Over Time

Reiniger influence on Walt Disney

She inspired Disney to incorporate the concept of the multiplane camera into animation. This innovative camera technique involved the use of multiple layers of drawings moving at varying speeds, effectively creating a sense of depth and dimension in the video.

Reiniger influence on Tim Burton

In Tim Burton's "Corpse Bride" (2004), a traditional interpretation of Reiniger's style surfaces in a scene during the musical number 'Remains of the Day.' Utilizing silhouettes set against vibrant green backgrounds, the narrative unfolds, reminiscent of Reiniger's shadow animations.

Reiniger influence in Ford Coppola

The opening scene of Francis Ford Coppola's "Bram Stoker's Dracula" (1992) serves as a clear illustration of this phenomenon. It involves the recounting of Vlad 'The Impaler' Dracula's history, shifting from a live-action sequence to a battle montage that adopts Reiniger's distinctive artistic style.

Lotte R. influence in Harry Potter

In "Harry Potter and the Deathly Hallows – Part 1" (2010), there's a noteworthy transition from live-action to animation as Harry, Ron, and Hermione delve into 'The Tale of the Three Brothers.' To honor Reiniger's iconic storytelling style, which often resembled classic fables, the filmmakers opted for this approach

Conclution

From a gender perspective, it appears that Lotte Reiniger existed in a parallel world where her voice as a woman was not only acknowledged but also illuminated across time to the present day. It's worth noting that she seemed to be the sole practitioner of her unique animation technique, and had she worked in a male-dominated field, the course of history might have unfolded quite differently. However, I am not implying that she didn't face the challenges that were prevalent in her time.

In summation, Lotte Reiniger's contributions to the world of animation stand as a testament to her inventive spirit and pioneering endeavors. Her mastery of shadow animation, her lasting impact on modern animation techniques, and her feminist legacy collectively leave an enduring impression on the cinematic landscape. Her influence continues to inspire filmmakers and animators to this day.

Bibliography

http://www.screenonline.org.uk/people/id/528134/index.html

https://www.acmi.net.au/stories-and-ideas/lasting-legacy-lotte-reiniger/

[flamingtunapictures]

The Animators - Book Review

Tl:dr - On top of the characters being largely unlikable, the production timeline described for the characters’ animated film is so egregiously misinformed and offensive I found my willingness to suspend belief forfeit.

---

This is a book about a couple of animators pouring their entire beings into their work and being recognized for it. Readers get long drawn-out narratives and meandering ups and downs (mostly downs) of their life together as business and creative partners. The story is told from the perspective of only one of the partners (Sharon).

There are a myriad of reasons I did not like this book both in terms of literary style (*purely a personal preference, the author should get credit for doing the do technically well) and characterization.

The characters are incredibly unlikable and irritating – toxic, immature, and impulsive with no measurable proclivity for considering “maybe I should try to be a better person.” They act and speak rashly, often betraying unbelievable selfishness and the psyche of an incredibly immature teenager. Which could be fine, if it weren’t for them being in their 30’s. I found myself constantly yelling “grow up please!”

In addition, the sheer amount, and lack of self-control, concerning substance abuse, hurtful statements, and destructive behaviors – all attributed (understandably) to their difficult upbringings becomes increasingly grating when they seem to forgo responsibility for their actions in lieu of blaming their circumstances.

All of that aside, let’s get to the real reason (and only important reason) I did not like this book.

The book is called The Animators. You would expect a book called The Animators to have some semblance of a realistic production timeline for a full-length animated film. This book does not do this.

This story expects you to believe that a two woman team (and only two) work tirelessly to bring a full 70-75 minute feature film to life in less than two years. The details are thus:

The project is traditionally animated (the first half accomplished completely by traditional means with onionsskins etc)

Only two people are working on it (maybe there was a little bit of help from an eager fan of their work, but nothing realistically substantial)

All this work was accomplished with one of the individuals regularly sleep-deprived, mal-nourished, and a little coked up

(this is the real doozy) The other half of this two woman team (that wasn’t coked up) was actively recovering from a stroke in which she temporarily lost, and had to relearn, how to speak, read, walk, and draw.

The moment my suspension of belief completely gave way however, was when the characters were in Louisville, Kentucky. During this time they essentially start the serious work on their project. After the three month mark they are showing off their first full 20 minutes of their film. We are to assume that this 20 minutes is fully animated, composited, and overlaid with sound. Not just an animatic.

I-M-P-O-S-S-I-B-L-E.

20 seconds could probably be achieved in two to three months by an animator of their supposed caliber. Never 20 minutes under traditional methods with only two people. (Did I mention one of them was still recovering from a stroke?) And then the story goes on to confirm that the movie was a full 70-75 minutes long and that the characters finished, published, and were on tour for it in less than 2 years after its inception.

A project of the described magnitude, under the conditions assumed, would take a minimum of 5-7 years, unless the animation was just really scratchy, choppy, and unrefined (which again, was implied to not be.)

This gross misrepresentation of the amount of time traditional animation actually takes is to the narrative’s detriment: completely ripping the reader out of any sort of believable reality (at least, if the reader has any personal experience with the medium).

To be dramatic, I would even say it’s downright offensive.

I’m mostly writing this review because I haven’t seen any other review yet actually call out this aspect of the book. (I searched for one).

That’s all folks. Have a nice night. Read it if you want.

[deuterosapiens]

So I was thinking briefly about a SAW television series. I suppose there are all of the obvious reasons a show like this couldn't work, but I want to propose a hypothetical series that could work, if it were executed correctly.

First off, let's talk about some of the critical components of a SAW movie, and how those elements might be adapted to a longer-form series (I'm picturing like an eight-episode Season format, for obvious reasons. A network like AMC or something that would allow us to get away with on-screen depictions of gore, torture and blood).

So the three main components of most films in the series (I don't say all because SAW X actually lacks one of them): 1- The Police (most films, except X, features a plot involving detective investigating Jigsaw related cases; 2- Traps (the obvious appeal for most fans, this series is defined by the creative a ruthless traps its victims find themselves caught in); and 3- Mythology (SAW as a franchise is so hyper-saturated in its internal mythology that untangling its webs within webs produces something of a inconsistent headache, if you.dont subscribe to a Just Go with It-mentality).

So for SAW: The Desciple (which I just realized abbreviates poorly), let's think about ways we can incorporate these elements into something interesting. Just a final note on this idea: SAW canon is... weird. As a result, I'm considering this series to be a partial reboot, a partial continuation, and also, reasonably, its own thing.

As the sub-title suggests, The Desciple will follow an apprentice to John Kramer's teachings. As is the case with most of his apprentices, our Pilot will depict our main character as a Player in one of his Games. The focus of the series then is on the development and growth of a Jigsaw player-turned-Gamemaker. We will explore this main character as they observe Games and learn the principles of trap design and construction.

Through flash-backs we will witness a past history of abuse and treachery. Mistreatment and neglect. The finale of course would be our main character playing their very first Game, bringing in a cast of victims who have "wronged" our protagonist.

The integration of a detective narrative could easily be filled if our protagonist is a cop deprogramming himself from his legal teachings. Or, better yet, their love interest (spouse or otherwise) could be a detective whose investigation into recent Jigsaw Killings has begun to create a violent rift in their relationship, culminating in a finale where they learn that their partner has been involved this whole time. Granted, both of these plots have appeared in the films before, however I see no reason to not incorporate previous story-beats if they serve a different purpose.

What I would like to see is a smarter, more introspective look into the Jigsaw philosophy of self-discovery through torture. Obviously the pros and cons of this must be discussed. Perhaps this series takes place after the main films and this features a protagonist who's learning through a copy-cat of a copy-cat. Where different sects of Kramer's followers have taken his game-making ideas in radically different directions and thus we see more Amanda-esque games (which are not meant to be won) and Hoffman-esque games (where winning requires participation from all players).

Seeing familiar faces would be cool, but honestly, I think a fully original cast would be best. Yeah, yeah, it sounds a lot like I'm saying "Hey, let's make a full length series based on Spiral!" And I guess that's fair. But going forward, I cannot imagine there's much more of a story to tell with any of the pre-existing characters that wouldn't feel completely nonsensical.

Thoughts? If I'm bored I might draft something, I dunno.

[canmom]

Animation Night 142: Shells & Dragons

Hi everyone! It’s another Thursday and thus another Animation Night. [for newcomers: Animation Night is a night where I stream animated films (short and long) on Twitch.]

It’s awards season right now, and while awards are mostly not all that important, awards shortlists tend to be a great way to find stuff you might have overlooked. For example, the shortlist for Best Animated Feature - Independent at the Annies brings us a couple of fascinating films.

First up we have Marcel the Shell With Shoes On. It’s a stop motion/live action hybrid about, well, a shell with shoes on. A guy discovers a charming sapient seashell living in an AirBnB, and decides to make videos about him on the internet. This leads to a cascade of consequences as Marcel hopes to use this new platform to reconnect with his shell family, but the newfound fame bears a heavy toll on Marcel’s grandmother shell Connie.

Does something seem familiar about that animation style? Maybe this will help...

That’s right, this is the Kirsten Lepore movie - or to be precise, the Dean Fleischer Camp movie with Lepore serving as animation director. Lepore, if you’re not familiar, is a fascinating independent animator whose works include Story from North America, in which she provides the surreal imagery to a father giving a lesson in nonviolence...

You can see Lepore’s channel here on youtube. Definitely take a look at Move Mountain. She’s got a very disarming style which I’m excited to see at length.

Anyway, Dean Fleischer Camp. He’s been on the Marcel thing for like... 12 years at this point! The earliest iteration of the idea was a series of mockumentaries in 2010-14 - you can watch the first one here, second here and third here.

In the shorts, cowritten with actress Jenny Slate who plays Marcel, the childlike shell relates various aspects of his life in a high-pitched, anxious voice, while the interviewer responds in a strangely disinterested voice. These videos made enough of a splash to get featured in newspapers, there was even a line of children’s books, and in 2014, a project to make a Marcel film was announced by Camp and Slate... finally dropping a good seven years later, to near unanimous praise.

The film, then, seems to be aiming to flesh out the comedy characters into a more substantial story of Marcel encountering the wider world.

Alongside that, we have My Father’s Dragon, the latest from Cartoon Saloon, the Irish studio that’s the darling of the small-studio animation world - and naturally has featured on Animation Night on #14 and #49.

Incredibly exciting, right? Unfortunately, there is a wrinkle in that news for me. This film’s directed by Nora Twomey, whose previous work was the disappointing The Breadwinner, which presented quite a shallow and even imperialist narrative about a precocious girl too good for sinful Afghanistan. (Having American bombs appear as a liberating force is a choice, Nora!) Cartoon Saloon are untouchable when they stick to Irish history and mythology, but that was definitely their weaker entry, missing all the subtlety and grace of an earlier film like Persepolis ten years earlier that comes from actually living somewhere.

But Twomey also worked on all of Cartoon Saloon’s other wonderful films (she co-directed Secret of Kells) and this time, they’re adapting a children’s book from 1948 by Ruth Stiles Gannett and illustrated by her stepmother Ruth Chrisman Gannett. (Not the only adaptation, incidentally, there’s also an anime film from 1997.) The book tells the story of a young boy - referred to throughout as ‘my father’ - who travels to a place called Wild Island in search of a baby dragon. You can read the full text, with low res scans of the illustrations, right here.

Cartoon Saloon’s version goes for a styling not entirely the same as the original illustrations, but recognisably a ‘children’s book’ style, and as lush as all of their projects. The book’s story seems to just be the first act of a much longer story which sees Elmer and the Dragon attempting to find a way to save the island.

This is definitely pitched younger than Cartoon Saloon’s previous movies, but I’m hoping that the animation alone will be plenty of reason to watch this.

(If you’re wondering about the other films in the category, by the way - there’s Masaaki Yuasa’s god-tier film Inu-Oh, which I cannot wait to screen and will write about at enormous length when I do; there is Charlotte, a biopic about German painter Charlotte Salomon ‘coming of age on the eve of WWII’, which follows the European co-production model, bringing together studios in Canada, France and Belgium; and there is Little Nicholas, Happy As Can Be about a centimetres-tall boy growing up on a desktop world. Also French, of course. We may well get to the other two down the line. Big year for bildungsroman huh.)

If these movies sound fun, please make your way to twitch.tv/canmom where we will be starting in about 15 minutes at 8pm UK time! We’ll be watching Dragon first, then Marcel, since I think that will be the more impactful order. And at the end we might just tuck in the latest episode of Yao - Chinese Folktales. Hope to see ya there~

[denimbex1986]

'Cillian Murphy is currently basking in the glory of his powerful performance as the titular character in Christopher Nolan’s Oppenheimer. The Irish star who played the father of the atomic bomb, impressed audiences and critics worldwide and has staked a strong claim to become of of the key contenders for the awards season. Before bagging the marquee role, Murphy had already gained cult status with his hit show Peaky Blinders which ran for a successful six seasons.

The Dunkirk star who played the hardened gangster Tommy Shelby in the gritty BBC drama, headlined the series until the final season that aired in April 2022. While there were talks about Peaky Blinders being renewed for a 7th season, disappointed fans were made aware that this was not the case. However, creator Steven Knight did have promising news that the gangster drama will culminate in a full feature length film which could feature a final arc for Cillian Murphy.

Could Cillian Murphy Return For Peaky Blinders Film?

Peaky Blinders, which is set in post-World War I Birmingham, follows the adventures of the titular gang led by leader Tommy Shelby played by Oppenheimer star Cillian Murphy. It is a narrative of power, ambition, and familial ties and is loosely based on a real gang that was active in Birmingham in the late 19th and early 20th century. Over six successful seasons, Murphy who headlined the show, impressed audiences worldwide with his intense performance.

With the confirmation that the show will not enter its 7th season but will instead culminate its narrative through a full length feature film, creator Steven Knight spoke about getting the Inception star back on board to reprise his famous role. Elaborating on his hopes for Murphy’s character, Knight said,

“My intention has always been to redeem him so that, at the end, he’s genuinely a good man doing good things. And finding how that journey happened, and why it happened, and dealing with all the post-traumatic stress of the First World War, and never easing up on that.”

With Cillian Murphy riding high on Oppenheimer’s success, fans of the star will be eager to see him play the iconic Tommy Shelby one last time. The Peaky Blinders film is expected to commence production sometime in 2023.

Why Cillian Murphy Chose An Unusual Role In Inception

Cillian Murphy has been a Christopher Nolan favorite, having starred in 6 of the director’s films so far. While Oppenheimer was his first time shouldering the responsibility of playing the main protagonist, Murphy has been offered this choice before as well by Nolan. In Inception, the filmmaker reportedly gave The Dark Knight star the script with the luxury of choosing any role he wanted in the film. Murphy though, intriguingly picked a very unusual part with much less significance as he felt that it would be the right fit for him.

The star chose to play Robert Michael Fischer who spends most part of the film being unconscious instead of picking one of the main roles that would have given him more recognition. Through his honest and objective decision, Cillian Murphy proved that he was a true cinephile and an actor with integrity.

All six seasons of Peaky Blinders are currently available for streaming on Netflix.'

[hereandvowstudio]

Enhance Your Big Day: Vancouver Wedding Video Editing Services for Unforgettable Memories

Your wedding day is one of the most important and memorable moments of your life, filled with emotions, laughter, and unforgettable moments. Capturing these memories through a wedding video is a beautiful way to relive the day long after the celebrations end. However, the true magic of a wedding video often lies in the editing process—where raw footage transforms into a cinematic masterpiece. Vancouver wedding video editing services provide couples with the opportunity to turn their wedding day footage into a polished, emotionally engaging video that tells their unique love story.

 

Why Choose Vancouver Wedding Video Editing Services?

Wedding videos can be more than just a recording of the ceremony and reception—they can be a reflection of the couple's personality, style, and the essence of the day. Professional editing services in Vancouver offer expertise in turning your raw footage into a visual narrative that beautifully showcases the highlights of your wedding day. Here’s why opting for a Vancouver wedding video editor can make all the difference:

 

Personalized Storytelling

Every couple has a unique story to tell, and a professional editor will work with you to craft a video that reflects your individual personalities, love story, and the atmosphere of your wedding. They’ll focus on key moments, from the exchange of vows to the emotional first dance, while weaving them together in a way that feels cohesive and heartfelt.

 

Expert Editing Techniques

Vancouver's wedding video editors are experienced in using advanced editing software to enhance the footage, ensuring every shot is picture-perfect. They can adjust color grading, audio, and lighting to make sure your video looks polished and cinematic. Moreover, they can apply smooth transitions and cinematic effects that elevate your video to a higher standard.

 

Highlight and Full-Length Videos

Wedding video editors typically offer various video formats. Whether you're looking for a short, highlight reel that captures the essence of the day in just a few minutes or a full-length feature film that encompasses every detail from start to finish, there are customizable options available to suit your preference.

 

Incorporating Music and Audio

The soundtrack plays a crucial role in setting the tone of your wedding video. Vancouver wedding video editors can incorporate carefully selected music that complements the visuals, whether it's a romantic ballad for the first dance or an upbeat song for the reception. They can also clean up audio, ensuring that vows and speeches are crystal clear.

 

Fast Turnaround Time

Wedding videos are typically in high demand, especially during peak wedding season. Vancouver video editors understand the importance of delivering the final product in a timely manner. Most services offer quick turnaround times, ensuring that you receive your beautifully edited video soon after your wedding day.

 

Services Offered by Vancouver Wedding Video Editors

Here are some of the key services you can expect from professional wedding video editors in Vancouver:

Raw Footage Editing: Transforming uncut footage into a smooth, cohesive video.

Cinematic Highlights Reel: A condensed version of the wedding day showcasing the most meaningful moments.

Full Wedding Documentary: A comprehensive film capturing the entire day, from preparations to the last dance.

Drone Footage Editing: Including aerial shots to add a dramatic, sweeping view of your venue and guests.

Same-Day Edits: Some editors offer same-day video edits for couples who want to relive their wedding moments at the reception.

Social Media Clips: Short, shareable clips for social media platforms to let you share highlights with friends and family.

 

How to Choose the Right Vancouver Wedding Video Editor

When selecting a wedding video editing service, consider the following factors:

Portfolio and Style: Review the editor’s previous work to ensure their style matches your vision for your wedding video.

Reviews and Testimonials: Check online reviews or ask for references to gauge the quality of their service and customer satisfaction.

Experience: A seasoned editor will have the skills to handle various video formats and deliver high-quality results.

Communication: Clear communication is key to ensuring the final video reflects your expectations. Be sure to discuss your preferences, timeline, and budget upfront.

 

Conclusion

Vancouver wedding video editing services provide couples with the opportunity to relive the joy, emotion, and beauty of their wedding day through expertly crafted films. From personalized storytelling to cinematic editing techniques, these services ensure that your wedding video is more than just a collection of clips—it’s a work of art that will allow you to cherish your special day for years to come. So, if you want your wedding memories captured in the most stunning way possible, a professional wedding video editor in Vancouver is your best choice.

[desicinema2]

Exploring the Evolution of Desi Cinema: A Global Phenomenon

Desi cinema, a vibrant and multifaceted domain, refers to the film industries of South Asia, primarily those from India, Pakistan, Bangladesh, Nepal, Sri Lanka, and Bhutan. But when most people mention "Desi cinema," they often mean Bollywood—India's Hindi-language film industry. However, to focus solely on Bollywood is to miss the rich diversity of cinematic traditions that have emerged from this culturally and geographically varied region.

This blog post aims to explore the evolution of desicinema, its global influence, and how it has transitioned from regional storytelling to a powerful force on the global entertainment stage.

The Roots: Traditional Storytelling and Early Cinema

Before the advent of cinema, storytelling in South Asia was primarily oral, passed down through generations in the form of folktales, mythological epics, and performances like dance-dramas and theatrical productions. The cultural legacy of these traditional forms heavily influenced the development of cinema in the subcontinent.

The first recorded instance of filmmaking in India can be traced back to the late 19th century. In 1913, Raja Harishchandra, the first full-length feature film by Dadasaheb Phalke, marked the beginning of Indian cinema. It was a silent film that adapted Indian myths and folklore into a visual narrative.

However, the true flowering of Desi cinema began in the 1940s and 1950s, as the rise of regional film industries—like the Tamil film industry (Kollywood), Telugu cinema (Tollywood), and Bengali cinema—gave birth to new filmmaking styles, genres, and storytelling techniques. Directors like Satyajit Ray in Bengal revolutionized Indian cinema with his Apu Trilogy in the 1950s, which focused on humanist themes and portrayed India's socio-cultural realities with sensitivity and depth.

The Golden Age: Bollywood Dominance

By the 1950s and 60s, Bollywood, which had already existed in its early stages since the 1930s, began to establish itself as the dominant force in Indian cinema. Films from this era were marked by larger-than-life stories, elaborate song-and-dance sequences, and strong emotional appeal, which resonated with both rural and urban audiences. Bollywood's penchant for grand romance, family dramas, and escapist fantasies created a unique cinematic language that could transcend linguistic and regional barriers.

Key figures like Raj Kapoor, Guru Dutt, Madhubala, and Meena Kumari became household names, and their films gained a cult following not just in India, but across the globe. In the 1970s and 80s, Bollywood evolved further with stars like Amitabh Bachchan, who became iconic for his roles in action-packed blockbusters like Sholay (1975) and Zanjeer (1973). During this period, the genre of the masala film emerged, blending action, drama, comedy, romance, and music into a single package that catered to a wide audience.

Post-1990s: Globalization and the Rise of NRI Cinema

The 1990s ushered in a new era for desi cinemas with the global expansion of Bollywood films. Economic liberalization in India, combined with the growing influence of the Indian diaspora, transformed the way Desi films were made and consumed. The advent of satellite TV and the internet brought Bollywood films to millions of homes worldwide, from the Middle East to the United States, the United Kingdom, and beyond.

Filmmakers like Yash Chopra, Aditya Chopra, and Karan Johar capitalized on this trend by making films that explored themes of identity, love, and cultural assimilation for the NRI (Non-Resident Indian) audience. Movies like Dilwale Dulhania Le Jayenge (1995), Kabhi Khushi Kabhie Gham (2001), and Kabhi Alvida Naa Kehna (2006) became cultural touchstones, resonating with both Indians living abroad and international audiences who were drawn to the romance and spectacle of Bollywood.

Simultaneously, other regional film industries like Tollywood (Telugu), Kollywood (Tamil), and Mollywood (Malayalam) gained prominence both within India and internationally, producing films with distinct storytelling traditions. For instance, Telugu cinema's Baahubali series (2015-2017) became a global sensation, demonstrating the massive appeal of regional films on the international stage.

Contemporary Desi Cinema: Diversity and Innovation

The 21st century has witnessed an explosion of diversity within Desi cinema. Bollywood continues to dominate, but now it faces competition from other regional industries. Filmmakers are increasingly experimenting with content, blending genres, and telling stories that push boundaries and explore pressing social issues. Films like Gully Boy (2019), Article 15 (2019), Andhadhun (2018), and Dangal (2016) have been successful not only in India but internationally, gaining recognition at film festivals and even securing global distribution.

Bollywood's content has evolved significantly, with greater emphasis on social issues such as gender equality, caste discrimination, and mental health. The emergence of streaming platforms like Netflix, Amazon Prime Video, and Disney+ Hotstar has also had a significant impact, providing a space for films with niche or unconventional themes to find an audience. These platforms have made Desi cinema accessible to a global audience, breaking down geographical boundaries and allowing for more diverse narratives.

Moreover, the success of films from Pakistan like Khuda Kay Liye (2007) and Cake (2018), as well as Sri Lankan cinema's growing presence on the international stage, underscores how Desi cinema is not limited to India but is a broader, regional phenomenon with a distinct voice.

The Global Influence of Desi Cinema

Desi cinema's influence has also gone beyond the screen. The vibrant world of Bollywood music, with its catchy tunes and intricate choreography, has influenced global pop culture. The Bollywood dance style has found its way into international music videos and performances, and major Western artists like Beyoncé and Madonna have incorporated elements of Indian dance and fashion into their works.

Actors like Priyanka Chopra, Irrfan Khan, and Dev Patel have become global stars, representing the growing international appeal of Desi cinema. Bollywood itself has also increasingly embraced Hollywood collaborations, with films like Slumdog Millionaire (2008) and The Lunchbox (2013) gaining worldwide acclaim.

At the same time, Desi cinema has influenced other global film industries. For example, the fast-paced, action-packed style of Bollywood has inspired filmmakers in the Middle East, Africa, and even Latin America. Indian cinema’s emotional depth and dramatic flair have been admired and adopted in various forms across the world.

Conclusion: The Future of Desi Cinema

As Desi cinema continues to evolve, it is embracing an exciting future marked by bold storytelling, technological innovation, and cultural exchange. The proliferation of digital platforms, the success of regional films on the global stage, and the increasing representation of South Asian narratives in mainstream Western media suggest that the world is ready for more of the unique flavor that Desi cinema has to offer.

For audiences, whether they are tuning in from India, Pakistan, the UK, or anywhere else, Desi cinema offers not only entertainment but also an opportunity to engage with a dynamic, diverse, and ever-evolving cultural landscape. It’s no longer just about Bollywood. It's about a global phenomenon with stories that resonate universally while celebrating the distinct cultural identities that make Desi cinema so unique.

So whether you're a fan of the glitz and glamour of Bollywood or a lover of the raw, powerful narratives emerging from regional cinemas, one thing is clear: Desi cinema is here to stay, and its influence will only grow stronger in the years to come.

[wedinmotionuk]

The Art of Wedding Cinematography: Capturing Love Stories

Wedding cinematography has evolved into an essential part of the wedding experience, blending artistry with storytelling to create beautiful films that couples can cherish for a lifetime. Unlike traditional photography, which captures still moments, wedding cinematography focuses on the dynamic essence of the day, bringing emotions and memories to life through moving images.

The Importance of Wedding Cinematography

The significance of wedding cinematography lies in its ability to encapsulate the entire day’s events in a narrative format. While photographs provide snapshots of moments, video can convey the emotions, sounds, and energy of the day. From the bride's laughter as she prepares to the heartfelt vows exchanged during the ceremony, each scene unfolds like a story, offering a glimpse into the couple's unique journey.

Moreover, wedding films allow couples to relive their special day repeatedly, sharing the experience with family and friends who may not have been able to attend. This makes wedding cinematography an invaluable investment for many couples, preserving not just the visuals but the ambiance of their celebration.

Choosing the Right Cinematographer

Selecting the right cinematographer is crucial to ensuring that the wedding film reflects the couple’s personality and style. Couples should look for professionals whose work resonates with them, paying attention to their filming techniques, storytelling approach, and editing style.

When searching for a cinematographer, consider the following factors:

Portfolio: Review the cinematographer's previous work to understand their style and quality. Look for storytelling techniques that capture emotions and highlight significant moments.

Experience: Choose someone with experience in Indian wedding cinematography company. An experienced professional will know how to handle various lighting conditions, unpredictable moments, and the nuances of different venues.

Communication: A good cinematographer should be approachable and willing to listen to the couple’s ideas and preferences. Clear communication is essential for ensuring that the final product aligns with the couple's vision.

Packages and Pricing: Consider what each package offers, including the duration of coverage, number of videographers, and additional services like drone footage or same-day edits. Understand the pricing structure to ensure it fits within the wedding budget.

The Filming Process

On the wedding day, the cinematographer typically works discreetly, blending into the background to capture genuine moments as they unfold. The filming process may include various stages:

Pre-Ceremony Footage: Capturing the excitement during preparations, from makeup application to getting dressed.

Ceremony Highlights: Recording key moments such as the entrance, vows, and first kiss, as well as the emotions of family and friends.

Reception Coverage: Documenting the celebrations, speeches, and dances, ensuring to capture the energy and joy of the couple and their guests.

Post-Wedding Interviews: Some cinematographers include interviews with the couple or their family members, providing a personal touch and allowing them to share their thoughts and feelings about the day.

Editing and Final Delivery

Once the wedding day is complete, the editing process begins. This stage is where the magic happens, as the cinematographer weaves together footage to create a cohesive narrative. The final product may include:

Highlight Reel: A short, beautifully edited film showcasing the best moments of the day, often set to music.

Full-Length Feature: A comprehensive video capturing the entire day’s events in chronological order.

Raw Footage: Some couples opt for unedited footage to preserve every moment, allowing them to revisit the day as it unfolded.

[blogeternal]

Melanie Martinez - The Rising Star of Music and Film 

Melanie Martinez is no ordinary artist. With her haunting vocals, edgy visuals, and ability to transform stories into cinematic experiences, she has carved out a unique space in the music and film industries. Rising from humble beginnings, Martinez has consistently pushed the boundaries of creativity, becoming a cultural icon for her ability to merge music with art, film, and storytelling.

Early Beginnings and Breakthrough

Born in 1995 in Astoria, Queens, New York, Melanie Adele Martinez showed a deep interest in music and art from a young age. Her breakthrough came in 2012 when she appeared as a contestant on NBC’s The Voice, captivating audiences with her rendition of Britney Spears’ "Toxic." Despite not winning the competition, her distinct voice and style resonated with viewers, setting the foundation for her future success.

In 2014, Melanie released her debut EP, Dollhouse, followed by her first full-length album, Cry Baby, in 2015. The album introduced listeners to her whimsical, eerie, and emotionally raw world. Songs like “Pity Party” and “Soap” became instant hits, but it was the conceptual storytelling woven throughout her music that truly set her apart. Cry Baby wasn’t just an album; it was a narrative, each track unfolding a new chapter in a larger, darker fairy tale.

Unique Visual Aesthetic

One of the key elements that distinguish Martinez from other artists is her striking visual style. Her music videos are not merely complementary to her songs—they are integral parts of the narrative. Martinez often directs her own videos, infusing them with a vintage doll-like aesthetic juxtaposed with disturbing themes like childhood trauma, societal pressures, and mental health.

Her artistry draws inspiration from various sources, including surrealism, children’s stories, and horror films. These themes play out in her visuals, where bright, pastel colors contrast with dark, often unsettling subject matter. This duality keeps fans intrigued and allows her to explore complex emotions and societal issues in a captivating way.

Melanie Martinez's Unique Fashion Style

Melanie Martinez’s fashion is just as distinctive and captivating as her music and films. Often described as a mix of vintage doll-like aesthetics with a dark, edgy twist, her style plays a crucial role in shaping her artistic identity. From pastel-colored dresses, bold wigs, and oversized bows to her use of contrasting patterns and textures, Martinez's fashion choices are a visual extension of the surreal worlds she creates in her art.

Transition to Film: K-12 and Beyond

In 2019, Melanie took her creative vision to the next level with the release of K-12, a feature-length film that serves as the follow-up to her Cry Baby album. Written and directed by Martinez, K-12 merges her music with cinematic storytelling, creating a dystopian world where her character, Cry Baby, navigates a twisted school system.

The film received praise for its imaginative visuals and ambitious scope. Combining elements of fantasy, horror, and musical theater, K-12 blurred the lines between music and film, further showcasing Martinez’s talents as a multi-faceted artist. Her dedication to delivering a cohesive visual and auditory experience for her audience has established her as a trailblazer in the industry.

Thematic Depth: A Voice for the Unheard

What makes Martinez truly stand out is her thematic depth. Her work often delves into sensitive and complex topics, ranging from mental health and body image to trauma and societal critique. This resonated deeply with her fans, especially younger audiences, who appreciate her willingness to address difficult subjects in both her music and film.

Songs like “Mad Hatter” and “Tag, You’re It” explore inner struggles, self-identity, and the darker sides of human experience. By channeling these issues through a surrealist lens, Martinez manages to both entertain and challenge her listeners to think critically about societal norms.

Future Projects: What’s Next for Melanie Martinez?

As Melanie Martinez continues to rise, fans are eagerly awaiting her next moves. With her ability to seamlessly blend music and film, it’s likely she will continue pushing creative boundaries in both industries. Her dedication to storytelling and her commitment to artistic authenticity ensure that whatever she tackles next will be nothing short of captivating.

[danielsiegelalonso]

The All Weaving Thread: How Music Influences Everything in Media | Daniel Siegel Alonso

Music in media is like audio umami, the perfect seasoning in a recipe. It has the ability to enhance flavor and provide depth. Daniel Siegel Alonso examines how music is indispensable in enchanting consumers, from the memorable jingles of television commercials to the emotionally charged earworms in viral videos. Its influence is ubiquitous, transforming ordinary content into unforgettable experiences, evoking emotions, and molding cultural trends. 

Television Commercials: The Jingle Jungle

Siegel Alonso begins by considering the television commercial. Music is the secret weapon in advertising and marketing, where attention spans can be shorter than the length of a cat video on TikTok. With its catchy melody and simple lyrics, the classic jingle is a masterclass in auditory branding. Do you remember 1971's "I'd Like to Buy the World a Coke"? That was more than just a tune; it was a cultural touchstone. 

Today, in modern advertising, music's role transcends nostalgic jingles. Brands now curate full-fledged soundtracks to build an emotional narrative. Take Apple's commercials, for example. They often spotlight indie artists whose songs capture the essence of innovation and simplicity. These choices aren't random; they align with the brand's identity and leave a lasting impression. 

Music Videos: The Visual Symphony

Music videos are the perfect union of audio and visual storytelling and have revolutionized how people consume music. These clips are not merely promotional tools but are art forms. At its peak, music videos were cultural events. Nobody took advantage of the medium better than Madonna. Think of her "Justify My Love" video—a short film that was so subversive that MTV banned it. (Ever the businesswoman, The Material Girl decided to make the controversial video available commercially as a video single, marking the first time a musician released a single in this format in the United States.)

Daniel Siegel Alonso fast forwards to the current age of social media, with channels like YouTube and TikTok breathing new life into the music video. Artists can now connect directly with their audience, bypassing cautious publicists and conservative record company executives. This democratization has led to a surge in creativity. Think about Childish Gambino's cinematic "This is America." The music video sparked widespread discussion and analysis with its in-your-face imagery and complex themes. It wasn't just a song but a statement. 

Social Media: The Viral Soundtrack

Music is the magical ingredient in social media that can instantly catapult content into viral fame. Platforms like TikTok have turned short, catchy music clips into a global phenomenon. A 15-second snippet can lead to myriad dance challenges, lip-sync clips, and memes, propelling relatively obscure singers to stardom overnight. 

Daniel Siegel Alonso uses Lil Nas X's "Old Town Road" as a key example. With its genre-blending sound, the song became a sensation largely thanks to TikTok. Users created countless videos featuring the song, and the track's infectious energy spread like wildfire. The result was a record-breaking run on the Billboard Hot 100—and a Grammy win!

Even Instagram's Stories and Reels leverage songs to enrich their user experience. Whether it's a tearjerker ballad emphasizing heartfelt memories or an aggressive track fueling a workout video, music layers in emotional content that words and images can't achieve.

The Emotional Manipulator

Music's influence in media lies in its power to manipulate emotions—the invisible puppeteer tugs at the heartstrings, stirring nostalgia, joy, sadness, or excitement. Filmmakers and content creators understand this well. Imagine watching a horror flick without a creepy soundtrack. 

In television shows, music often acts as an additional character on screen. Netflix's "Stranger Things" and HBO's "Game of Thrones" have iconic soundtracks that are instantly recognizable and have even revitalized musicians' careers (think Kate Bush and her iconic song "Running Up That Hill"). These scores aren't just background fodder; they are crucial to storytelling by creating tension and enhancing dramatic moments. 

Cultural Shaper

Beyond its emotional impact, music in media also serves as a cultural shaper. It impacts everything from fashion to language and even social movements. Consider MTV's influence and reach at its height in the 1980s and 1990s. The cable channel didn't just air music videos; it created superstars and defined an era, influencing everything from hairdos to political views. 

While MTV may not be the behemoth it once was, social media platforms continue the tradition today. Viral music trends can spark global discussions. For instance, the Black Lives Matter movement saw numerous musicians penning powerful anthems that became rallying cries, shared widely on social media. In this context, music transcends entertainment; it's a vehicle for evolution.

Conclusion

In the grand tapestry of media, Daniel Siegel Alonso asserts that music is the thread that weaves everything together. It turns commercials into cultural icons, music videos into visual feasts, and social media content into viral sensations. Its power to elicit emotion, contribute to culture, and tell unique stories makes it an invaluable tool for creators. 

If there are stories to tell and products to sell, music will remain at the heart of media, striking the right chords and leaving an unforgettable mark on our collective psyche. Ultimately, it's not just about the notes and melodies; it's about the feelings and memories they arouse, making music the unsung hero in the ever-changing media landscape.

[the-visual-journey-blogg]

Exploring Lotte Reiniger's 'Cinderella' Through the Eyes of a Silhouette Animator and Feminine Depth

(5 minutes reading)

By Sofi Ojeda

Lotte Reiniger, a trailblazing German animator renowned for her pioneering work in paper silhouette animation, has had a profound impact on the animation industry. Inspired by ancient Asian performances, Reiniger's legacy extends beyond her creation of the first full-length animated feature film, "The Adventures of Prince Achmed (1926)".

Today, we explore one of her lesser-known yet highly significant earlier works, "Aschenputtel" (Cinderella), crafted in 1922. This journey allows us to appreciate Reiniger's artistic brilliance and invites us to delve into the deeper layers of meaning within this classic fairy tale.

Understanding the Narrative

An intriguing element that I loved of this 12-minute short film lies in its opening sequence, where we witness Reiniger's hands meticulously crafting the paper main character Cinderella. Notably, Reiniger imbues the scissors with a character of their own, introducing them as a threat to Cinderella. This powerful and symbolic commencement aligns seamlessly with the film's overarching narrative: "Cinderella" is a young woman who manages to defy formidable challenges and secures an invitation to a royal ball, ultimately winning the affection of a prince, or as she eloquently phrases it:

(Indeed, she also created these stunning English-written cards.)

Silhouette Animation Technique

Reiniger employed a frame-by-frame photography technique using multiple layers of cut-out paper. By adjusting opacity and composition, she crafted an illusion of depth in a multiplane camera—a technique later adopted by Walt Disney. Adding depth to the character designs through exaggeration, shape language and acting. Even the inanimate objects in the film are imbued with a distinct German expressionism style—distorted yet still legible. Remarkable for its time and the work of a single individual.

(German expressionism movie: The Cabinet of Dr. Caligari (1920))

Feminine Insights

Reiniger's "Cinderella" isn't just a retelling of the classic fairy tale—it's an exploration of femininity, vanity, and competition among women. The film uses humor, such as the comically exaggerated eye movements of characters, to ridicule vanity. It reflects a historical perspective where differences in femininity were exploited for competition. Today, we recognize that there's no one way to be feminine, and no one is better or worse for their choices.

In the tale, her stepsister goes to extraordinary lengths, even resorting to cutting a part of her own feet to squeeze into Cinderella's shoe. This vividly illustrates how, in the past, cinema and television often portrayed the extraordinary measures women were willing to take to gain acceptance and validation from figures like princes or men in general. While we may find her stepsister's actions unconventional, it offers a poignant glimpse into the immense hurdles women confronted in their quest to meet societal expectations, as they strived to fit into predefined molds and be valued accordingly.

A Lasting Legacy

Reiniger produced two unique adaptations of this story. The first (this one), is a silent version that closely follows the German Grimm rendition, replacing the fairy godmother with a magical tree. And the second was her 1954 version, which reintroduced the fairy godmother, along with components like a pumpkin coach and mouse footmen, despite the story's origin in Perrault's version.

Reiniger's "Cinderella" has left a lasting impact. It's intriguing to note that subsequent adaptations, including Disney's iconic version, have closely followed the story's original narrative. Cinderella's tale is one of the most remade stories in cinematic history, with over 100 adaptations on the big and small screens.

If you're curious to experience this classic work, here I attatched "Cinderella" short film (posted on YouTube), where its timeless charm continues to captivate audiences, just as it did nearly a century ago.

Bibliography

The Art of Lotte Reiniger, 1970 | From the Vaults (on youtube)

Movie: The Cabinet of Dr. Caligari (1920)

Blogs:

https://moviessilently.com/2018/03/18/cinderella-1922-a-silent-film-review/

https://www.skwigly.co.uk/100-greatest-animated-shorts-cinderella-lotte-reiniger/

http://www.screenonline.org.uk/people/id/528134/index.html

[akmu-archives]

[201116] "HAPPENING" Online Press Conference

On HAPPENING

Sibling duo AKMU has returned with their new song 'Happening' after a year and two months. Released as a single, this song continues the storyline from their previous work 'How can I love the heartbreak, You're the one I love'.

Lee Chanhyuk explained the new song, saying, 'If 'How can I love the heartbreak, You're the one I love' is a heartbreaking song that captures the climax of a breakup, this song is about what happened to the protagonist of 'How can I love the heartbreak, You're the one I love' after that. It depicts the protagonist who went through a breakup that was 'painful as if being torn apart', and eventually encountering a new love as time passed.

"This is a song about how a wounded and wary character will act when an opportunity for love comes their way, and memories of love come back again."

As such, 'HAPPENING' is a song that contains emotions that must be addressed before unfolding the next story of 'Sailing' in detail. It is a device for the natural development of the beautiful narrative that AKMU will tell in the future, a song that heralds another leap forward.

---

Lee Chanhyuk: "Because it is a single, I worked on it with a relatively light heart; this song serves as a bridge to the upcoming full-length album that we will release later. I thought it was a good song that's easy to enjoy like a snack, so I brought it with confidence."

Lee Suhyun also emphasized the appeal of "HAPPENING" as a song that is meant to be enjoyed lightly. "When making a full-length album, we work with the mindset of 'Let's put our heart and soul into creating a masterpiece that will shake up Korea'. But for other forms of singles or mini-albums, we also need a bit of a break sometimes. We thought that would be the case for you guys too, so we worked on it with the intent of making it fun."

HAPPENING M/V

The music video for 'HAPPENING,' which is reminiscent of a youth film, featured AKMU themselves, adding significance. Suhyun pointed out, "Using camera techniques, the same scene transitions between day and night. It will be fun to watch."

Chanhyuk reflected on his acting in the video, saying, "As I continue acting, it feels like my acting skills are improving with each project."

Test listeners for HAPPENING

Lee Chanhyuk: "I played it for my parents and they liked it. Since it's completely the public's view, it's good if my parents like it." He added, "I wanted to bring more songs since it's been a year and two months since I've made a comeback, I wanted to bring more songs, but there are things we're still preparing, so I decided to bring this song like a snack to share.

On ALIEN

"This is the moment I've been waiting for. I realized how precious it is to be back together as AKMU after working on my solo song 'Alien' alone."

Lee Suhyun recently made her solo debut with "ALIEN", produced by Lee Chanhyuk. Reflecting on her solo activities, Lee Suhyun said: "The most interesting thing was that all the focus was on me. It was an advantage that the camera captured whatever expression I made. When working on AKMU, my brother's story was the main focus, and I was the one who interpreted it with a new perspective and voice. But 'ALIEN' was a song that my brother made for me, and came out with my interpretation without any secondary processing. It felt like I was singing about myself for the first time."

"I think through my solo activities, I've come to realize how precious my brother is."

Pros and cons of being a soloist and being in a group, "The big advantage of being in a duo is that we can bring out colors that we can't show alone."

Expressing individual charms through ALIEN and HAPPENING

With "HAPPENING", the two focused on effectively expressing Lee Chanhyuk and Lee Suhyun's unique charms. Lee Chanhyuk said, "Everything is happening according to my plan and framework. Since the previous album, we've been focusing on maximizing each other's characters. That first came out in Suhyun's solo 'ALIEN'."

"Rather than the bubbly image in AKMU, I wanted to express a more pop-like, danceable, and fresh feeling through Suhyun." "And with the song 'HAPPENING,' I wanted to open up paths to more diverse music beyond the previous bubbly image."

Lee Suhyun added, "We tried to highlight each individual's presence more. Even in the music video, there's no overlapping between us at all, and we divided the parts into first and second verses to attempt different expressions. I'm satisfied with how well it turned out."

On Chanhyuk's solo plan

Lee Chanhyuk responded, "I hadn't really thought about it before, but gradually, I feel more open to it. I didn't have any ambition for a solo career, but as Suhyun and I grow to have different styles and personalities, I think there might be things that only I can do."

The success of Sailing

Earlier, AKMU topped the music charts for a long period with 'How can I love the heartbreak, You're the one I love', released last year. Even a year later, the song continues to receive great love from music fans, consistently remaining high on the charts. Although 'HAPPENING' was introduced as somewhat lighter music, akin to a snack, one might wonder if there was any pressure due to the influence of their previous work.

Chanhyuk spoke about the pressure due to the immense love for their previous album 'Sailing', saying, "Regardless of how well the previous album performed commercially, I was personally extremely satisfied with it, so it was simply a good album in itself. However, receiving such great love and still ranking within the top 10 even a year later is truly something to be thankful for."

Keyword: 'Inspiration'

When asked where he finds inspiration, he replied, "It's a question I get every time, but my inspiration isn't something grand. It's just lyrics that someone in their mid-20s can write right now, everything naturally becomes my story on the album, so I think the advantage is that many people can easily relate to and feel comfortable with without feeling forced."

He continued, "One of the things I hate most is trying to force myself to compose. I prefer working on it like keeping a diary."

Suhyun said, "My brother says that inspiration comes to him normally and naturally, but I think the average person might ask, 'How does this come naturally?'"

Keyword: 'Genius'

Lee Chanhyuk, who is in charge of all AKMU's song production, is often labeled as a "genius." He stated: "I don't think the word 'genius' creates a sense of significant distance. Everyone has their own unique areas of excellence, and mine is one that has manifested itself well. I believe others can also find and develop their genius in areas they enjoy and excel at."

"I think a genius is someone who finds what they love and do well, and for me, it's about creating songs that I love and do well in."

Throughout their career, AKMU has been labeled with terms like 'genius' and 'chart-topping powerhouse.' As young artists with boundless potential, fans eagerly anticipate their musical growth with each new album. However, AKMU doesn't feel burdened by such expectations.

Keywords: 'Change' and 'Growth'

They also talked about their growth as AKMU, and that changes are natural as people age.

Lee Chanhyuk remarked, "Everyone changes from their high school days to now. It's natural for people to change. I think it's not very a challenge, but rather a natural process for us to change as people and musically. So, while listeners might say, 'They're doing something different again', I believe it shows 'This is how we are growing.'"

Suhyun added, "Ever since I was young, I have never pretended to be younger or more mature, and I don't think I will in the future. If we grow as individuals, I think our music will grow in just the same way."

A "discord" between siblings

Chanhyuk also clarified the cute discord rumor with Suhyun. Previously, it was reported that Chanhyuk unfollowed Suhyun's SNS account, sparking rumors of discord between them.

Chanhyuk: "The truth is, I did it without any particular thought."

"I didn't expect things to blow up like this just because I unfollowed my sister's SNS. When the article about a rift between us came out, I was like, 'How did it get to this point?' Honestly, I didn't think anything of it."

Suhyun said, "I found out in the morning through articles. There was even a saying, 'Is their mother coming to resolve their fight?'". She said it was 'a cute rumor of a siblings feud.'

"We haven't had any fights and have been living peacefully. I didn't really think anything when I heard that he had unfollowed me. Isn't it common for siblings in many families to not follow each other on social media? I've even seen comments asking if siblings even follow each other, but it's not really a big deal."

On Collaborations

Lee Chanhyuk talked about the collaboration (with MILLENIUM and SIHWANG) on this single: "I've heard people say that AKMU has a high barrier of entry when it comes to collaboration. We've always worked within our own circle without featuring anyone, so many doubted whether they could work with AKMU. We ourselves used to think, 'We're so unique, who can we blend with?' But now we're making efforts to break that mold.

That's why we've challenged ourselves with collaborative songwriting. Starting with Suhyun's solo single, we began collaborating. We aim to show a more diverse side of ourselves," he emphasized.

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Lee Suhyun mentioned, "After releasing my solo album and appearing on 'Begin Again' for duets with others, I've been receiving quite a few collaboration offers. I really want to try collaborating more. Many people are curious about whether my brother will release a solo album. I'm more curious about his solo than mine. I don't know what will come out, but if it does, I think it will be amazing."

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When asked about musicians they would like to collaborate with in the future, both chose the singer Lee Sora.

Lee Chanhyuk said that when he saw Lee Sora sung AKMU's 'Moon' with Lee Suhyun on JTBC's 'Begin Again', he was impressed and thought, "I was overwhelmed with the desire to collaborate with senior Lee Sora."

Suhyun also spoke about Lee Sora, "She's a senior who's like a 'unicorn' in the music industry, so she's on everyone's wish list for collaboration."

On COVID-19 and personal cultivation

Amidst the difficult times in the music industry due to COVID-19, both of them focused on personal growth.

Lee Chanhyuk: "For some, it was a challenging year, and we were in that situation too. Personally, it was a precious year. I glimpsed opportunities to develop myself, including musically, and felt that I was progressing successfully. Although it wasn't widely known externally, I had time to cultivate myself."

Lee Suhyun: "I was very disappointed that all of our national tours were canceled early this year. No matter how good a singer makes valuable music, it's pointless if there are no listeners. I deeply realized the importance of fans, the public, and listeners."

She added, "It seems like I spent the beginning of this year like that, but I felt like I shouldn't spend this year like this. I want to use this time to discover not singer Lee Suhyun, but 22-year-old Lee Suhyun, so recently, I've also picked up new hobbies and reflected on myself."

AKMU's Strengths

AKMU highlighted their strengths as friendliness and "clear division of roles". Lee Suhyun said, "Everyone thinks of us warmly, almost like younger siblings."

Lee Chanhyuk added, "The distinct role division between Suhyun and me defines our colors. Suhyun is active as a radio DJ and appears on broadcasts." "If we were both composing songs or if we were envious and jealous of each other's work, the group wouldn't have lasted very long."

"I am interested in introspective and internal matters, while Suhyun enjoys making others happy with external things. We don't get jealous of each other and we get along well."

Suhyun added with a smile, "The most important point is not to be jealous."

Expectation for HAPPENING

As AKMU returns after a long hiatus with "Happening," what feedback would they like to receive?

Lee Chanhyuk: "The character in 'HAPPENING' is very similar to Lee Chanhyuk. I find it charming when someone who has been hurt acts like they're unaffected when a new opportunity for love arrives. It makes me think, seeing how someone with wounds hides them, 'Who were they in the past?' I think it's appealing."

He also expressed his hope for people who approach the song: "I hope people see our new charm, wondering 'What kind of songs will they make in the future?' and 'How did they create this song?'" "I hope this can be an opportunity."

Lee Suhyun said, "This song does not have any profound messages, and has excluded such elements. It's a song made easy to empathize with, so please empathize a lot."

Lee Chanhyuk: "I would like to hear people say that AKMU is constantly changing but doesn't seem changed. I think evaluations like 'It's very natural,' 'They seem [to be a team that] will last a long time' would be the best compliments."

Future plans

Finally, Chanhyuk commented on future plans, saying, "I'm continuously brainstorming and working on interesting things. Suhyun's solo efforts are like that too, we don't release singles frequently, but everything we put out has intention behind it, aiming to show something meaningful. I hope you can catch that meaning and wait with interest and expectation for future projects."

Sources:

"심오한 메시지 대신 공감대로"…돌아온 악뮤의 '해프닝'(종합) (Money Today)

악뮤 "사람으로서 성장한다면 음악적으로도 성장" (Yonhap News)

한층 짙어진 악뮤, 신곡 '해프닝'으로 가을 감성 정조준 [종합] (My Daily)

악뮤, 20대 남매 '해프닝'…"우리, 이렇게 커가고 있어요" (Newsis)

악뮤(AKMU), 또 새롭게…간식 같이 가볍게 즐길 '해프닝' [종합] (Hankyung)

AKMU, '해프닝'으로 더 성장해 돌아왔다 "불화설No, 오래갈 것"[종합] (Sports Seoul)

[D:현장] "간식같이 즐겨달라"…악뮤의 이유있는 자신감 '해프닝' (Dailian)

[종합] 악뮤 '어사널사 이후의 이야기', "해프닝으로 전하는 사랑 그 너머의 것" (Ajunews)

[종합] "악뮤는 다 계획이 있다"…'해프닝', 악동뮤지션의 '변화·성장' 연결고리 (Single List)

"이소라 선배와 협업하고 싶다" '악뮤' 이찬혁을 감동시킨 순간 (Oh My Star)

[sinceileftyoublog]

Eiko Ishibashi's Mournful Meditations

Eiko Ishibashi; photo by Shuhei Kojima

BY JORDAN MAINZER

When composing for film, singer-songwriter and musician Eiko Ishibashi knows how to both pull you in and shock you out of what you expect. Her latest fruitful collaborations have come with director Ryusuke Hamaguchi, Ishibashi first composing the score for Hamaguchi's 2021 film Drive My Car. Her musical cues tie into the narrative to the point where they're inexorably linked. I saw Drive My Car once when it came out, and every time I listen to its Original Soundtrack, I'm taken back to exactly the points in the film associated with each track.

Ishibashi and Hamaguchi's second collaboration, however, is a bit more complicated in terms of relationship between picture and sound. Hamaguchi was set to follow up Drive My Car with a 30-minute short silent film specifically designed to be screened with Ishibashi's live score. As he shot it, it grew into a full-length feature with dialogue, Evil Does Not Exist, with an accompanying score and soundtrack (out now via Drag City) from Ishibashi. Yet, Hamaguchi didn't totally scrap his original idea. Instead, he made a shortened, silent version of Evil Does Not Exist to go along with a live Ishibashi performance, entitled Gift. While it has a similar, if abridged plot to Evil Does Not Exist, viewing Gift is a different experience because it serves to emphasize the narrative power of Ishibashi's music.

Ishibashi; photo by Shuhei Kojima

When I saw a screening of Gift, accompanied by an Ishibashi performance, back in May at the Reva and David Logan Center for the Arts (presented by The Renaissance Society), I had not yet seen Evil Does Not Exist or heard the standalone soundtrack. I was familiar with the basic plot of both films: A development company wishes to build a glamping site in a rural village, much to the chagrin of its residents. Watching Ishibashi perform, I marveled at her ability to tell a story with a mix of sampled elements and live synths and woodwinds. Both films begin with skittering, jazzy cymbals and guitars (played by Ishibashi's partner Jim O'Rourke) before being cut off by the main swelling, dramatic string theme, sound-tracking a long, continuous skyward shot of forest trees in winter. Live, Ishibashi manipulated the sound of the orchestration, cutting it in and out, disorienting you when you got too used to the hypnosis of the shot. Likewise, in Evil Does Not Exist, the sound of footsteps slowly mixes in with the strings until they suddenly stop; at that point, you realize the camera is from the vantage point of a young girl, Hana (Ryo Nishikawa), walking through the woods, and the film goes on.

In both Gift and Evil Does Not Exist, we see characters on screen deep in their routines. It's almost therapeutic watching widower Takumi (Hitoshi Omika)--Hana's father--repeatedly chop wood, fill jugs with water from the stream, and pause for a cigarette. It's even more jarring, then, when these characters are taken out of their routines or beyond their comfort zones, like when Takumi suddenly stops his work because he realizes he's late to pick up Hana. Occasionally, we hear the sound of a distant gunshot as the villagers hunt for deer. During Gift, the booms were not far off from Ishibashi's bass thuds, but they certainly contrasted the light clicking of her pedals during quieter moments, just as they resemble a far cry from more "natural" sounds in Evil Does Not Exist, like the crunching of leaves and rushing water.

But more than challenging the repetitiveness of manual labor, in both films, the sound of a gunshot grows to symbolize the difference between rural and urban experiences. To pitch the glamping site to the villagers, the development company hires two talent agency representatives, Takahashi (Ryuji Kosaka) and Mayuzumi (Ayaka Shibutani), the latter of whom admits that the ringing blast was the first time she had ever heard a gun before. The two actors are, as we learn, clueless about the villagers' way of life, asking whether wild deer would be a threat to potential glampers (as opposed to the glamping site being an existential threat to the deer themselves). In one of the film's most tense scenes, Takahashi and Mayuzumi are put through the wringer when confronted by villagers' concerns about the effect of the glamping site's waste on the safety of their water supply. In Evil Does Not Exist, this scene is sound-tracked only by the stock music of the presentation before the characters start talking, suddenly cutting off. Gift, meanwhile, uses the scene to showcase the power of Ishibashi's compositions: We can feel the tension of the conversation by just hearing her score accompanied by only occasional words on screen.

As Takahashi and Mayuzumi shadow Takumi and help as much as possible with chopping wood, carrying water canisters, and so on, they become slightly more accustomed to the villagers' way of life and empathetic to their perspectives. They bluntly communicate the villagers' concerns to the project heads, who would rather rush through the project so as to keep their time-limited COVID subsidies. What happens from here, I will not spoil, though it's clear Hamaguchi's asking moral questions about the lengths people go to protect their loved ones and their surroundings, and whether or not the fight against capitalism is all-or-nothing. But during the scenes where the talent agency representatives are helping out, Ishibashi layers syncopated strings on top of the natural sounds, as if to blur the lines between humankind and the natural world, throwing even more wrenches into Hamaguchi's central queries.

Because Hamaguchi and Ishibashi render so complex the relationship between picture and sound via Gift and Evil Does Not Exist, the latter's soundtrack doesn't necessarily provide a new way to experience the projects' themes. Like that of Drive My Car, though, the soundtrack places you back in each scene. What's more, it exudes the films' distinctive moods. Of course, the opening and pseudo title track "Evil Does Not Exist v.2" consists of pattering drums and scraggly guitars giving way to the aforementioned solemn main string theme, squarely placing the film's beginning forest shot in your mind. The spacey synthesizer blips of "Hana V.2" make you picture the consistent wandering of its namesake character, the sound of thumping bass and footsteps making the listener feel an almost parental instinct when thinking about a child alone. And "Smoke" juxtaposes tactile and malleable instrumentation, a collection of cymbals, kick drum, woodwinds, and buzzing drones, the sonic manifestation of Hamaguchi's musings on the extent to which we can bend the world to suit our whims. Are we extensions of our surroundings, or have they become subservient to us? Does evil actually exist? Take in Hamaguchi and Ishibashi's multi-media world, and you'll have no answers, but certainly more to chew on while you, too, go about your every day.