Written Reflection

In what ways do you hope your final work (whether individual or group produced) engages its audience and communicated a key concern of the studio?

Decadence primarily engages audiences through its thought-provoking visual narrative. The imageries are carefully curated to reflect the tormented inner realm of the artist. A warmer toned pastel palette consisting of light pinks, lilacs, cyan and marigold alongside diffused lighting renders the dreamy qualities of idealism. In contrast, hard lighting and desaturated, cold toned pigments highlight the dullness of reality. This evident juxtaposition clearly illustrates the artist’s disillusioned perception of her muse and creative approach. The short film predominately utilises over-the-shoulder shots to induce a sense of intimacy. The audiences are invited to take on the perspective of the artist in seeing the beauty in the muse, feeling the weight of each brushstroke and the intensity of her desires for perfection. In doing so, we hope to rid audiences of their role as mere spectators and instead bestow them the identity of the fanatical artist. Additionally, the mise-en-scene is rich with subversive symbolism. For example, the motif of the rose initially appears as a simple implication of the artist’s admiration for her muse. However, as the story gradually unfolds in a corrupt direction, the rose is transformed into a mutilated and literal representation of a human’s heart. This jarring use of seemingly romantic and innocent visual elements to evoke a deeply unsettling feeling builds tension throughout the narrative. Decadence’s focus on visual storytelling is a response to the studio’s key concerns in materialising a concept through moving images, the art of composition and specifically exploring the tableau shot in cinema. As Vasudevan (2011, cited in Kulkarni n.d) contends, ‘tableau shots…[are] on the verge of complete stillness and inactivity, and loaded with meaning.’ The concept of the tableau translates immobile, yet complex imageries often perceived in traditional artistic practices into the moving image medium. The strong visual narration in Decadence is indicative of this focus in constructing every shot with the same intent that artists put into composing their works. We invite audiences to navigate through the elaborate spectacle we have crafted whilst simultaneously experiencing the intersecting turmoils of creation, obsession and delusion.

Imagine you are going to keep working on that media piece (e.g. to screen it somewhere else like a festival, or develop it into a different kind of work, and so on) – what would be the core things you want to improve and extend and why?

Provided with the opportunity to continue developing Decadence, the key component I would refine is the execution of the diegesis. Further exploration of the character contexts and exposition would immensely benefit a narrative centred around the relationship between an artist and their muse. As Batty and Waldeback (2012:44) highlight, ‘‘A character isn’t only the sum of their past but is also their essential self in the present.’ In the current structure, depictions of the dynamic between the characters are only shallowly present within the shortened first act and through non-linear flashbacks spliced into the ending montage. Very little time is dedicated to dissecting the background of how this relationship came to fruition and the reasons fueling the artist’s twisted obsession. The initial intention was to begin the story at the peak of the artist’s creativity as demonstrated by the dream-like and idealised moments shared between the two characters. This is then quickly followed by a rise in action as discrepancies began occurring between the pair. However, the immediacy of how the short film opens and proceeds is likely to instigate a sense of disconnection as audiences have yet to develop a cohesive understanding of the characters and their motivations. Including longer segments that explore the meeting between the artist and the muse, as well as the artist’s growing fondness for the muse, may add more depth and improve emotional resonance. This approach would also effectively introduce a more prolonged but gradual build up to enhance the overall pacing of the short film

Additionally, the performance of the relationship could be further polished to increase authenticity. The energy level between the artist and the muse is evidently mismatched, with with the muse appearing animated and lively whilst the artist remained more reserved and detached. This dichotomy between the actresses is intriguing however it does lack a sort of natural chemistry. We could have organised a read-through session to review the actresses’ deliveries and make any necessary adjustments prior to shooting. Improved briefing for the actresses would have also been beneficial in providing them with a more comprehensive understanding of their roles. Furthermore, if we had more time during the production stage, we would have been more focused on directing the performance and redoing takes where necessary. Allowing the actresses to spend more time together would have also nurtured more naturalistic and intimate interactions to be presented on screen. Although I am proud of the work we have done so far, there are still numerous identifiable areas that require more refinements and development.

 

Pre-production:

The pre-production process initiated with the collation of visual and thematic ideas. We found that the interconnection between art and obsession is heavily associated with both fine arts and literature. Thus, diverging away from our previous focus on sourcing inspiration from purely visual mediums such as drawings and paintings, we decided to also draw from classic literature. The characterisation of the unreliable narrator in Tart’s The Secret History (1992) is one of the main references for the conceptualisation of the artist within Decadence. In similarity to our artist, Tart’s protagonist’s overly idealised perception of others alongside fanaticism with the picturesque led him to commit and condone heinous acts. Being able to track his character progression throughout the novel was immensely useful in structuring the development of our own character.

As the film is to be centralised around visual narration, I ensured that the screenplay was written in a highly descriptive manner. Exploring the intersection of pursuing aestheticism and twisted psyches formed the foundation of our narrative. However, it became increasingly complicated as we aimed to simultaneously incorporate the progression of the characters’ relationship, the gradual collapse of the artist’s inner world, and her creative struggles into a single linear storyline. The best solution in streamlining the plot was to separate the narrative into three distinct segments using the classic three act structure. Within the exposition, the idealised moments of the duo’s relationship and the artist’s creative peak will be revealed. The inciting incidents of the muse slowly slipping away from the artist’s control will follow and build up to the eventual climax of an implied confrontation. The action will descend as the artist encounters a new muse in the resolution, and thus perpetuates the twisted cycle.

Segments of Screenplay

Considering the inclusion of tableau shots, creating storyboards became essential for visual planning. The main artworks we chose to recreate in our film was Caravaggio’s Narcissus (1599) and George Roux’s Spirit (1885). Being able to sketch out the composition and visual elements of each frame allowed us to translate the artworks into moving image with increased ease. As there were many components to be included in each shot, storyboarding also helped us find a balance between the visuals being abundant in meaning but not overly convoluted. This meticulous planning ensured that the visuals effectively conveyed the intended depth and complexity without overwhelming the audience.

Storyboards

 

Productions:

With sufficient planning in pre-productions, the production stage was able to proceed smoothly. The quality, quantity and direction of light is the most impactful on the aesthetic outcomes of the video medium, thus we conducted a lot of experiments on set with different lighting techniques. To achieve the softened more dream-like effect envisioned for the first act, we employed a reflector alongside a diffusion filter lens. As for the later acts where we intended to replicate the hard lighting observed in Caravaggio’s works, we relied majorly on spotlighting and side lighting our subjects to introduce strong tonal contrasts. I have always wanted to work more with dynamic lighting, and I did indeed accumulate a lot of technical knowledge over the three days of principle photography.

BTS photos

 

Post Production:

An openly collaborative environment was facilitated for the post-production process with Andrew taking on the role of the main editor. Our group spent a copious number of hours over call and together in the editing suite to polish our short film. For our first rough cut, we assembled the shots strictly based on the distinct three act structure of the screenplay. This resulted in an overly blatant narrative that lacked the intrigue and unpredictability we originally envisioned. Taking on advice from our first feedback session, we removed majority of the oneiric sequences from the first act and instead spliced it into the tense montage that made up our last act. This newly established juxtaposition between the bright imageries featuring the two girls’ innocent interactions and the dimly grotesque moments of the implied murder introduced an intense sense of uncanniness. As Frierson (2018:245) reinforces, with this form of editing ‘…the viewer feels something is “wrong” with the way things appear on the screen, but is incapable of detecting sufficient “proof” to discredit presented events on the basis of everyday logic.’ The readjusted edit encapsulates a degree of abstraction and relies more on visual symbolism rather than an explicitly depicted storyline. In doing so, greater flexibility is created for audience interpretations with more left to the unknown.

Reporting from the editing suite:

Additionally, I took on the responsibility of colour grading. Distinct colour palettes are utilised to reflect the shift in the artist’s mentality alongside her eroding relationship with her muse and creations. The saying ‘seeing the world through rose tinted glasses’ is often used to describe an idealistic perspective. This is adopted into the context of Decadence in which a literal subtle rose tint is applied to achieve a romantic and lulling aesthetic. Working with the HSL scale, I increased the saturation of most of the colours observed in the stained-glass window. This introduced vibrancy and colour discordances into the otherwise majorly orange toned imagery. The implementation of a generally analogous and warm toned palette compliments the sense of unity intended for the introductory act of the short film. As the harmonised relationship between the artist and muse is disrupted in the second act, a darker and colder palette is employed. Referencing the desaturated and sombre colour grade of Hannibal (2013-2015), I similarly imbued blue almost green tints in the shadows of act two to evoke a sense of discomfort. A transition from cold tones to a focus on deep crimsons was implemented to mirror the artist’s eventual mental break and the climax of her compulsive tendencies. As the original footage was shot with hard lighting, I ensured to preserve the strong contrast by increasing the black point and highlights. Blue tones were integrated into the shadows to contrast the dominating use of red and offer dimensions in the palette.

Colour grading

Colour grade timeline

Sound design was a very strenuous process of trial and error. We started with drone like string compositions as a foundation however quickly found that it did not match the more passive imageries in the introductory and ending sections of the film. As a replacement we experimented with different piano melodies. While the lightness of piano felt less jarring against the brighter imageries, it still lacked the underlying sense of eeriness we wanted to immediately establish as the film opens. We opted to recording isolated humming from our actress. With a good amount of reverb, we were able to achieve a ghostly effect with her almost lullaby-like vocals. It is both soothing and deeply unsettling especially heard in the bookend conclusion of the film where a disturbing sense of normality returns. The soft humming is also revealing of the artist’s corrupt character, as she seems to remain unmoved by her monstrous behaviours. To further emphasise the psychological thriller elements of our project, we decided to implement a sort of body horror but only through sound. Imageries, associations and memories are triggered when one is exposed to familiar sounds (Dakić 2009). Foley of meat handling and eating noises were embedded in the montage sequence to stimulate correlations with gore and cannibalism. While nothing particularly gruesome is occurring on screen, audiences are still led to understand that unspeakable violence is being committed. In this case, what you cannot see becomes the most chilling. Overall, the obstacles we encountered taught me to be open to experimentation and learning new techniques.

 

Collaboration:

Collaboration between a group of highly stylistic and creative individuals requires a lot of coordination but the end results will always exceed expectations. Throughout the making of Decadence, I have learnt a variety of different approaches from my fellow group mates that I have not previously considered or yet to have the creative bravery to test out. For example, I have yet to attempt composing our own music and foley prior to working on this project. Collaboration is a crucial way in encouraging me to work outside of my comfort zones. Moreover, it is ultimately a process of learning to depend on each other and entrusting others with creative control. It was challenging for me at first as I possess very distinctive artistic directions and visions. But knowing that my group mates shared the same level of passion and were willing to extend help when I needed it reassured me. Their support taught me to be less constrained in my creative processes. Minor creative conflicts did arise due to some individuals’ decision to work more independently when the situation necessitated cooperation. However, we were able to resolve it with avid communication and finding a balance between our differences. I believe that I have undergone a lot of growth both technically and intrinsically as a creator. Whilst it is natural for those who have stronger creative visions to take initiative, the project was still made more stressful as the work was not as evenly distributed as I would have preferred. It is understandable that many will be preoccupied with other commitments, but it is important to remain communicative about their inability to contribute. Collaborative work is unavoidable in the realm of filmmaking, so I am grateful that I have the opportunities to learn and refine my skills in working with exceptionally unique and talented people. Self reflection, communication and acceptance are key in creating a piece that seamlessly integrates each member’s individualistic ideations and creative flairs.

 

Write one reflection on, or response to, the content of the Presentation in Week 9 by student work other than your own.

I was immensely engaged by Amelia, Clara and Saskia’s pitch for their tableau short film, The Wedding. Their ideation in dissecting the rawness of human experiences and youthful disorientation is a refreshing approach to the prompt. The choice to centre the narrative around a spontaneous marriage between two lost young adults generates an immense sense of relatability for audiences who may be similarly situated in transitional periods of their lives. I was particularly intrigued by the group’s research into awkwardness. It will add further dimension to a story that initially appears simplistic and more grounded. Their stylistic inspiration, The End of the F***ing World (2017-2019) exemplifies many techniques of how discomfort can be generated within a diegesis. Externally, the characters all appear very detached, with minimal expression and uncoordinated body language. However, their dynamic intrinsic thoughts and feelings are all depicted through voice-overs. This juxtaposition between the lack of emotions communicated through the visuals and auditory explosion of sentimentality makes an absurdist but entertaining dichotomy. The group’s choice in utilising a non-linear structure will be beneficial in emphasising the awkwardness they have suggested. Starting immediately with the peak of tension at the impulsive wedding without providing much context will effectively disorient the spectators and build intrigue.

Additionally, their concept of recreating the visuals of the 80s seamlessly amplifies the underlying absurdist elements of their narrative. The 80s were characterised by vibrant colours, technological developments and an experimental spirit. By extracting these elements from their original context and incorporating them into a fictional realm devoid of any explicit backgrounds, it creates a nostalgic yet uncanny effect. The visuals are to appear both familiar and unsettling, as they evoke memories of a specific era while existing in a context that is distinctly surreal. I am anticipating the outcomes of their visual narrative which seems to be liminal between realistic experiences and an imaginative domain.

Furthermore, I really like the artistic references they have chosen for the construction of their tableau shots. The selected artworks diverge away from the colourful and joyous aesthetics of the 80s. A desaturated palette consisting of dark earth tones and a suffocating sense of bleakness can be observed across all three artworks. There is also a reoccurrence of an isolated and unidentifiable female figure. These visuals are all great representations of the main protagonist, Shelly’s desperation as she is left to fend for herself, future and her unborn child. The narrative’s inherent focus on melancholic and bittersweet themes will be underscored by these artworks which resonate in tragedy.

Overall, the pitch for The Wedding was well presented and reflective of the actualisation of their ideation. I was really impressed and inspired by all the thematic and visual concepts discussed.

 

References:

Batty C and Waldeback Z (2012) The Creative Screenwriter: Exercises to Expand Your Craft, Bloomsbury Publishing Plc, London.

Dakić V (2009) Sound Design for Film and Television, GRIN Verlag, Germany.

Entwistle J (director) (2017-2019) The End of the F***ing World [television series], Netflix, United States.

Frierson, M. (2018) Film and video editing theory: How editing creates meaning, Taylor & Francis Group, United Kingdom.

Fuller B (director) (2013-2015) Hannibal [television series], NBC, United States.

Kulkarni D (n.d) The Cinematic Tableau, Google Arts & Culture website, accessed 27 May 2024. https://artsandculture.google.com/story/the-cinematic-tableau-museum-of-art-photography/sAUBLfe52K426g?hl=en

Tartt D (1992) The Secret History, Alfred A. Knopf, New York, United States.