Character Design Journal
For this action sequence, I modified an existing scene that before, had no emotional trigger for the character’s PTSD other than visual. Now, instead of simply seeing the homeless man laying on the ground, the homeless man interacts with the main character which triggers flashbacks and reactive violence.
The first version I visualized was a closeup. Where alike other scenes, the antagonist’s face displays strong emotions that trigger the main character into flashbacks of war violence. This through-the-window, close up style, is seen in many robbery movies where robbers are putting on their masks. This is also displayed in war scenes, where main characters are inflicting fear or dominance to their enemy and their facial features are emphasized. This version implies that the viewer is up close and in the present scene with the characters, rather than watching from afar.
The second version I visualized was a far shot. Where the viewer experiences the physical violence of two characters from a distance. This can be seen in many war movies that present the displays of violence across a battlefield. This detaches emotion from the character and has the opportunity to blend him into a larger scale background scene. This version implies that there is an audience watching from afar, rather than experiencing something up close.
Thesis questions to answer:
1) Is a person that sees or experiences violent content, more prone to be violent?
2) Is a person who has formed reactions based on violent content or experiences more adapt to war?
3) If a person experiences violent behavior on a repetitive basis, are they more likely to react violently to non-violent triggers?
4) Where does conscious reasoning lose its depth in a person with PTSD?
How humans react to the world around them is deeply engrained through patterns of mirror neurons. Whether an action is presented physically or through television has an everlasting effect on the way we react to experiences. Humans have the choice to react in violence based on what is taught, what is seen or what is experienced. Taking a deeper look into the type of behavioral content that has been broadcasted since the dawn of television can be a strong indicator of the behavioral patterns we see in modern society.
Scholarly Articles for Thesis Reference
II.5THE POTENTIAL ROLE OF MIRROR NEURONS IN THE CONTAGION OF VIOLENCE
Marco Iacoboni, M.D., Ph.D.
David Geffen School of Medicine at University of California, Los Angeles
Media Violence Induces Imitative Violence:
The Problem With Super Mirrors
Neuroscientist; Professor of Psychiatry & Biobehavioral Sciences, David Geffen School of Medicine, UCLA; Author, Mirroring People
By Sandra Blakeslee
Jan. 10, 2006
animatic & live action reference
Storyboard Versions 1 & 2
1960s + Today
During the late 1960's, Detroit was going through a dramatic change with the social revolution. The 1967 riots spurred violence and disruption within the heart of the city, in response to police brutality. At the same time, the Vietnam War was taking lives overseas and President Nixon was facing problems with television censorship the portrayal of death and violence.
It is said that the riots changed the city forever. Mass chaos and destruction led Detroit's economy and infrastructure into disarray, with the separation of classes and the economy shifting towards the suburbs.
Today, Detroit is a wasteland of burnt buildings, rundown businesses and empty lots that represent an architectural graveyard for the late 30s traditional style.
The city is one of the most racially segregated in the United States and holds home to a high crime rate and lack of police. The fall of Detroit's economy has created a harsh terrain for drugs, crime and poverty.
So you want to Market your movie?
Here is 1 great way to promote your film (with youtube).
Once developed, a film can make a great impact through video channels like Vimeo and Youtube, through their paid advertisement platform. Put aside a solid $5oo.oo, yes I said $5oo.oo and put that in your savings plan, you're going to need it.
With your concept, you then want to fine-tune the strongest pieces of your film that is a combination of great cinematography, breathtaking lighting, and amazing art. The beauty is in the eye of the beholder, so make a statement.
It really helps to know what has inspired you to make your film. Watching some of your favorite movies and their previews will help you form a basis and fuel you in ways that has captivated you.
For my work, I focused on portraits. I think that they are a gorgeous representation of emotions and I wanted to play around with the black and white theme to accentuate the unspoken emotional dialog. I think that some of the most powerful imagery in movies comes from determining what type of characters are playing that role, so I looked for some statement-making faces.
Lord of war - Danger in paradise
Dejango Unchained - Ready to kick ass
No country for old men - A dark mind
Dallas buyers club - Eager and waiting and looking
Drive - Ominous
Kill Bill - engaged
Hard Candy - guilty
Get out - Scared
Sin City - Kill mode engaged
They Live - Propaganda
Night of the hunter - Searching
& Andy Warhol - Hungry for recognition ;)
What is your movie about? What type of messages do you have to tell? What type of emotions do your characters portray? The goal is to develop personas that people believe in.
The inspirational images that I collected are all from very recognizable films with snap memory to the iconic actors that played them. They all have an overtone of a dark theme, what I am looking for with my film. Portrayed by their eye direction, which all imply a different dialog of emotions.
To know that someone is sad by looking at them speaks volumes. To absorb anger from a look is instinctual. And with the portrayal of dialog through emotions, we are able to tell a story without words.
With dramatic cinematography, we can now provoke the height of emotion within our commercial. Our goal is to keep the viewer intrigued and interested in what will happen next. Breaking visual stimulation to imply actions and reactions to the worlds that surround the characters on screen.