Rebecca Arnold, Research Blog: Closing ideas

Well, this is it. My last blog posting of the semester. I guess I'll talk about my very last picture to shoot for my final portfolio that I will be doing this weekend.

I actually had a dream about this photo idea a month or so ago. It was vivid, and in the dream I knew exactly where I was: Oz! Yes, I had a Wizard of Oz dream. I remember watching Judy Garland walking down the yellow brick road, prior to meeting the scarecrow, and stopping at the edge of the backdrop. One of my favorite things about this film is the backdrop - it is so obviously very much a backdrop...but it doesn't matter. It's of no concern to the viewers, and that makes it successful. Anyway, she walked up to the backdrop, confused and reached out to touch it. It wasn't Judy Garland, it was actually Dorothy the character. She looked around, not knowing what to do because this beautiful landscape she once wanted to cross just turned into a still image she couldn't break through.

I love this concept. I'm going to photograph one (or several, depending) of my father's paintings. He has done quite a lot of landscapes in his lifetime, and I want to photograph one as if it were a backdrop. After taking another photo separately of myself, in costume, I will work in photoshop to connect the two images. I hate using so much photoshop, I try only to use it for color and lighting correction. But this is appropriate. I'll spend a lot of time on this image, and I can't wait to get started.

As I wind down to the final image and the final blog, I am feeling like I came out of this semester somewhat successful because I've figured out what I really want in my pictures. I am moving past my complicated ideas and I'm sticking to what I know. Thank you, blog, for being there to hold all of ideas. And thank you Tom, for having the patience to read my blog.

Happy Holidays!

Rebecca Arnold, Artist Lecture: Amy Hauft

Amy Hauft, chair of the Department of Sculpture + Extended Media, spoke at the Anderson Gallery last night. She lectured in the same room that her exhibition was in, which was called Counter Re-formation.

After earning her B.A. from the University of California Santa Cruz, she attended Skowhegan School of Painting and Sculpture on scholarship, and later earned her MFA at the Art Institute of Chicago. Hauft has exhibited her large-scale architectural installations in galleries all over the world, including the Brooklyn Museum, the New Museum, the International Artists Museum (Poland), The American Academy in Rome, Wesleyan University Gallery, School of the Art Institute of Chicago Galleryaaa, and USC Atelier Gallery. She has been awarded residencies that have allowed her to work in different parts of the world including Umbria, Italy and Poland.

Amy Hauft, Counter Re-formation, 2009, 32 ft x 27 ft x 35 in; Plywood, canvas, sugar, ABS plastic, polystyrene foam, plaster, epoxy, paint

Amy Hauft, Counter Re-formation, 2009 (detail shot)

Amy Hauft’s installation uses sculpted sugar, art-historical references, metaphor, and shifts in scale to create a variety of experiences for her viewers. She replicated (in both scale and structure) an 18^th century Louis XIV banquet table, originally intended for 100 guests. The ornate contours of the table are meant to have the viewer wander with its shape, and in one corner there’s an immaculate spiral of circles radiating from a central vortex. The table is covered with white cloth.

Hauft discussed with us her trip to Europe, where she studied casting and sculpting sugar under culinary historian Ivan Day. There, they leafed through cookbooks from the 17^th century, and that this was when she found an etching of the table she decided to recreate. This was during the Baroque era in Europe, when artists were making sugar sculptures to mimic porcelain – a time before the art of porcelain was perfected. She also discovered a series of miniature staircases that French woodworking craftsmen had made. She combined pretty much all of these things.

On the Louis XIV table, there were small sculpted, painted hills of Styrofoam (which…isn’t sugar, like she had first said) with glitter sprinkled over. She said that these forms are intended to look like multiple things – snow drifts, icebergs, mountain ranges, sand dunes, etc. There scale is meant to shift on how you perceive them. In the center laid a medium sized sugar-sculpted staircase Hauft had created.

Amy Hauft finished up the lecture by saying that the intention of her work is to try to remake a physical experience she has had outdoors, even if it is impossible to create a landscape indoors.

Rebecca Arnold, Photo Contest Blog: Camera Obscura Competition

I entered the "Photography Contest" Camera Obscura Competition!

Here's the website: http://www.obscurajournal.com/guidelines.php

And here are a few screen shots:

I submitted one photo for $10.

This is what I submitted:

Rebecca Arnold, Photo Contest Blog: Canon Photo of The Year!

Yesterday I entered the "Photo of the Year 2009" Canon Photography Competition.

Here's the website: http://www.photooftheyear.net/page.asp?pageid=1159243733

And here are a few screen shots:

It was 5 images for $15.

These are the images I submitted:

Rebecca Arnold, Artist Blog: Rodney Smith

“A really great photograph, one you return to over and over, is one that isn’t answering any questions.” - Rodney Smith

Rodney Smith, Don Jumping over Hay Roll #1, 1999, size unknown

Rodney Smith was born in 1947 and moved to Germany with his family when he as young. After visiting the MoMA to see the permanent collection (including Minor White, Dorthea Lange and Gene Smith), he discovered then and there his love of photography. He also studied under Walker Evans while attending Yale University (after graduating from UVA!).

Rodney Smith, A.J. on Ladder, Harriman Estate, 1994, size unknown

I've been a huge fan of Rodney Smith's work since my teacher in high school pointed him out to me. His work is accessible not only to the Fashion Photography world, but also to the Conceptual Photography world. While his images all provide a sense of glamour and keen tasteful fashion sense, there is always something peculiar or unexpected happening. I'm obviously obsessed with this sort of work and I'm surprised I haven't written on Rodney Smith before now.

Rodney Smith, Alan Leaping from 515 Madison Ave, 1999, size unknown

I really wanted to use these (second two) images because they're relative to what I'm working with right now. Both models are carefully set to escape, explore, jump, anything! It is the point before breaking that threshold - that same moment I am attempting to capture in my work. I'm very excited to come back to these photographs now, after having done similar work.

Smith’s mainly black and white photography is mostly editorial and fashion related. His work often holds more than just aesthetics. Using self created scenes, Smith produces a different world in which his subjects explore.

http://www.rodneysmith.com/

http://www.artnet.com/artist/3277980/rodney-smith.html

Rebecca Arnold, Research Blog: Narratives

My meeting with Tom went so well on Tuesday! I feel confident that I'm heading in the right direction.

While I tried to take a film production approach in the beginning, I kind of realize that my work is much like what I did last year. The whimsical narrative of an escape of every day is something I can't stop creating and these next few pieces I have for my portfolio will be a little more fantastical than the last two successful ones.

Here's what I brought to show Tom:

Rebecca Arnold, Flight, 2009, 12 x 16

(I'll probably be tweaking it)

Tom noted that this progression is a good thing - that what I'm inspired by doesn't have to stop me dead in my tracks when I want to recreate it. I had a lull where I wasn't producing any work and it's because I spent too much time thinking about how I could make a relationship between cinema and my work. I realize now that certain elements I take from Cinema is all I need to be concentrating on, instead of forcing a composition that one might find in a film still.

That being said, I'm focusing more on the narratives that my photographs recount. A lot of the work I've produced this semester have me at the point before Escape. I am still enclosed in a space with a portal or some sort of escape in view...I want to play more with this with my final pieces, because it speaks as a longing for "other" but not actually being able to break the threshold. (yet?)

From now until the critique, I will be focusing on narratives, scale and spatial awareness to make my work successful and accessible.

Rebecca Arnold, Artist Blog: Anna Gaskell

It's a little amazing that I just rediscovered Anna Gaskell and I just found out that Gregory Crewdson was her former professor (and apparently they dated?). I see my work leaning more towards Gaskell's every day, and Crewdson has been a huge influence from the beginning...interesting.

Anna Gaskell, creates tableaux of preadolescent girls engaging in acts that reference children's literature, games and mentality. When alluding to a specific narrative, she isolates the dramatic moment from the overall plot. Her two series that represent this are Wonder (1996) and Override (1997).

Anna Gaskell, Untitled #26 (override), 1997. 19 3/8 x 23 5/8 inches.

"Apart from the fictional references however there lurks a disquieting sub-text often with sadistic overtones that centres around notions of childhood identity and transformation the transition from innocence to experience naiveté to knowing; suppressed eroticism and sexual awakening on the other hand are expressed through images of the fractured body." (postmedia.net)

Anna Gaskell, Untitled #60 (by proxy), 1999. 60 x 70 inches.

In Gaskell's style of narrative photography, the image is carefully staged, with a scene presenting the artificial set that exists only to be photographed. Her photographs are not linear by any means, but the events seem to take place simultaneously. In her Wonder series, her photograph "Untitled #9" shows a wet bar of soap has been dragged along a wooden floor. Later in "Untitled #17", the bar of soap appears again, as it's forced into a girl's mouth. There is a suspension of time, and a sense of obscurity with her actors' subtle yet suggestive actions, that creates a wondrous ambiguity which evokes a dream-like world.

Anna Gaskell, Untitled #2 (wonder), 1996. 47 5/8 x 39 5/8 inches.

http://www.guggenheimcollection.org/site/artist_works_191_0.html

http://www.utata.org/salon/19597.php

http://www.postmedia.net/999/gaskell.htm

Rebecca Arnold, Artist Lecture: Francis Cape

On Wednesday, November 18, Francis Cape came to lecture at the VCU Student Commons Theater. He was okay - not a terribly good speaker. But his work was pretty interesting.

Originally trained as a woodcarver, Francis Cape received his MFA from Goldsmiths College, University of London. He currently lives in Narrowsburg, NY and has exhibited his work in the United States. Some of the places he has work in include the St. Louis Art Museum; P.S.1 Contemporary Art Center, Queens, NY; Aldrich Museum of Contemporary Art, Ridgefield, CT; Eli Marsh Gallery, Amherst College, Amherst, MA; Contemporary Arts Center, Cincinnati, OH. He also has work in galleries in Germany and the United Kingdom.

Some of the things that Cape talked to us about were his interests in sharing visions with each other. He discussed the posed question of “what an artist does”, which is to see, and share that view with others. This might explain why he does much of his work about New Orleans after Hurricane Katrina.

Working as a disaster-relief hand in New Orleans, Cape created the installation Waterline, which features photographs Cape took in the flooded middle-class neighborhoods of St. Roch and Gentilly after Hurricane Katrina’s devastating hit.

Francis Cape, Waterline, 2006, 17 framed C-prints, image size 11 1/4 x16 1/2 inches; frame size 17 x 25 inches each, dimensions variable

The domestic devastation in these photographs hang above a wainscot of painted paneling, carefully measured to where the water line rose in most homes during Katrina.

Another New Orleans related project Francis Cape is noteworthy of is his piece called "London Avenue." This 8-by-13 foot wall, which is also the standard size in the houses in St. Roche and Gentilly, shares room with pieces of a desk, chest, chair and wardrobe. He contrasts this piece with another installation, where Cape pairs similarly inspired, impeccably built sculptures with photographs of wreckage taken in New Orleans, upstate New York and Maine

London Avenue, 2008, 96 x 156 x 36 inches, poplar, text, sandbags (view from gallery entrance)

“He uses the spaces of these installations to consider a host of difficult issues relating not just to New Orleans but to a general cycle of American production and consumption, and to the legacy of modernist debates surrounding utility and ornamentation, social idealism and mass consumerism. With this body of work, Cape poses the question: how can we re-imagine forms and models of production in response both to historical precedent and current disaster?” – FrancisCape.com

Francis Cape, 258 Main Street, 2002, 89 x 89 x 20 inches, wood & paint

This piece was built for Floor to Ceiling at the Aldrich Museum of Contemporary Art in Ridgefield, Connecticut. Francis Cape wanted to create a piece that was a fragment of a putative further history. The window in the work is actually part of the museum.

Overall, I liked viewing Francis Cape’s work. His speaking was hard to follow, as he jumped from one subject to the next, but he at least had some interesting things to say. I must say, however, that I’m guilty of being tired of all the political issues being beat into the ground by photographers. We get it already; you don’t need to show us any more. Thank you

Rebecca Arnold, Research Blog: Escape

es⋅cape

 [i-skeyp] verb, -caped, -cap⋅ing,noun, adjective

as a noun:

12.	an act or instance of escaping.

13.	the fact of having escaped.

14.	a means of escaping: We used the tunnel as an escape.

15.	avoidance of reality: She reads mystery stories as an escape.

I think the last time I wrote, I said I was thinking about the different means of how I escape. After a lot of brainstorming, I came to the conclusion that yes, I can take the literal, realistic route but I can add my own elements of surprise to really get my point of "escape" across. It sounds confusing in type, but all I really want is that mutual feeling from my viewers. I want my work to be accessible in its concept and in its aesthetic.

I've been searching through google photo results for the past 45 minutes or so, after I typed in "Escape Photography". I found a few pretty interesting results, including a British conceptual artist I'm going to write about on Sunday. I've been looking for a good artist with a similar concept for a long time now.

This weekend I'll be shooting in order to have something great printed for Tuesday's meeting. Last weekend was more of a test shoot - it went well and I'm pretty sure which compositions will work the best.

I'm excited to get some one-on-one feedback from Tom. I feel like I'm heading in the right direction and I always appreciate advice on how to make my work more successful. I'll be posting the photos in my Meeting blog next Tuesday, and maybe again on my next Thursday blog. Until then, Ciao.

Rebecca Arnold, Artist Blog: Kent Eanes

Another motion picture still photographer, Kent Eanes is my artist today. While I am shooting these last few shoots, I am really trying to focus on Composition - and this photographer has some really nice ones.

I had a really hard time finding any relevant text about Kent Eanes, and his website says little to nothing about him. Overall, I'm afraid I'm uninformed about the way that he works and thinks - but I like his end product. And unfortunately that's all I can work off of.

In the past, Eanes worked at Style Magazine as the Head Photographer/Creative Director, I can only assume from there he received enough freelance jobs to quit. He shoots for TV, Film, Editorial and Commercial purposes. He has no biography on his website and his resume simply just lists the numerous sets for which he has shot...That being said, we should move onto his imagery.

Kent Eanes, Untitled Image #37 on website, size unknown

(still from John Adams)

The image of this family looks actually pretty natural, even with its too-even framing looming mostly in the foreground. They're all staggered enough in height and position that it creates a nice composition/frame around the girl lying down.

Kent Eanes, Untitled Image #29 on website, size unknown

(still from John Adams)

This is another good composition I liked. The close-up nature makes it almost seem like a bird's eye view, and there's a good use of background and foreground.

Kent Eanes, Untitled Image #28 from website, size unknown

(still from John Adams)

I really enjoy the visual cues Eanes uses in this last photo, with the two gentlemen being shown, but barely, from above. This shot doesn't look awkward in it's framing because of the right crop and composition, plus good timing.

I think browsing through this artist's work is going to help me set up for my next shoots - to make is look as interesting as possible but without being complicated or too close in. I'll try to find more information on this artist, or hopefully he'll revise his website.

http://www.kenteanes.com/index.php#

Rebecca Arnold, Photo Contest Blog: VMFA!

Today I submitted my application for the VMFA Fellowship Award. Here are all the things that went into it:

here's a picture of my form, transcript and postcard:

here's a screenshot of my resume:

and here's what my form essay said:

"Growing up in a household with my father, a self-employed artist, I learned at a young age that it is possible to have a job doing something you really love if you work hard at it. He has always supported my choices to study art and has made sure that I understand the importance and value of hard work – especially in the arts. As I finish my last year of art school, I will have had some great photography experience with all of my classes, my internship with Richmond Magazine and even a great trip to Brazil. I know that finding a job in the Spring may be a struggle, especially as the unemployment rate is at a peak. When I do find a full time job opportunity, I know I will be putting a lot of this money to the new life I begin after college. I have worked hard in the past four years to create a portfolio and a vision. If I were to receive the VMFA Fellowship award, I would use it for new equipment, or lenses that I’ll be expected to have as I start out in the real world of Photography jobs. Thank you for the consideration."

Rebecca Arnold, Artist Lecture: Shimon Attie

Shimon Attie was our Artist Lecturer for Nov. 11th. Before I explain a little bit about this artist, I would like to point out that he wasn't my favorite - as he came off somewhat pompous. But I don't mean my comments to sound at all scathing, so sorry if they come off that way.

Attie, who is an artist from California, first showed the images he created fresh out of art school. "The Writing on the Wall" was a low-tech series based on Jewish life in Berlin, Germany. First of all, these photographs were gorgeous. This architectural photography project was interesting, as he projected images from the 1930's of Jewish residents in Berlin onto the same walls of the location where they were first taken. Wow confusing to explain. The strange compression of time leads the viewer to understand the memory and cultural identity pre and post WWII. This kind of stuff has always caught my interest (I'm kind of in love with the romanticism of WWII...is that weird?) so the way he utilized photo archives to find images of Jewish life was very cool to me. The imagery he used for this series made his images look like illustrations almost.

Another notable series Shimon Attie discussed with us was his Underwater Installation called "Portraits of Exile". These 9 portraits were of Danish Jews who were rescued in 1943 by the Swedish. These portraits were installed in (huge) light boxes. In the water, used as a medium to exhibit the ideas of transportation and memory, these portraits would shift according to the water's movement. I found this installation pretty innovative and interesting - probably just as interesting as he thinks it is. Hm..

The last work of Attie's that I enjoyed was his "Attraction of Onlookers" piece. I think what really made this work a success was its accessibility - how easy it was to relate. "The Attraction of Onlookers," shown in Whales, was based on the Village of Aberfan (which I had to look up afterwards) and deals with the coping of traumatic experiences. Attie explained that when we, as a general public, are affected by devastation our automatic response is to freeze up. This piece also explores the relationship between identity, memory and place.

Well, I was wrong - I didn't sound scathing at all. I guess I did like his work - it's just easier not to talk about him as a person and look at his artwork separately.

Rebecca Arnold, Research Blog: Etc

Well here we are, another Thursday blog!

I've been brainstorming for my shoot this weekend. I've kind of let myself meditate on other means of Escapism that might be interesting to capture.

My kitchen window is large (taller than I am) and covered on the outside with ivy and other plants. There's a shutter propped open on the inside with a large fake sunflower in a vase on the sill. This window is truly romantic and whimsical and I'd love to use it in one of my photos. I've taken my camera and found an interesting composition in there, but I will have to test what I want to do with it before I get too excited.

I've also been thinking about Escapism in Alice in Wonderland. Falling into a hole into a new world is what I've been waiting for my whole life, so I want to re-watch the Disney version (the new one needs to come out!). I would love to utilize that idea.

Books, too. Books are important to me. Stories, fables, fiction, nonfiction - it's all great. I attempted a shot with some books in it a few shoots ago but it just wasn't very strong. I have a few loose ideas of what I'm going to try next but if it doesn't work either, I'll just move to something else. I have no time for failure!

That's about it for now. More on Sunday. :)

Rebecca Arnold, Artist Blog: Jaap Buitendijk

Jaap Buitendijk, a very successful Film Still photographer, was born in 1970 in Holland. He traveled abroad, learning the basics of photography while he did, and eventually moved to Britain in 1990. After studying documentary photography, he explored the "apparent contradiction of using documentary skills to record an artificial reality; that of films." (Jappphoto.com)

film still from Children of Men

Now a days, Buitendijk has established himself as an experienced stills photographer. He is well known for looking beyond the obvious image and for his versatility in shooting film stills. He has worked on major productions, such as Harry Potter and Blood Diamond as well as smaller projects like Girl with a Pearl Earring.

film still from one of the Harry Potter movies

While Jaap Buitendijk is a pretty mainstream photographer who shoots major feature films, his work is understandably popular. The stills that he shoots are beautiful and inspiring. I feel as though I should be looking for more film still photographers - it really puts things into perspective and it's my dream job.

film still from Girl with a Pearl Earring

I think one of the greatest aspects of his Jaap Buitendijk's photographs is his use of space. Each composition is very carefully constructed and it really makes his work successful. I hope to achieve this kind of production quality in my upcoming shoots!

http://www.Jappphoto.com

http://www.imdb.com/name/nm0119687/

Rebecca Arnold, Research Blog: Production

As I continue with my attempt at production quality images, I find myself really wanting to pull back from the main subject. This means I must clean my apartment.

It also means that my compositions need to be very nit-picky and pristine. I will not let one detail mess this up for me. I've studied Kubrick and Hitchcock too much these past few months to have something distract the viewer from my subject/concept.

In doing this, these wider pulled back images, I will need to be in full control of my lighting. I am lucky to have my apartment lighted well, but I'll still need some extra help from my flash and/or extra lights. I tend to get frustrated with lighting, and end up doing shots with a longer shutter - hopefully that won't be happening. But I will, of course, be using a tripod if I do need a longer shutter speed.

I'll also be focusing on the costuming. It came up during my crit that the frizzies in my hair were a little distracting if I wanted my appearance to fit my term "glamour". I don't say this critically, it's a comment I needed to hear. I loved curling my hair and getting all prettied up, so really this isn't a problem to perfect. I think I got my hair just right for Halloween, so I'll use those techniques.

That's about it for now. I have a few ideas for my upcoming images, which I'll explain more in the next Research blog. Ideas are brewing, and the imagery I see in my head may be hard to achieve but I'm up for the challenge. Thanks for reading!

Rebecca Arnold, Critique Video 10/29

The video of my critique on October 29th was pretty painful to watch, but I'm sure others feel the same way about watching theirs. Seeing yourself standing in front of peers is scary, even though you know what's going to happen next. I have a pretty terrible time speaking in front of people, but if you asked me to dance, sing or act I'd be happy to. I have to have my information scripted, or I'll start shaking and stumbling over words. I don't know what causes my terrible public speaking fright, but all I know is I need to work on it.

I was definitely conscious of the way I was holding myself, as I usually am. I am critical of posture after doing ballet for 14 years. I do fidget often, sometimes crossing my legs while standing (that sounds weird...) just out of sheer nervousness/I'm very clumsy and I might have been doing this to hold my balance.

Overall I know I need to slow down and let it come naturally. I focus on what's written so much that it starts to sound mechanical, and no ones interested in listening to that.

My critique went pretty well, actually. As much as I need to work on my public speaking, I at least did not: cry, fall over, curse or throw up while trying to explain my work. The feedback was mostly positive so that always helps my confidence - as I can see in my video when I smile and laugh nervously when I receive comments.

As much as I hate watching myself in this video, it also helps quite a lot. I know what I need to work on AND it proved well for review of my next steps - I scribbled lots of notes during the critique but they are scattered and chicken scratch-y since I was shaking. The notes I take rarely make sense after about 10 minutes of writing them. So it was great in that way! This is not to say that I'm going to be filming myself from now on - but it was a pretty good experience. It needed to happen! Thanks, Tom!

Rebecca Arnold, Artist Blog: Sofia Coppola

Sofia Coppola is best known as the daughter of Francis Ford Coppola and as a director, but she is also an actress, producer and screenwriter as well. She is the only American woman, and the third female director to be nominated for an Academy Award for Directing.

Coppola has won some awards, including an Academy Award for best original screenplay for her film Lost in Translation. She's won three Golden Globe Awards, including one for Best Picture. I've seen 3 of her films, which are her most popular - The Virgin Suicides, Lost in Translation, and Marie Antoinette.

film still from Marie Antoinette

I really admire Sofia Coppola. Not only is she a successful woman in the arts, but she has created some really beautiful feature films, using her exposure to the language of cinema to her full advantage. I thought she would be a great artist to choose this week because I'm trying to concentrate on the elements of film and what makes them slick with a flawless production. You can tell from these stills that she has a keen eye for detail and mood setting with the lighting she uses. I need to start experimenting to get to that point.

film still from The Virgin Suicides

Just for more information about Sofia Coppola which I find interesting: her screenplay for her Oscar-winning film Lost in Translation was somewhat autobiographical. I am looking to get this sort of input into my work as well. Something that relates to a wider audience instead of exclusively understood - but still taking instances of my life and experience.

I love this film, and Coppola definitely created a mesmerizing contemplation on the feeling of alienation that I think many people can relate to.

film still from Lost in Translation

Sofia Coppola has found her own direction in her films, and her critics have called her both mainstream and independent, and i think that in itself is an accomplishment. She's accessible in both categories and therefore appreciated as a successful director. I hope to work up to a status like that, however unrealistic is may be. I really enjoy this artist and look forward to her new film coming out soon.

http://en.wikipedia.org/wiki/Sofia_Coppola

http://www.imdb.com/name/nm0001068/

http://www.tribute.ca/people/Sofia+Coppola/5248

Critique write-up for reference!

As some of you know, I have a terrible habit of over-complicating my ideas and images, and this semester was not an exception. I went from story telling, to narratives to old-Hollywood movie stills to this. My starting concept was Escapism, and it still is. My concept has not progressed or changed, despite all of the radical ideas I considered doing.

Through the narratives of film, I have found myself completely captivated in the unrealistic ideals that they present. The elements, or Mise-en-scene of these specific films are strong and nearly exaggerated. The artifice in the perfectionist production quality draws viewers to escape the reality of everyday and they are left reflecting on the narrative they were captivated by. Escapism through heavily planned narratives leads me to have false expectations in my everyday life. The false appeal; the fake perfection of films is desirable and the films that portray the most exaggerated perfection are ones written or made in the early stages of film – 1900-1960. In looking into artifice and the glamorized production quality of that era and style, I have created images that represent my life and the means of how I use Escapism.

Rebecca Arnold, Research Blog: Critique Today!

Well, my critique is today so there isn't a whole lot to say other than some thing about my recent shoots and the next steps that I personally think I should take.

I shot last weekend and I really think I'm moving in the right direction. But, again this is a working critique ad I know there is much room for improvement. I'm thinking about starting to shoot with my medium format from now on - another question I can ask today to my peers. I just think a good film quality is necessary for a quality production-like shot (which is what I'm attempting to work up to).

As I wrote about Stanley Kubrick in my last post, I was reminded of his endless perfectionism of each and every detail. I am sort of like that myself, in my obsessive complication of my projects, but there's a certain focus that I'm hoping to acquire as I continue with my fleeting ideas. Writing on Kubrick also made me think that I should pull back and get some wider, large scale shots. The photos I have right now are very close in and intimate, but that's not a big importance to me at all. I could afford to back up just a bit. Perhaps another question to bring up today.

This is where I think I need to head for the rest of the semester, but I'm eager to hear how my classmates feel when they look at my images. I am unbelievably nervous - but also excited.

Pictures later, after the critique.

Rebecca Arnold, Artist Blog: Stanley Kubrick

To add another great filmmaker, my blog this week is on Stanley Kubrick.

Kubrick, noted for his lengthy methods of working and his perfectionism qualities, maintained a strong artist control over his films. His films are characterized by a formal visual style and extensive attention to detail - he often combined elements of surrealism and expressionism with cynicism.

Stanley Kubrick was born in New York, and despite his bad grades at school, he was considered intelligent. On his 13th birthday, Kubrick received a camera from his father. This sparked his interest and he became an avid photographer - he sold his photographs to Look Magazine and got a job with them at the young age of 17. After saving his money, he created his first film - a documentary called Day of the Fight (1951) and continued on from there.

Some of Kubrick's most famous films include 2001: A Space Odyssey, Spartacus, Lolita, A Clockwork Orange, The Shining, Full Metal Jacket, Dr. Strangelove and Barry Lyndon. He also collaborated with Steven Speilberg on A.I. (before he died). I named 8 out of 16 movies he directed...he was obviously very successful.

One risky, well received film he make was Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Kubrick started it as a drama, but soon realized how funny his ideas were and that they wouldn't be taken seriously. This film was made in 1964, a time where nuclear wasn't means for comedy. It was critically successful and the money he made off of it allowed him to continue with his other projects. So thank goodness.

All but three of Kubrick's films were adapted from existing novels - something I also take an interest in (from story to film and the enormous changes that go underway). He also uses a lot of voiceover narration - sometimes directly from the novel. Written dialogue is one element that must be balanced with mise-en-scene and editing, and Kubrick made sure to do just that.

“Everything else [in film] comes from something else. Writing, of course, is writing; acting comes from the theatre; and cinematography comes from photography. Editing is unique to film. You can see something from different points of view almost simultaneously, and it creates a new experience” – Stanley Kubrick

http://www.imdb.com/name/nm0000040/

http://en.wikipedia.org/wiki/Stanley_Kubrick