Enter the void analysis

This film had an interesting plot, but it is more the bizarre visuals, use of perspective and unique camera angles that inspired me most. In particular the cuts that Noe uses throughout the film, which transports the audience via light display or what appears to be Tokyo’s electric system to the next scene instead of blacking in and out. I think if I do experimenting with making films with multiple cuts I should find more interesting ways of linking shots that will add to the viewers anticipation and anxiety. One change of scene that I thought was particularly well done takes place when we are following the backs of the two main characters who are on a rollercoaster, as an audience we get the sensation of being hurtled forward by the ride with all the noises and lights that you would expect to hear and see flashing past you. Once the rollercoaster goes into a tunnel the fairground audio fades slightly and we begin to see a light that we assume to be the end of the tunnel, but as we get closer we realize that it is actually an oncoming car and we are moving at full speed towards it, all of a sudden we find ourselves in the midst of a fatal car crash. The way in which the camera is continuously moving forward at such high speed until this point is effectively what makes this transition so smooth and shocking, helped by the way in which Noe has chosen very similar colour palettes for both scenes. This idea of transforming something pleasant to something disturbing very quickly is something I’d like to experiment with as I think this use of shock would be an effective way of creating anxiety in my audience. Another transition technique that I want to experiment with which takes place when the two main characters are talking and the camera blurs slightly and when the camera restores focus the female lead is carrying on the exact same dialogue and stood in the exact same position with the same costume but the rest of their surroundings have changed. As this is from the lead males memory we can interpret that this is him being unclear about the location of the memory, but I think that this technique of setting up to similar shots but with changes that confuse you as to what you where expecting to see. The hallucinogenic sequences that Noe also chose in transitions between shots were also something that I’d like to experiment with, possibly in a kaleidoscope format but with everyday objects to reiterate the idea that everyday situations, however familiar can seem scary and confusing from the perspective of someone living with a mental illness. Another technique I felt was worth noting was used in the beginning of the film when we are in the perspective of the male lead in such a literal sense that we even experience his blinks. In an article I read in the guardian, the writer described how as he was watching this part he noticed that his blinks where in the same rhythm as the characters. This idea of being able to physically effect the viewer by influencing their basic human need to blink is something I’d love to be able to recreate, as it shows the complete subconscious control that a mental illness can have which turns into a physical action (in this case the viewers blinking, in the metaphoric sense self harm or loosing motivation).

Don’t hug me I’m scared analysis

Although this may be more of a viral entertainment video rather than an ‘art’ piece I feel that themes within this still apply to my project because of the way I feel it creates anxiety and disgust in the viewer. In the first couple of minutes we are introduced to child friendly characters singing a song about creativity within a setting of bright, simplistic colours and up lifting but slightly annoying audio. Once the characters begin to ‘get creative’ the audio fastens with the pace of the change in shots and action. The audio suddenly becomes very messy with some instruments overtaking others and strange noises changing the tone of the video. This is where the video becomes really unsettling, the characters go from being puppets to strange animations which pixelate and blur, this is the turning point where the intentions behind the video transform. The first gruesome thing we see is a really quick shot of a heart against a bright yellow background that we have seen prior to this shot with glitter spread over it, but the shot is so fleeting that initially you don’t notice it as it is so unexpected. The weather changes from blue skies to thunderous clouds which is a very basic way of using pathetic fallacy but still effectively prepares us for the strange turn the video is about to embark on. From this point the video becomes unbearably strange, especially with the contrast of bright colours and raw meat becoming quite distressing comparatively. The video finishes with the original audio so that everything is seemingly back to normal. Although this is effective because it allows us to compare the surrealism of the video to the calm ending I think it would have been more effective not to conclude the video as therefore there would have been no satisfying cathartic release in the viewer, thus creating anxiety. After watching this video several times I have noticed that there are several examples of foreshadowing in the first couple of minutes indicating the gruesome ending. An example of this is the rather long shot of the kitchen knives, which in hindsight is very out of place for a kid friendly video. I also think the line in the song “listen to the voices in your brain” is quite disturbing when you think about it in the context of the rest of the video, although it fits in perfectly with the pentameter of the song, when looked at on its own implies an idea of mental illness, in particular schizophrenia, which one could argue is what the whole video is about because of the way the mood of it changes so dramatically in such a small space of time. Another thing that I feel is important to my project is the way things are concealed and revealed throughout the creativity sequence. For example at one point we see one of the characters placing the letter ‘D’ on an orange background, but as this is placed amid several other shots we as an audience don’t give it a second thought until it cuts back to it with the word ‘death’ spelt out and we then realise the true intention of the ‘creativity’. I thought this was really interesting technique that I could work with using film to deceive my own audience.