Monday, 23 May 2011

Psycho

Hitchcock, A.(1960) Psycho   is one of the most well loved films in the history of cinema. It stars Janet leigh who plays Marion Crane, a woman who after a series of events envolving a lot of money, hides in a motel owned by the Bates, a family consisting of Norman Bates and his mother. After a argument between the family, Norman tells Marion that the only way to escape the private trap of her mother would to be to take responsibility of the money she had stolen.

The most notible moment of Voyerism would be when Norman watches Marion undress through a peephole, quite similar to Michael Douglass watching Sharon Stone in Basic Instinct. Both male characters are getting increasingly obsessed with the females of there respective films.



It is interesting to note the overall 'mastermind' of the household being Norman's Mother. She does not like Marion staying with them, and would hate for Norman to be involved with this woman.It is very cleverly laid out that the audience has the Mother's pressence felt throughout the scene.

Single White Female


Heres the full movie of a classic thriller a review of this unbelievable art work will follow .

Schroeder, B.(1992) Single White Female



More voyeuristic images...posted by Tim Francis





American Beauty


Mendes, S (1999) American Beauty...makes us active viewers by exploiting our voyeurism nature...Sam Mendes directs this movie in such a way that we are not shamed to be the voyeurs ...and the repeated use of a video camera througout validates the obsession with a need to project an image and that someone is always watching.

Blue Velvet

Lynch, D. (1986 ) Blue Velvet ...is about peeking behind the picket fences of small-town America to reveal a world of sex, voyeurism, sadism and madness.

Dressed to Kill

De Palma, B.(1980) Dressed to Kill...is like a 'Vertigo'-inspired mystery tale of sex from Brian de Palma that almost takes on the mantle of a semi-pornographic film. With an opening shower -scene  and taxi-cab seduction making this erotic thriller a welcome guest of this site.

Being John Malkovich

Jonze, S.(1999) Being John Malkovich ....is a film about identity , celebrity and manipulation...maybe more vicarious than voyeuristic (but worth of being here)..through a portal into the brain of John Malkovich , it's possible to look out the actor's eyes and experience what he feels.

Jamon Jamon

Luna, B.(1992)Jamon Jamon.... is a mix of surrealism,voyeuristic tone and tension in sexual potency ..best described as a grade B art film...with naked bullfights and Penelope Cruz's tits compared to ham and potato omelettes

The Bird with the Crystal Plumage

Argento, D.(1970)The Bird with the Crystal Plumage ...is a slasher movie and detective thriller inspired by  Antonioni, M.(1966)' Blow Up' ...about a writer stalked by a serial killer.

The Eyes of Laura Mars

Kershner, I. (1978)The Eyes of Laura Mars ...is a 'Giallo' type film (so named because of the yellow trashy Italian mystery paperback novels)  and here Faye Dunaway plays a glamorous photographer who specialises in styilized violence who begins to have visions through the eyes of a killer.

Monogamy

 Shapiro, D.A.(2010) Monogogamy ...is about a voyeuristic photographer that slips into narcissism enticing the audience to view the the story through the lens of the camera ...bringing an intimacy to the film.

Manhunter

Mann, M. (1986) Manhunter ...is a movie about watching and being watched and the first featuring 'Hannibal the Cannibal'  depicting the forensic capabilities of the FBI and highly styilised colour techniques used, to make this a cult film.

Lives of Others

Henckel von Donnersmarck, F. (2006)Lives of Others ...is a surveillance film that won Academy Award for Best Foreign Language Film set in East Berlin admidst the Stasi secret police.

One Hour Photo

Romanek, M. (2002) One Hour Photo....is a very low-key voyeuristic film about a photo processor becoming obsessed.

Sex, Lies and Video Tape

Soderberrg, S. (1989) sex, lies and video tape.....Impotent voyeur who gets his kicks videotaping other peoples intimate confessions.

Dancing at the Blue Iguana







Possible other choices for Voyeuristic archiving....posted by Tim Francis.. Rare glimpse of the misunderstood world of stripclubs with more depth than the normal voyeuristic movies. 
Radford, M.(2000) Dancing At The Blue Iguana  gives a rare glimpse of the misunderstood world of stripclubs with more depth than the normal voyeuristic movies.


Top 10 films of 'Cinematriarchive'.

In no particular order...




1. Basic Instinct

2. Fatal Attraction



 3. Kill Bill


4. Rear Window


5. Psycho


 
6. The Maltese Falcon


7.  Scream Trilogy


8. Peeping Tom


9. The Conversation

10. Single White Female

1950'S Original 'PEEPING TOM' film with the infamouus 'BETTY BLUE'.....posted by Tim Francis May 2011



The future of surveillance and implications ..posted by ..Tim Francis May 2011


Soon, you could own your very own satellite spy photos--for about $2,200 a shot. WorldView Imaging of Livermore, Calif., has become the first company to get a government license to launch small, inexpen- sive spy satellites...that take super-sharp photos from 250 miles up... WorldView's photos will be able to distinguish between two cars parked three yards apart.*
WorldView's chairman just happens to be Walter Scott, former head of the so-called "Star Wars" satellite program at Lawrence Livermore Laboratories.

THE FOLLOWING WILL TAKE A BIT OF READING ….BUT WELL WORTH THE EFFORT……..

"[E]x-Los Angeles police chief, now state senator Ed Davis (Republican - Valencia) has proposed the use of a geosynclinical space satellite to counter pandemic car theft in the region," writes Mike Davis. "Once in orbit, of course, the role of a law enforcement satellite would grow to encompass other forms of surveillance and control."* Davis augurs a near-future Los Angeles in which upper-class fear of racial unrest, compounded by hysteria over gangs, has ushered in the universal electronic identification of people and property, tracked through centralized surveillance. A geosynchronous satellite would extend an electronic net over Los Angeles's ever-expanding sprawl, exposing each tagged citizen or possession to the unblinking scrutiny of the eye in the sky.
Before dismissing Davis's speculations as sci-fi for disaffected leftists, one would do well to remember the tamper-proof electronic bracelets used to monitor prisoners under house arrest, and their workplace counterpart, the active badge, an I.D. card-sized, clip-on microcomputer invented at the Olivetti Research Laboratory, in Cambridge, England. Beaming signals to a central system, the badge allows employers to track employee movements, determining what room an individual is currently in and approximately how long he has been there. "The data from the badges can also be displayed on a screen showing a model of an entire office floor," a New York Times article reports, "thus visually indicating where each badge-wearer is in relation to everyone else."* Married to a radio satellite network such as the U.S. military's Global Positioning System, which transmitted geographic coordinates to ground troops during the Gulf War, thereby allowing soldiers equipped with hand-held receivers to pinpoint their locations within 10 feet, such badges and bracelets might make the uninterrupted tracking of each and every citizen a reality.

For now, though, law enforcement will have to content itself with surveillance technology of the sort used by the LAPD's "Astro" program---French Aerospatiale choppers whose "forward-looking infra-red cameras are extraordinary night eyes that can easily form heat images from a single burning cigarette, while their thirty-million-candlepower spotlights, appropriately called 'Nightsun,' can literally turn the night into day."*
Meanwhile, on the ground below, growing numbers of Americans are turning arcane gadgets formerly known only to CIA operatives and political dirty tricksters on each other. A book called How to Eavesdrop on Your Neighbors is readily available, as is the Listenaider, a listening device disguised as a Walkman, and the Mail Inspector, a spray that renders envelopes transparent.* A New York City snoop shop called Spy World does a brisk business in night vision goggles, briefcases with secret cameras, and Spy Glasses with rear-view mirrors. The owner, a former "bug planter" for the NYPD, will install concealed cameras for jealous spouses or lovers who wonder what goes on in the bedroom when they're not home. Of course, unfaithful partners can always turn the tables with a visit to Manhattan's Counter Spy Shop, where cameras disguised as cigarette lighters, lie-detector telephones that measure microtremors in a caller's voice, and $14,000 "Pentagon level" digital phone tap detectors can be had.
"It is phenomenal what is available out there," marvels Tom Carpenter, an attorney with the Government Accountability Project, a private group that protects whistleblowers from corporate surveillance, among other things. "You have remote-control cameras, long distance microphones, cellular phones---all perfectly legal---that can be operated by one person with a modem, who can spy on you from his own home."*
What was once the stuff of paranoid delusions is, increasingly, quotidian reality. Sifting through my mail, I find yet another letter warning me that time is running out on a limited offer to sign up, free of connection charge, for Call ID, a PHONESMARTsm service that displays the phone numbers of incoming calls on a small box attached to the subscriber's phone. The letter is from New York Telephone, whose unintentionally Orwellian tagline---"We're all connected"---hints at the dark side of McLuhan's global village. You can run but you can't hide, in a wired world. "The entire globe is turning into one nervous system," observed writer William E. Burrows in the PBS program, Space Age. "When we sneeze, the Germans hear it; when the Japanese hiccup, the Italians hear it."
In Discipline and Punish: The Birth of the Prison, Foucault considered the rise of the disciplinary society, governed not by "the relations of sovereignty but the relations of discipline,"* during the seventeenth and eighteenth centuries. The disciplinary society, which Foucault argues had its inception in "lock up" measures taken in plague- stricken towns, is characterized by a body of "physicopolitical" techniques: enclosed, partitioned spaces; unrelieved inspection by unseen but all-seeing observers; and the registration, classification and never-ending examination of the individual by means of a bureaucratic network linking the periphery of power with a centralized data-processing agency. Moreover, Foucault emphasized, these techniques may be abstracted from the specific historical institutions and apparatuses with which they are associated, into the "infinitely generalizable mechanism" of "panopticism" (after the institution set forth by Jeremy Bentham in his 1791 treatise, Panopticon).

Bentham's dream of "a network of mechanisms that would be everywhere and always alert, running through society without interruption in space or in time"* comes true in an image world whose inhabitants have internalized the paranoid psychology of high-tech panopticism. It is in the insidious nature of panopticism, maintains Foucault, that he who is under surveillance and is aware of his predicament "assumes responsibility for the constraints of power; he makes them play spontaneously upon himself; he inscribes in himself the power relation in which he simultaneously plays both roles; he becomes the principle of his own subjection."* A character in DeLillo's Running Dog dances around this idea, observing,
"When technology reaches a certain level, people begin to feel like criminals... someone is after you, the computers maybe, the machine-police. The facts about you and your whole existence have been collected... It's the presence alone, the very fact... of technology, that makes us feel we're committing crimes".*
Panopticism, in a cybernetic society, has given rise to an ocular culture in which scopophilia, voyeurism, narcissism, and "technommetaphobia," the fear of inhuman eyes,* are everywhere in evidence. Their traces are legible in the amateur porn that affords a peephole into the Joneses' bedroom; in Totally Hidden Video, which turns covert operations into practical jokes (and vice versa); and in I Witness Video, a show that airs news footage shot by junior Zapruders. During commercial breaks, children are beguiled by ads for Nintendo's Superscope 6, a video game-cum-spyglass that seems to belong in 1984 ("Hardly a week passed in which the Times did not carry a paragraph describing how some eavesdrop- ping little sneak... had denounced his parents to the Thought Police").



Sunday, 22 May 2011

KILL BILL!


Tarantino, Q. (2003) Kill Bill   is an excellent representation of Women’s empowerment in cinema. The story shows an ex-assassin going on a ‘roaring rampage of revenge’ when her former employer Bill conducts a massacre at her wedding rehearsal, killing everyone she loves and even her unborn child. The film is set in chapters where she tracks down and kills the people responsible, all leading up to a final confrontation with Bill.
The first part of the film ‘Vol 1’ is particularly interesting when thinking about Women in cinema as most of the characters are indeed Women, and have high roles in the world the film is set in. Lucy Liu’s character is the head of a Japanese mafia, Vivica Fox is Uma Thurman (The Bride)’s first victim of her revenge. The film also has lead roles by Daryl Hannah and Chiaki Kuriyama whose characters are instantly noticeable in today’s cinema conscience.
What this film does so well is show that a major Hollywood action film does not need a full male cast with the likes of Bruce Willis owning the screen. They all own the film in their own ways and strongly show that they are powerful enough actors and characters to be able to stand on their feet without a large male cast.
I recommend this film highly in the top 10 of our archive as I think it’s an important look at modern cinemas’ view of the women’s roles within the films. They are no longer damsels in distress…


Saturday, 21 May 2011

another note.

Yo guys!

Tim, very impressed with your interview with Kris Marshall!! twas a great watch!

I was just wondering if you both would be willing to stay behind on monday for a bit to finalize/start planning the actual presentation for tuesday. At the end of the weekend (i'm just finishing my load now)  i think we'll have enough films to do a top 10.


If y'all don't get this message by monday then i'll just ask during dan's session :)

Peace out y'all!!

Thursday, 19 May 2011

Rear Window follow up parody portrayal and interview with Kris Marshall

 

These are some discussions between Kris Marshall and myself on 18 th May 2011 on a train from London through the south-west of England ...Kris kindly endorsed a couple of his favourie clips from his own films...amongst other themes......watch out for the 'Rear Window' parody.

     ....  by timo franc

Tuesday, 17 May 2011

HERE ARE 10 BEST TECHNIQUES AND ICONIC MOMENTS FROM FILM HISTORY .

1st ....is this incredible feat of teamwork camerawork ever attempted in 'I AM CUBA ' (1964)
"The film is shot in black and white, sometimes using infrared film obtained from the Soviet military[2] to exaggerate contrast (making trees and sugar cane almost white, and skies very dark but still obviously sunny). Most shots are in extreme wide-angle and the camera passes very close to its subjects, whilst still largely avoiding having those subjects ever look directly at the camera.
Shortly after the 1959 Cuban revolution overthrew the dictatorship of Fulgencio Batista, the socialist Castro government, isolated by the United States after the latter broke diplomatic and trade relations in 1961, turned to the USSR for film partnerships. The Soviet government, interested in promoting international socialism, agreed to finance a film about the Cuban revolution.
The director was given considerable freedom to complete the work, and was given much help from both the Soviet and Cuban governments. They made use of innovative filming techniques, such as coating a watertight camera's lens with a special submarine periscope cleaner, so the camera could be submerged and lifted out of the water without any drops on the lens or film. At one point, more than a thousand Cuban soldiers were moved to a remote location to shoot one scene — this despite the then-ongoing Cuban missile crisis.
In another scene, the camera follows a flag over a body, held high on a stetcher, along a crowded street. Then it stops and slowly moves upwards for at least four stories until it is filming the flagged body from above a building. Without stopping it then starts tracking sideways and enters through a window into a cigar factory, then goes straight towards a rear window where the cigar workers are watching the procession. The camera finally passes through the window and appears to float along over the middle of the street between the buildings. These shots were accomplished by the camera operator having the camera attached to his vest - like an early, crude version of a steadicam - and the camera operator also wearing a vest with hooks on the back. An assembly line of technicians would hook and unhook the operator's vest to various pulleys and cables that spanned floors and building roof tops."



2nd is TOUCH OF EVIL .....The amazing opening shot is classically revered ....and it's inclusion as part of our dedicated search for an all-time archive of cinema history as a separate iconic moment would be assured ......and i'm definitely vindicated for showing it all year in room 1.22 between classes... to anyone that would watch.
"The film opens with its most famous sequence. It's an audacious, incredible, breathtaking, three-minute, uninterrupted crane tracking shot under the credits (appearing superimposed on the left of the screen). The entire tracking shot covers four blocks from start to finish. In a close-up, hands set an explosive, timed device. A shadowy figure runs and places it in the trunk of a parked convertible. The pounding of bongo drums and blare of brass instruments are heard (Henry Mancini's score), accompanied by the ticking-tocking of the mechanism on the soundtrack. The camera pulls away sharply, identifying the car's location - it is parked on a street in a seedy Mexican border town."




3rd is the famous DOLLY ZOOM shot used in 'JAWS'...  this qualifies as breathtaking....


"The effect is achieved by using the setting of a zoom lens to adjust the angle of view (often referred to as field of view) while the camera dollies (or moves) towards or away from the subject in such a way as to keep the subject the same size in the frame throughout. In its classic form, the camera is pulled away from a subject while the lens zooms in, or vice-versa. Thus, during the zoom, there is a continuous perspective distortion, the most directly noticeable feature being that the background appears to change size relative to the subject.
As the human visual system uses both size and perspective cues to judge the relative sizes of objects, seeing a perspective change without a size change is a highly unsettling effect, and the emotional impact of this effect is greater than the description above can suggest. The visual appearance for the viewer is that either the background suddenly grows in size and detail and overwhelms the foreground, or the foreground becomes immense and dominates its previous setting, depending on which way the dolly zoom is executed.
The effect was first developed by Irmin Roberts, a Paramount second-unit cameraman, and was famously used by Alfred Hitchcock in his film Vertigo."

As part of our 'Match Cut '  (Another Man's Loss) module for PCA we used this process to capture our actor Lewis with a similar technique ......see if you can spot it towards the end of this film I edited .....
 







4th is the 'GOODFELLAS '  The Long Take......This is a piece of brilliantly crafted establishing shot to the extreme ...and leads us right into the heart of the club on the tailcoat of the the characters... ....enjoy this splawing eye opener ...



 









5th is also Goodfellas  .....and with the notorious reverse tracking shot .....invariably used by film tutors and critics alike to open up the secret of the technical ceative aspects of film making..



 








6-10   are..... Kill Bill which also uses the long tracking shot .......and the last 4 are examples of iconic moments in cinema    with  7.. The car chase in French Connection....... 8..Buster Keaton in The House.........9..Lind Blair's head spin in The Exorcist......and finally   10.. The Chicken Game  with James Dean in Rebel Without A Cause 





I hope you enjoy these choices ...meant as a bit of fun viewing while we consider the more juicy project of discussing our choices for our own archive of gazing/voyeurism/fetish in the cinema.

                                                       By Tim Francis  May 2011









Monday, 16 May 2011

The Maltese Falcon

Huston, J. (1941) The Maltese Falcon  is a personal favourite of my mine with the amazing skills of Humphery Bogart in his role as Spade the detective it was always a challenge but fitted his characteristics ideally. His potential was recognised by the director, the importance of his talent cannot be underestimated as his fresh outlook and spirit brought out his characteristics into his character. This importance is shown in the trailer below.
“The Maltese Falcon from the offset was regarded as yet another standard Warner Brothers detective melodrama with $81,000 B-movie budget and a six week shooting schedule” (The Rough Guide to Film*pg 133) The film really gave birth to noir through the formidable partnership of director Huston and Bogart but this was clearly what destiny had planned as the first actor George Raft cast for the role of Spade turned the opportunity down. The pair set the standard for subsequent private eye and detective movies according to the New York Times.
The Second World War played an instrumental role in the way critics saw what they would now call Film Noir as the two founders if you like for the term “film noir” Nino Frank and Jean-Pierre Chartier were prevented from seeing the films which we today would market as classic noir, works such as “The Maltese Falcon” “Double Indemnity” “Laura” and many more. These classics appeared on screens in the French cinemas of Paris in 1946. After viewing the films Frank claimed “these movies were a new genre distinct from the preceding crime movies.”Chartier commented "Les Americains aussi font les films noirs" ("The Americans are also making dark films") this leads me to believe that there was a general feeling of surprise from the pair that Hollywood had turned a corner when representing Noir.
This new generation is assigned to the Maltese Falcon and is my reason for archiving this work of art for prosperity. The movie itself wrote the book for crime and mystery in noir and should be remembered as a triumph of Bogart and some of the most famous lines in history.




Touch of Evil

 Welles, O. (1958) Touch of Evil is a classic with complex cinematography and a very well paced narrative. The great genius about the film for me was that you didn’t have to delve as deep as possible into the film you can see there is still an impression created in an analytical rich work of craftsmanship.
“ I close this memo with a very earnest plea that you consent to this brief visual pattern to which I gave so many long hard days of work” Orson Welles
The statement from Welles is key when analysing his philosophy to me it reads I hope that you enjoy the methods and making of my film and appreciate the commitments of which I atoned when making the film. The camera angles make the film a commercial spectacle and an amazing piece of art in its own right. Like most noir a key feature of the film is the lighting when considering atmosphere and tension it sets the mood immediately with the explosion of the car. The framing of most sequences throughout the film are remnant of stills with a voice over narrative as the scene is set with an establishing shot and the action inhabits the scene rather the action already being present when the still is shown.  
.An element which also adds to the genius of Welles was his persistence in character as universal called for improvement on his edit and so the film which was originally released did not satisfy Welles. Had it not been for the unique idea of writing a memo stating his original copy as a result of this the film was re-released in 2000. Touch of evil brought about a new mark of directing style for Welles, he produced a dynamic script so that his characters could speak over each other making sure that the narrative and flow of the story matched to meet the speed of speech.
The use of music throughout the film is extremely affective and it suited the representation with the Latin rock n roll representing a climax when the path of the narrative changes it almost becomes a tool for the unspoken word.
However the real genius lies in the story itself with effective symbolism and a view point of the justice system in relation to the attitude present in the narrative with the US against Mexico which is important when grouped with both Quinlan’s and Vargas’s locations which throughout is used to show opinions and views shared by both characters. The film is no doubt a great and should be held in high regard by keen noir viewers.





Peeping Tom photo this is eerie once you've seen the film.....what did you think about his portrayal? posted by Tim Francis ...hoping for response