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| Jake and Dinos Chapman figure |
Tuesday 25 March 2014
..puppets//etc
I like the look of the puppet made from a cotton bud, .however I thought the puppets/figures at the Jake and Dino Chapman exhibition were really interesting. They would be difficult to hang on the wall, and I'm not sure if that would look right. Maybe instead I could have a little table and have those cardboard figures of Ophelia and I with, for example two cups of coffee next to us. There could be a sign like 'drinking coffee'. It could make my piece as a whole feel like more of an installation as appose to two separate pieces; a collage and a film. I think I should draw the faces as appose to sticking a picture of us on the cardboard. It would makes things look more sinister and childlike I think... if the faces were sloppy. Sticking some goggly eyes to the figure could look good as well.
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Resolution
I have been thinking (stressing) a lot about the storyline. To me, something was not right and I wasn't completely blown away by it.
Then I came up with an idea that has opened many more ideas and more materials.
So..
Instead of Ophelia being 'real' and missing, she will be an imaginary friend formed out of boredom. She was a tool used to escape the real world, and real people. Together, this imaginary friend 'Ophelia' and I hated the world together.
I originally thought that having the childhood pictures of actual Ophelia and I then wouldn't make sense in the case of her being fictional, BUT in the video I am going to photoshop her out of the pictures, as if she wasn't really there.
Even though Ophelia will star in my video still, in the beginning bit I want to have her as a puppet, just like in the 'Duleling Banjos' video. I will also be a puppet too. It's as if I'm making the video FOR Ophelia at first, introducing her to herself.. for example saying 'this is your house', with an illustration of a random home. The puppets////illustrations will be hung up alongside my work. I want them to be both humorous, playful and creepy.
To an extent I think this will be quite relatable to the viewers, as we always are striving for better things, including better and 'ideal' friends. I am currently very picky with my friends, and find myself feeling lonely due to this selectiveness, so in some sense this piece does strongly relate to me.
For the record, I don't have imaginary friends.
Then I came up with an idea that has opened many more ideas and more materials.
So..
Instead of Ophelia being 'real' and missing, she will be an imaginary friend formed out of boredom. She was a tool used to escape the real world, and real people. Together, this imaginary friend 'Ophelia' and I hated the world together.
I originally thought that having the childhood pictures of actual Ophelia and I then wouldn't make sense in the case of her being fictional, BUT in the video I am going to photoshop her out of the pictures, as if she wasn't really there.
Even though Ophelia will star in my video still, in the beginning bit I want to have her as a puppet, just like in the 'Duleling Banjos' video. I will also be a puppet too. It's as if I'm making the video FOR Ophelia at first, introducing her to herself.. for example saying 'this is your house', with an illustration of a random home. The puppets////illustrations will be hung up alongside my work. I want them to be both humorous, playful and creepy.
To an extent I think this will be quite relatable to the viewers, as we always are striving for better things, including better and 'ideal' friends. I am currently very picky with my friends, and find myself feeling lonely due to this selectiveness, so in some sense this piece does strongly relate to me.
For the record, I don't have imaginary friends.
FILMING
FILMING:
I started filming the project. I was pretty un prepared. I filmed in South Kensington and then Battersea bridge. At this point my ideas were floating around my mind, so when I was asked to show what I had filmed and then explain the storyline it didn't quite fit.
For these reasons:
1.) There weren't any shots where Ophelia was walking, standing, whatever and then another shot in the same place, showing she was there, and then disappeared. All the shots were full on, facing her as if she was there.
2.) All the shots were much of the same. There was enough range; no shots from above, below, etc.
3.) There wasn't a 'climax' were things got really dramatic.
NEXT TIME I FILM:
I need to
1.) Portray that Ophelia is there one minute, then gone.
2.) Ask myself- when Ophelia is saying 'you're not looking hard enough', is that her filming???? wouldn't I be seeing her if she was speaking? therefore wouldn't I have found her??/
3.) I want to use the tv I'm using to show the film, IN the film. i.e scenes where i'm watching the clips on my tv or computer, trying to see where she is.
4.) I think there should be changes of scenes. Maybe it shouldn't start at night on the bridge.
Other locations could be :
GRAN'S HOUSE IN NOTTING HILL, A POWERY TYPE STATION, A PLAYGROUND..?
5.) Make sure you have a rough storyboard or something to bring with you so you know what you are doing and do it effectively.
6.) Think of ways maybe you could include puppets or illustration into the film.
7.) Think of ways to take risks, maybe have Ophelia in some water.. a swimming pool, a pond, etc.
8.) To make things atmospheric you could light some candles.
9.) Maybe you could have her write letters and leave them and around the location instead of her speaking or added on??1
I started filming the project. I was pretty un prepared. I filmed in South Kensington and then Battersea bridge. At this point my ideas were floating around my mind, so when I was asked to show what I had filmed and then explain the storyline it didn't quite fit.
For these reasons:
1.) There weren't any shots where Ophelia was walking, standing, whatever and then another shot in the same place, showing she was there, and then disappeared. All the shots were full on, facing her as if she was there.
2.) All the shots were much of the same. There was enough range; no shots from above, below, etc.
3.) There wasn't a 'climax' were things got really dramatic.
NEXT TIME I FILM:
I need to
1.) Portray that Ophelia is there one minute, then gone.
2.) Ask myself- when Ophelia is saying 'you're not looking hard enough', is that her filming???? wouldn't I be seeing her if she was speaking? therefore wouldn't I have found her??/
3.) I want to use the tv I'm using to show the film, IN the film. i.e scenes where i'm watching the clips on my tv or computer, trying to see where she is.
4.) I think there should be changes of scenes. Maybe it shouldn't start at night on the bridge.
Other locations could be :
GRAN'S HOUSE IN NOTTING HILL, A POWERY TYPE STATION, A PLAYGROUND..?
5.) Make sure you have a rough storyboard or something to bring with you so you know what you are doing and do it effectively.
6.) Think of ways maybe you could include puppets or illustration into the film.
7.) Think of ways to take risks, maybe have Ophelia in some water.. a swimming pool, a pond, etc.
8.) To make things atmospheric you could light some candles.
9.) Maybe you could have her write letters and leave them and around the location instead of her speaking or added on??1
Friday 21 March 2014
Ophelia Storyline
Having a bit of trouble figuring out what the storyline for this movie (fmp) should be.
Ophelia and I were born together. We lived opposite each other, and were best friends. (This part is not fiction by the way). Then I moved to Dubai, she moved to Marlow, and we only recently rekindled our friendship in summer.
Fictional bit
-Suddenly, Ophelia goes missing. She was not found. I became obsessed over this, writing her letters and drawing pictures. Out of the blue, in 2014, I get a letter from Ophelia. It's in French, and luckily I can speak it. It's extremely elusive- saying 'Anna, it's me. You need to find me. Come to the bridge.'
Of course, I go to the bridge and I keep thinking I see her, but then she disappears. She leaves things behind which I pick up and collect (and put with my installation). In the end, I finally see her from behind, turn her around, and she turns and then that's where it ends. The audience is left not knowing whether I was imagining it//if it was actually her.. etc.
Ophelia and I were born together. We lived opposite each other, and were best friends. (This part is not fiction by the way). Then I moved to Dubai, she moved to Marlow, and we only recently rekindled our friendship in summer.
Fictional bit
-Suddenly, Ophelia goes missing. She was not found. I became obsessed over this, writing her letters and drawing pictures. Out of the blue, in 2014, I get a letter from Ophelia. It's in French, and luckily I can speak it. It's extremely elusive- saying 'Anna, it's me. You need to find me. Come to the bridge.'
Of course, I go to the bridge and I keep thinking I see her, but then she disappears. She leaves things behind which I pick up and collect (and put with my installation). In the end, I finally see her from behind, turn her around, and she turns and then that's where it ends. The audience is left not knowing whether I was imagining it//if it was actually her.. etc.
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