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www.thebigpicturemagazine.com November/December 2012 Games Exploring Cinema's Subconscious

Games

Exploring Cinema's Subconscious

www.thebigpicturemagazine.com November/December 2012 Games Exploring Cinema's Subconscious
contents Issue Eighteen. November/December 2012 Features 06 | Spotlight Pt.1 18 Masters of Disguise: Altered
contents Issue Eighteen. November/December 2012 Features 06 | Spotlight Pt.1 18 Masters of Disguise: Altered
contents
Issue Eighteen. November/December 2012
Features
06
| Spotlight Pt.1
18
Masters of Disguise:
Altered Identity in Film
10
| Spotlight Pt.2
Mind Games:
Exploring Cinema's
Subconscious
18 | Widescreen
A
Perfect Match:
Chris Moloney's Unique
Form of Filmography
22
| Architecture & Film
Masterful Miniatures:
The Art of Creating
Believable Environments
26
| 1000 Words
The Dream Team:
Dali and Hitch Visualize
the Subconscious
Regulars
04
| Reel World
'What do you think you are,
for Chrissake, crazy or
somethin'? Well you're not!
You're not! You're no crazier
than the average asshole
out walkin' around on the
streets and that's it.'
R.P. McMurphy
Fight Club
24 | Four Frames
Altered States
30
| On Location
Mumbai, India
35
| Screengem
The Typewriter in Delirious
38
| Parting Shot
Heads Up:
Very Unusual Headgear
26
42
| Listings
A
Roundup of this Issue's
Featured Films
The Big Picture ISSN 1759-0922 © 2012 intellect Ltd. Published by Intellect Ltd. The Mill, Parnall Road. Bristol BS16 3JG / www.intellectbooks.com
Editorial office Tel. 0117 9589910 / E: info@thebigpicturemagazine.com Publisher Masoud Yazdani Chief Editor & Art Direction Gabriel Solomons Editor Neil Mitchell
Contributors Nicola Balkind, Rob Beames, Jez Conolly, Helen Cox, Alexandra Heller-Nicholas, Scott Jordan Harris, Neil Mitchell, Chris Rogers, Gabriel Solomons, Helio San Miguel
Please send all email enquiries to: info@thebigpicturemagazine.com / www.thebigpicturemagazine.com
Published by
intellect
| www.intellectbooks.co.uk
November/December 2012 3
cover image
altered states ( © 1980
Warner Bros. Pictures)

reel world

film beyond the borders of the screen

reel world film beyond the borders of the screen H e a v y Hitters Sometimes

Heavy

Hitters

Sometimes life can imitate art in disturbing ways, helen cox breaks the first rule to look at Fight Club's offscreen copycats.

first rule to look at Fight Club 's offscreen copycats. oPPosite © 1999 Fox 2000 Pictures,

oPPosite © 1999 Fox 2000 Pictures, regency enterPrises

david fincher's psycho-

drama Fight Club (1999) initially attracted critical attention for its perfectly- executed twist: that our suspiciously flaky narrator and the audacious Tyler Durden are in fact the same person;

two split personalities in conflict within our protagonist. Though based on the novel by Chuck Palahniuk, and thus clearly a work of fiction the representation of Disassociative Identity Disorder (DID) within the narrative is deeply sympathetic to the experience of actual real-life sufferers. The narrator speaks about long periods of insomnia and life feeling like a “copy of a copy.” Indeed, an inability to distinguish fantasy from reality

is often quoted as a symptom.

Fight Club’s real-life reflections do not, however, stop at a candid deconstruction of

a complicated and much

misunderstood mental illness. After the film’s release, several American communities saw fight clubs being founded on their doorsteps. USA Today reported in 2006 that “techies” in Menlo Park California had formed their own underground Fight Club in which they instigated violent street brawls. Even more shocking though was the 2009 report in The Washington Times that insinuated 17 year old Manhattanite Kyle Shaw was “mimicking Brad Pitt’s Fight Club character” after being arrested for planning an explosion outside a Starbucks Coffee Shop. Certainly, the behaviour of these individuals does mirror that of Durden who asks: “how much can you possibly know about yourself if you’ve never been in a fight?” Whether the film truly inspires such behaviour or just makes for a convenient scapegoat for those with anti- social tendencies however, is a divisive debate. [tbp]

gofurther

[weB] 'Are there real-life fight clubs?' by Josh Clark » http://people.howstuffworks.com

Image: © 2012 DMG Entertainment, Endgame Entertainment

Image: (top) © 1947 Warner Bros. Pictures / (above) © 1997 Paramount Pictures

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cinemA's themAtic strAnds

Masters of Disguis�

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Does a change of body mean a change of self? c hris r ogers goes undercover to take a closer look at Altered identity in film.

clocKWise From leFt Bruce Willis and JosePh gordon-levitt (looPer) humPhrey Bogart and lauren Bacall (darK Passage) nicholas cage and John travolta (Face oFF)

( darK Passage) nicholas cage and John travolta ( Face oFF) identit y, the awareness of

identit y, the awareness

of self is such a definitional part of what it is to be human that film-makers have explored the concept continuously and often inventively, although hidden or changed identity could be said to be fundamental to the creation of all dramatic film, involving as that does an actor assuming

a persona. Since cinema

and psychoanalysis arrived simultaneously in 1895-6, the

presence of a psychological element in many of these films is unsurprising. Disguise – the masking of self – occurs in every genre and every style of film, from the war movie to the period drama.

It may be presented simply,

as with Douglas Fairbanks in

The Mark of Zorro, or more

intricately, as with The Adventures of Priscilla, Queen of the Desert or the orgy sequence in Eyes Wide Shut where every character

is concealed (or perhaps

revealed) morally as well as physically. Masked and costumed ‘superheroes’ are also cloaking differences in their skills and origins, underlined in Watchmen. A mask may be virtual yet still retain its power. H.G. Wells’s invisible man has had many screen incarnations, with Paul Verhoeven’s Hollow Man the most visceral and least restrained in its depiction of a man for

whom lack of face and body permits everything. Speaking with another’s voice can also be an effective mask, as Rick

Rossovich finds in the gently

comedic romantic Roxanne. A literal change of physical identity adds layers of meaning. The fugitive criminal undergoing plastic surgery is common to the point of cliché.The noir thriller Dark Passage, however, escapes the limitations of the trope and its purpose as a star vehicle for Lauren Bacall and her then husband.Teasingly, its first act is shot entirely from the point of view of Humphrey Bogart’s character, whose face is therefore never seen, up to the moment where he removes his bandages and looks in the mirror at his new self. Fifty years later Face/ Off audaciously subverted the same cliché to permit enjoyably grandstanding performances from its leads. Constructing another identity, almost always with the intent of freeing the self, is typically a decisive act by the protagonist, though the consequences are not always positive. As disturbing today as it was on release, John Frankenheimer’s Seconds savages the American dream, reinforced in the post-war boom, that a man can become whatever he wants to become.

A literal change of physical identity adds layers of meaning. The fugitive criminal undergoing plastic surgery is common to the point of cliché.

of meaning. The fugitive criminal undergoing plastic surgery is common to the point of cliché. November/December

November/December 2012 7

Image: (opposite) © 1966 John Frankenheimer Productions Inc. / (above) © 2010 Fox Searchlight Pictures

Image: (opposite) © 1966 John Frankenheimer Productions Inc. / (above) © 2010 Fox Searchlight Pictures

SPoTlIGHT maSTerS of dISGuISe

2010 Fox Searchlight Pictures SPoTlIGHT maSTerS of dISGuISe aBove rocK hudson suFFers( seconds) oPPosite natalie

aBove rocK hudson suFFers(seconds)

oPPosite natalie Portman gets intense (BlacK sWan)

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intense ( BlacK sWan) 8 www. thebigpicturemagazine .com John Frankenheimer’s Seconds savages the American dream,

John Frankenheimer’s Seconds savages the American dream, reinforced in the post-war boom, that a man can become whatever he wants to become.

Its unsettling, psychedelic visual style drives the story of Arthur Hamilton’s desire toward an ending that is one of the most harrowing imaginable. Hamilton suffered from a decision to change that was not fully informed; Francis Dollarhyde, Jame Gumb and Bruce Wayne had no such

excuse, though suffer equally haunting effects. Their attempts to attain new identities, as depicted in Manhunter,The Silence of the Lambs and Christopher Nolan’s Batman trilogy, are calculated and considered. Different motivations and methods are apparent, and strikingly all three employ creatures – dragon, moth, bat – as emblems or waypoints in that transition.

A change of identity imposed

by others is even more poignant, and the Cold War has been an obvious but effective backdrop for examining this idea.The term ‘brainwashing’ was first coined in 1950 during the Korean War. Richard Condon’s 1959 novel The Manchurian Candidate examined the horrifying possibilities of this process, and three years later John Frankenheimer once more realised an exceptional film adaptation.

Dazzling in its visual flair, remarkably assured sequences must come close to allowing us to know what brainwashing feels like. Similar scenes in The Ipcress File are somewhat more conventional in execution.

In the little-seen but absorbing

Who? a scientist from the West

is involved in a car accident in

Warsaw Pact territory. After weeks of surgery and recovery he is returned by his Red carers, but there is a catch – he was so seriously injured that his face has been replaced by a metal

mask and his voice has altered. Is he who he says he is, or is he an imposter? Agent Elliot Gould

is assigned to find out, and the

extended conversations between

him and his charge develop into

a meditation on identity and the freedoms and constraints that concept imposes.The conclusion

is teasing yet fulfilling, exploiting

the ambiguity of a time when the population was struggling to comprehend the duplicity of Vietnam and Watergate. Inhabiting a different body – yours or someone else’s – brings its own concerns. The rash of

‘body swap’ comedies of the 1970s and 80s, including Freaky Friday and ViceVersa, took a populist approach, albeit with no little pathos in the case of Big. Unsurprisingly, though, they found a more serious analogue in science fiction. The neat Xchange matter-of- factly introduces a commercialised service for instant occupation

of another’s body for business purposes, a hook for a standard thriller that is nevertheless laced with philosophical insights. Arising from the pen of Philip K. Dick, master of the uncertain reality, Imposter, Total Recall and Blade Runner all spin a web around impersonation. Physical identity

is often layered in these films –

Hauser is hidden within Doug Quaid who is in turn hidden within a woman’s body at one point; Rachael appears human but is in fact a replicant, though informed by the memories of

Tyrell’s niece (who may herself be

a replicant). Of the many anime

that address bodily identity, Ghost in the Shell is the most reflective, as a cyborg special forces officer considers her remaining humanity. Science fiction has also looked at entering the mind of another for a shared experience

and, perhaps, a shared identity. Films such as the underrated Brainstorm, the very powerful The Dead Zone and Dreamscape, made within a year of each other, plus The Cell and Inception. Eventual realisation in film of the simstim sequences in William Gibson’s Neuromancer in which Case rides in Molly’s head will no doubt add to this canon. Michael Mann’s non-genre Manhunter takes the subject metaphorically, though at correspondingly traumatic cost. Identity is further complicated by duality in films as varied as Dead Ringers, Bullitt and Black Swan, and the passage of time in Twelve Monkeys and Looper.This last is expanded in Project X and 36 Hours, a pair of outstanding yet virtually unknown thrillers from the late 1960s in which the lead characters are injected into an artificial present so that information might be extracted

undetected from their supposed pasts, in a collision of memory, age and doubt. Knowingly entering an- other world vicariously is often deemed healthy, at least initially. Whether fighting (Avatar, Avalon, Gamer), relaxing (Westworld, Futureworld) or merely living (Surrogates), participants project themselves into an alternate place that confers a new identity, as soldier, boxer, gunslinger or simply a better version of them- selves. A reckoning is, as ever, not far away. Characters in The Matrix, on the other hand, were placed in simultaneous realities with simultaneous identities. Whatever the level of complexity or transparency, the question of whether a person retains their inner nature even as their outer body changes its form or location is usually being posed. The answer is for us to decide. [tbp]

usually being posed. The answer is for us to decide. [tbp] Identity is further complicated by

Identity is further complicated by duality in films as varied as Dead Ringers, Bullitt and Black Swan, and the passage of time in Twelve Monkeys and Looper.

go further [BOOK] Identity: Sociological Perspectives by Stephanie Lawler (2007)

gofurther

[BOOK] Identity: Sociological Perspectives by Stephanie Lawler (2007)

November/December 2012 9

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cinemA's themAtic strAnds

Games Film-makers have long had a fascination with the inner workings of the mind. nicola
Games
Film-makers have long had a fascination with the inner
workings of the mind. nicola B a l K ind and r o B B eames put
their heads together to explore cinema's subconscious.
HARvey (1950)
Dir. Henry Koster
Mild manners outshine peculiar
behaviour in Henry Koster’s
Harvey. James Stewart stars as
Elwood P. Dowd – a name with
which you’ll become familiar.The
film is, at its core, an odd couple
friendship. Elwood enthusiastically
squires his friend around town,
introducing himself and his
púca, Harvey, to everyone they
meet. Soon it becomes clear why
some run screaming: Harvey is
an invisible friend in the form of
a
six foot, three and a half inch
tall rabbit.This unconventional
friendship is a source of stress
for Elwood’s high-strung sister
Veta (Josephine Hull) and her
boyfriend-seeking daughter
Myrtle Mae (Victoria Horne).
Their decision to have Elwood
committed results in a chase
a run-around of bodies and
emotions. Compassion and positive
reactions to Elwood’s polite and
wise storytelling manners bring
out the best in his friends (many
of them freshly acquired). This
aBove/oPPosite
James steWart is not alone
comPaSSIon and
PoSITIve reacTIonS To
elwood’S PolITe and
wISe SToryTellInG
mannerS brInG ouT
THe beST In HIS frIendS
(many of THem freSHly
acquIred).
theatre of the mind disregards
psychoanalysis in favour of the
discovery that genuine behaviour
and the practice of overcoming
others’ peculiarities are life’s
greatest teachers.
[Nicola Balkind]
November/December 2012 11
Images: © 1950 Universal International Pictures (UI)

Image: © 1966 Svensk Filmindustri (SF)

Image: © 1975 Fantasy Films

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PeRSoNA (1966)

Dir. Ingmar Bergman

Dir. Ingmar Bergman   oNe FLew oveR THe CuCkoo'S NeST (1975)
 

oNe FLew oveR THe CuCkoo'S NeST (1975)

Dir: Miloš Forman

Persona explores the element of choice in mental illness.When actress Elisabeth Vogler (Liv Ullmann) falls mute with no physical or mental explanation, she comes under the care of a young nurse named Alma (Bibi Andersson).Though she expresses concerns that she is too young and inexperienced to handle Elisabeth’s case, Alma begins caring for the silent patient – but soon finds that in sharing her secrets, her personality and Elisabeth’s persona are beginning to merge. Bergman’s stark lighting and bold composition of the hospital both outline and sharply contrast the complex exchange of emotions between Elisabeth’s nervous tension and Alma’s relaxed, caring conduct. In turn her kindness is complemented by the seeming ease of their countryside retreat.The film’s minimalist look also enhances the poetry of anxiety and abandonment, images of self- immolation, revealing emotional moments, and dramatic actions:

all playing into the psychological mysteries of the film which, Bergman claims, saved his life.

The film’s minimalist

 

One of those extremely rare Best Picture Oscar winners that you could genuinely make a case for as that year's best movie, Miloš Forman's film is a career-best for nearly everybody involved, most notably star Jack Nicholson. His instantly iconic portrayal of unpredictable mental patient Randle McMurphy would loom large over the rest of his career - informing his casting as dangerously insane people in such films as Stanley Kubrick's The Shining (1980) and Tim Burton's Batman (1989).Yet McMurphy, though a criminal and certainly a disreputable character, is by contrast one of Nicholson's most amiable characters - doing his best to help his fellow inmates overcome their various inhibitions and take joy in life, bringing him into conflict with the notorious Nurse Ratched (Louise Fletcher). There is some question as to whether or not McMurphy is genuinely insane, or whether he is simply crying insanity to escape regular prison and hard labour (as he claims). However, his many misdemeanours stiffen Ratched's resolve to get him in line - with tragic consequences - enabling the film to explore the perils of institutionalisation.

look

enhances the

poetry of anxiety and abandonment, images of self-immolation, revealing emotional moments, and dramatic actions.

 

aBove JacK nicholson as mcmurPhy

toP leFt BiBi andersson and liv ullmann

McMurphy, though a criminal and certainly a disreputable character, is by contrast one of Nicholson's most amiable characters

 

[Nicola Balkind]

[Rob Beames]

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November/December 2012 13

Image: © 1997 Canal+ España, Las Producciones del Escorpión S.L

© 1997 Canal+ España, Las Producciones del Escorpión S.L ultimately the film explores whether there is

ultimately the film explores whether there is any meaningful difference between reality and our own perception of the world.

14 www.thebigpicturemagazine.com

ABRe LoS oJoS (1997)

Dir: Alejandro Amenábar

Alejandro Amenábar's psychological sci-fi thriller explores identity, memory, sanity and the blurring of dream and reality to head-scratching effect. Eduardo Noriega stars as César, a beautiful and wealthy young man, whose carefree, womanising lifestyle is disrupted when he suffers serious facial disfigurement in a car crash. Having gone from a pretty boy with the world at his feet to a person most can barely look in the eye, César's demeanour and temperament irrevocably change. He soon becomes obsessed with Sofia, an enigmatic young woman he met the night before the accident – played by Penélope Cruz in her international breakout role (one she would reprise four years later in Cameron Crowe's US version, Vanilla Sky). From then on the question of what is real and what is imaginary is blurred, as contradictory memories and strange incidents suggest all is not well in the protagonist's head. Ultimately the film explores whether there is any meaningful difference between reality and our own perception of the world.

[Rob Beames]

reality and our own perception of the world. [Rob Beames] eTeRNAL SuNSHINe oF THe SPoTLeSS MIND

eTeRNAL SuNSHINe oF THe SPoTLeSS MIND (2004)

Dir: Michel Gondry

In contemporary Hollywood few could lay claim to making more cerebral cinema than Charlie Kaufman, the screenwriter whose thematic preoccupations - memory, identity and the workings of the mind in general - can be found in everything from his celebrated collaborations with Spike Jonze (Being John Malkovich [1999] and Adaptation [2002] ) to his own directorial masterpiece, Synecdoche, NewYork (2008). With Eternal Sunshine, his second feature with French director Michel Gondry following the under-appreciated Human Nature (2001), Kaufman explored the idea that painful memories are valuable (and even beautiful) by having two lovers - played by Kate Winslet and Jim Carrey - come to regret the decision to erase every trace of their relationship from memory following a break-up. Gondry and Kaufman use Joel Barish's (Carrey) experience of the memory-removal process, made possible by Dr. Mierzwiak's (Tom Wilkinson) unlikely band of misfit doctors at Lacuna Inc, as a way to imaginatively explore the fractal and unreliable nature of memory.

[Rob Beames]

right Kate Winslet and Jim carrey

Image: © 2004 Focus Features, Anonymous Content

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Gondry and kaufman use Joel Barish's (Carrey) experience of the memory- removal process, made possible
Gondry and kaufman use
Joel Barish's (Carrey)
experience of the memory-
removal process, made
possible by Dr. Mierzwiak's
(Tom wilkinson) unlikely
band of misfit doctors
at Lacuna Inc, as a way
to imaginatively explore
the fractal and unreliable
nature of memory.

November/December 2012 15

Image: © 2011 Lago Film, Prospero Pictures

SPoTlIGHT mInd GameS

A DANGeRouS MeTHoD (2011) Dir. David Cronenberg Is sex the root of all human psychology?
A DANGeRouS MeTHoD (2011)
Dir. David Cronenberg
Is sex the root of all human
psychology? David Cronenberg
brings screenwriter Christopher
Hampton’s 2002 stage play The
Talking Cure to the screen in this
chamber drama interpretation
of the birth of psychoanalysis.
Michael Fassbender’s Carl Jung
and Viggo Mortensen’s Sigmund
Freud face off in the field as
Keira Knightley’s hysterical
Sabina Spielrein brings an image
of visceral and compulsive outer
psychosexual anguish to the fore.
The real patient of the piece is
Yung, constantly manipulated by
his peers and protégés alike as
he navigates his ever-changing
academic field. Constrained
by Freud’s confident thinking
and wishing to strike out on his
own, Jung is nonetheless bent to
the whim of a man who knows
no restraint. He invites sexual
deviance into his life and, quite
literally, his study as he undergoes
manipulation of a sort unseen in
physicality but expertly outlined
in actions. Inner anguish and
outward suppression is the name
of the game, within the screen and
beyond it.
[Nicola Balkind]
right
Keira Knightley as saBina sPielrein
inset
viggo motensen as Freud and
michael FassBender as Jung
The real patient of the
piece is Jung, constantly
manipulated by his peers
and protégés alike as
he navigates his ever-
changing academic field.
gofurther
[weB] Psychiatry, Psychoanalysis and Psychology at the cinema » tinyurl.com/c48n3j8

16 www.thebigpicturemagazine.com

November/December 2012 17

wIdeScreen

film in A wider context

APerfect

Matc�

g a B riel solomons chats to Chris Moloney about his fascinating FILMography blog, which marries film photos to their locations as they are now.

marries film photos to their locations as they are now. The Fisher King (1991) what inspired

The Fisher King (1991)

what inspired you to put together the FILMography blog? you seem to be following in the footsteps of ken Josephson's 'images within images' project from the 1970s but were you aware of his work before starting your blog? One of my high school teachers was quite fond of Ken Josephson so he's always been on my radar but I'm not sure if I consciously used him as a model for my blog. The difference between Ken Josephson and myself is he is an artist and photographer, whereas I'm just a guy who takes pictures. There's a scene in Jane Wagner's "The Search for Signs of Intelligent Life in the Universe" where Lily Tomlin holds up a can of Campbell's and a Warhol and says, "This is soup. And this is art." I'm well aware I'm making soup.

Does your working background have any relation to this project or was it simply a 'lightbulb moment' to pursue a personal interest? I've spent the past 15 years working in television as a writer and producer so I've trained myself to think visually but I have no real knowledge of photography. Most of the original pictures on my blog were snapped with a BlackBerry. People are horrified when I tell them that.

Have you been surprised at the public reaction to the blog and why do you think the project resonates with people? Very surprised. I still can't wrap my head around the fact that thousands of people, from around the world, stop-by my blog and look at my photos every day. I think it speaks more to people's love for Hollywood and movies than my abilities though.

Photos Chris Moloney

and movies than my abilities though. Photos Chris Moloney [top] Leon the Professional (1994) [above] Die
and movies than my abilities though. Photos Chris Moloney [top] Leon the Professional (1994) [above] Die

[top] Leon the Professional (1994) [above] Die Hard With A vengeance (1995)

wIdeScreen fIlmoGraPHy

why do you think people are so affected when stumbling across a filming location - or when they seek out locations specifically? Does it go any deeper than mere filmic sightseeing? I can only speak from my own experience. I know when I stumble upon a spot where a movie that I love was filmed I get excited. The idea that someone like me can have a connection - even one this insignificant - to filmmakers like Woody Allen or Martin Scorsese is pretty unreal. Plus, it's fun to play movie director. "Where did they put the camera?" "Did this pole get in their way too?"

what are the challenges when taking your photographs? There have been conflicting comments about the accuracy (or not) of the process, but do you have a particular criteria to follow when taking the snaps? My approach to my blog has changed since I began in June. When I started it (with the Stay Puft Marshmallow Man) it was more of a tourism site. Accuracy wasn't important to me, I just wanted to show my friends and family "Hey, I work near the spot where they filmed that awesome movie." But now that more people have started coming, and the media has started throwing around words like "photographer," the expectations are higher and I try to take a bit more time with the shots.

How do you choose the locations to photograph? iconic locations/scenes or is it dependent on 'chance'? I've seen a lot of movies and even before I started the blog I found myself making mental notes of where things were shot. New York is such an iconic city that you can always spot something in the background of the scenes that will tip you off to where they were shot. I'm also a big walker and occasionally I'll recognize a spot from a movie and go back with a photo later.

Photos Chris Moloney

movie and go back with a photo later. Photos Chris Moloney [top] Ghost (1990) [above] 25th
movie and go back with a photo later. Photos Chris Moloney [top] Ghost (1990) [above] 25th

[top] Ghost (1990) [above] 25th Hour (2002)

Do you have future plans for the blog? There is a current trend for popular blogs such as yours to result in a published book - is this where you see the blog going or do you have grander plans for it? I'm Canadian and by nature we don't make grander plans. In the past couple of weeks I've seen my name and my work in dozens of newspapers and many of the magazines I grew up reading. I'm not really sure how I would take it beyond that or if I would even want to. That said, if someone wants to publish my photos in a book I'm not going to say no. It would just mean one less Christmas present I have to buy for my parents.

Are you interested in opening up the project to the wider public in the same way that Taylor Jones' 'Dear Photograph' website does and what do you see as the benefits or downsides of this more inclusive approach? People compare my blog to 'Dear Photograph' all the time because of the similar approach. But that's totally unfair to 'Dear Photograph.' My site is a place where people come to see pictures of movie scenes. 'Dear Photograph' is so much bigger than that. People go there to reflect on their lives and remember their dead dogs. There's really no comparison. As for accepting submissions from people, I'm happy to publish someone else's photos. I get a lot of eyeballs on my site and I'm happy to share my audience with the work of others. But I'm not a gatekeeper. All FILMography doesn't need to pass through me.

what has been the most promising or most interesting feedback to the blog that may have surprised you as to the impact and potential of the project? The best part of the whole thing is getting to connect with people that are just as nerdy and passionate about things as me. The other day I got a message through my site from a guy in Madrid. He laid out exactly what was wrong with my photos. He told me I was stupid and my blog was stupid. He was so angry. Then, at the very end, he writes: "I also like 'You've Got Mail.'" [tbp]

Photo Chris Moloney

Got Mail .'" [ t b p ] Photo Chris Moloney The idea that someone like

The idea that someone like me can have a connection - even one this insignificant - to filmmakers like woody Allen or Martin Scorsese is pretty unreal.

[above] Uptown Girls (2003)

gofurther

[weB] explore many more FILMography images at the official site » philmfotos.tumblr.com/

arcHITecTure & fIlm

Adventures through the built And filmed environments

Masterful

Miniatures

chris rogers continues our architecture and film series, this time casting an eye over the alchemy of models, matte paintings, photographs or computer-generated imagery used to create a believable environment.

imagery used to create a believable environment. Much of the architecture on show in films doesn’t

Much of the architecture on show in films doesn’t actually exist, as a location or even a set. Instead, buildings are conjured through the alchemy of models, matte paintings, photographs or computer-generated imagery. Miniatures have been used to represent the unbuilt or unbuildable for many decades, either on their own or in combination with live action. Fritz Lang deployed both in his epic Metropolis, creating a dazzling vision of a future city in which aircraft and cars filled canyon-like streets between vast towers. Lang used the ingenious Schüfftan process, where the camera films through an angled mirror with part of its reflective coating removed, to insert actors into the models. Simply placing a miniature in front of the camera whilst it is filming a real scene is also highly effective; the encrustation within the atmosphere processing station in Aliens was achieved in this way, whilst the vertiginous bridge across a deep ravine in The Living Daylights is in fact a model carefully aligned with the top of the real bridge, which only crossed a shallow ditch. The Coen Brothers spent half a million dollars in today’s terms on a dozen very-large-scale (one inch to two feet) miniatures of selected New York skyscrapers for The Hudsucker Proxy. They were so effective that they were subsequently re-used in adapted form in Baby’s Day Out and The Shadow. Only one model was needed to bring the glass skyscraper that becomes The Towering Inferno to the screen,

The Coen Brothers spent half a million dollars in today’s terms on a dozen very-large-scale (one inch to two feet) miniatures of selected New york skyscrapers for The Hudsucker Proxy. They were so effective that they were subsequently re-used in adapted form in Baby’s Day out and The Shadow.

but at over 70 feet high, itself equivalent to a five or six storey building, it was one of the largest ever constructed and had to be secured with guy ropes when not in use. Hitchcock’s delight in playing with artificiality has featured in previous instalments of Beyond the Frame, but there is much more to discover. The United Nations building as seen in North By NorthWest comprises a series of paintings. Exteriors are matte paintings on glass, with interiors achieved through vast scenic backdrops. Both are dramatic but somewhat theatrical in their execution, subtly contributing to the nightmarish nature of Roger Thornhill’s situation. The night- time exterior of the Vandamm house, though, is realised through exquisitely subtle matte paintings so convincing that many who see the film assume it to be a real structure. The director’s most audacious simulation of architecture occurs in Cold War thriller Torn Curtain when Paul Newman is shadowed whilst walking into and around one of Berlin’s great museums, the Alte Nationalegalerie. Opened in 1876, Friedrich August Stüler’s great neo-Classical temple stood in what was then East Berlin, beyond the reach of a Hollywood film production. Instead of seeking a substitute location or building elaborate sets, however,

Hitchcock took an extraordinarily daring step. Emboldened by success on a smaller scale twenty years previously with The Paradine Case, he filmed the entire two-minute sequence using only matte paintings to replicate the museum.The actors were shot in a studio against minimal sets – often simply a decorated floor and a piece of wall – and optically composited into the paintings. The surprisingly powerful impact that the architecture of the suburban street can have on a film’s mood was explored in Beyond the Frame #2 (available online at www. thebigpicturemagazine.com). This is confirmed in a key scene from David Fincher’s Zodiac. In 1960s San Francisco, Detectives Toschi and Armstrong arrive at

a crime scene, a crossroads in a

quiet suburb late at night. The neighbourhood is cast in a sickly green glow. A taxi stands at the kerb, its driver lying dead within.

A hand-held camera follows as

they walk the area, point at house windows and converse with colleagues. And yet only a very small portion of this haunting scene existed in real life or was filmed at the real location; the majority was shot on a studio

backlot against bluescreen, with the evening sky, street lighting and period-accurate buildings and vehicles all generated by computer. An architectural lie reveals the truth. [tbp]

Below/Middle Matte paintings used to create scale in Alfred Hitchcock's Torn Curtain and North by Northwest

Hitchcock's Torn Curtain and North by Northwest Above Miniature architectural renderings used for The
Hitchcock's Torn Curtain and North by Northwest Above Miniature architectural renderings used for The
Hitchcock's Torn Curtain and North by Northwest Above Miniature architectural renderings used for The

Above

Miniature architectural renderings used for The Hudscucker Proxy

© 1994 PolyGram Filmed Entertainment

Opposite The Schüfftan process used in Fritz Lang's Metropolis

© 1927 Universum Film (UFA)

gofurther

go further [ weB ] Read more 'Beyond the Frame' pieces on www.thebigpicturemagazine.com

[weB] Read more 'Beyond the Frame' pieces on www.thebigpicturemagazine.com

four frameS

the Art of AbbreviAted storytelling

weIRD SCIeNCe

Altered States, Dir. Ken Russell, 1980

24 www.thebigpicturemagazine.com

2
2
4
4

Images: © 1980 Warner Bros. Pictures

Jez c onolly explores the hallucinatory consequences that a meeting of an ancient ceremony with Ken Russell's wild imagination brought forth.

in his quest to explore altered states of consciousness, neuroscientist Edward Jessup (William Hurt) travels to Mexico to take part in an Ayahuasca Ceremony conducted by a remote tribe. During the ceremony an elder slices Jessup’s hand open and drips blood into a strange brew containing Amanita muscaria mushrooms and Banisteriopsis caapi root that the tribesmen and Jessup then drink. As a result he experiences a series of bizarre, surrealistic hallucinations that seem linked to his intense relationship with fellow scientist and wife-to-be Emily (Blair Brown). At one point he sees himself and Emily walking towards a mushroom cloud, a vision that appears to originate from a brilliant point of light emerging from the wound on his hand, from which then crawls a small lizard. Part chin-stroking talk-fest on existentialism, part Eighties body- horror silliness, Ken Russell’s wild, hallucinogenic take on Paddy Chayefsky's breathlessly cerebral script boasts enough chemically-induced ‘bad trip’ dreamscapes to boggle the mind and put you off cream-of-mushroom soup for life.

the mind and put you off cream-of-mushroom soup for life. Read More four fra M e

Read More four fra M e s online at www.thebigpicturemagazine.com

November/December 2012 25

1000 wordS

moments thAt chAnged cinemA forever

Below The Surrealist dream seqeunce in Alfred Hitchcock's Spellbound

dream seqeunce in Alfred Hitchcock's Spellbound 26 www. thebigpicturemagazine .com Image: © 1945 Selznick

26 www.thebigpicturemagazine.com

Image: © 1945 Selznick International Pictures, Vanguard Films

Dream The Team

When Hitchcock wanted to explore the subconscious onscreen he turned to Surrealist Salvador Dali. Unsurprisingly, their collaboration was memorable and highly influential. By a lexandra h eller-nicholas

“ t he only place I've seen dwarves in dreams is in stupid movies like this!” yells Peter Dinklage as dwarf actor Tito in Tom DiCillo’s black comedy Living in Oblivion (1995), highlighting the sometime absurd and fantastic lengths filmmakers can go to in the creation of a memorable dream sequence. Whether allowing a space for creative indulgence or providing backstory or other crucial narrative information, dream sequences in film have their own logic and rely on their own distinct set of technical features to flag their status as not-quite- reality. Movies themselves are often compared with dreams – Hollywood is a ‘dream factory’, and horror movies are regularly described as ‘nightmares’ – and in this sense psychoanalysis has offered a ready-made approach for not only understanding how we engage with film but also, through dream sequences and the appearance of psychiatric patients and professionals, as a popular narrative element in its own right.

One of the earliest films to employ psychoanalysis as an explicit element in its plot, Alfred Hitchcock’s Spellbound (1945) explores Dr Constance Peterson's (Ingrid Bergman) romance with and investigation of the mysterious John Ballantine (Gregory Peck), a man whose amnesia leads him to take on another man’s identity. Psychoanalysis is purported to be the tool with which Constance not only assists John in regaining his memory, but also helps them solve the murder of the man whose identity Ballantine has adopted. Key to this is a dream the as-yet unidentified Ballantine has, which Constance and her mentor, the Sigmund Freud-like Dr Brulov (Michael Chekov), analyse in the hope of discovering clues. Ballantine’s dream begins in a gambling house where curtains with painted eyes are cut with giant scissors. A man with a beard is accused of cheating and threatened by a faceless proprietor. The bearded man falls off the edge of a building as the proprietor – who has been

November/December 2012 27

The bearded man falls off the edge of a building as the proprietor – who has

1000 wordS THe dream Team

1000 wordS THe dream Team Below/Right/Far Right Salvador Dali taps the subconscious in Alfred Hitchcock's

Below/Right/Far Right Salvador Dali taps the subconscious in Alfred Hitchcock's Spellbound

taps the subconscious in Alfred Hitchcock's Spellbound Cinematic dream sequences such as Dalí/Hitchcock’s in
taps the subconscious in Alfred Hitchcock's Spellbound Cinematic dream sequences such as Dalí/Hitchcock’s in

Cinematic dream sequences such as Dalí/Hitchcock’s in Spellbound offer modern examples of the literary tradition of the dream allegory, sometimes called the dream vision.

of the dream allegory, sometimes called the dream vision. hiding behind a chimney – reveals himself

hiding behind a chimney – reveals himself and drops a small wheel. The dream finishes with Ballantine running down an abstracted, sloped space chased by giant shadowy wings. As Brulov and Constance explain to Ballantine, from a psychoanalytic perspective this dream is crucial: once they can unlock its secrets, they will solve the mystery that plagues him. Famously based on paintings by renowned surrealist Salvador Dalí, tensions between producer David O. Selznick and the artist resulted in a scene substantially reduced in both length and intensity:

even Hitchcock himself winced at Dalí’s oft-quoted suggestion to include a sequence showing Ingrid Bergman covered in ants. Despite being one of Hitchcock’s least favourite of his works, it was a huge commercial success and critic Thomas Hyde rightly considers it a precursor to later efforts such as Psycho (1960), Marnie (1964) and Vertigo (1958). Loosely based on the 1927 novel House of Doctor Edwardes by Francis Beeding, the script emphasises its quasi- clinical fascination with the guilt complex and its impact on the unconscious. At the time of the film’s release Freud’s theories were far from obscure in Europe, the United Kingdom and the United States, and the publication of “Some Elementary Lessons in Psychoanalysis” in 1938 highlighted that his ideas about an active, decipherable unconscious mind were still very much in the public eye. Selznick was drawn to the story because of his own personal, positive experience with psychoanalysis and he accurately judged that audiences would readily understand that in Spellbound this dream was to function as a primary source of clues to its mysteries, rather than simply as a colourful aside.

Images: (Below) © 2010 Warner Bros. Pictures, Legendary Pictures, Syncopy

Below Cob and Mal build their dream reality in Christopher Nolan's Inception Cob and Mal build their dream reality in Christopher Nolan's Inception

their dream reality in Christopher Nolan's Inception Cinematic dream sequences such as Dalí/Hitchcock’s in

Cinematic dream sequences such as Dalí/Hitchcock’s in Spellbound offer modern examples of the literary tradition of the dream allegory, sometimes called the dream vision. These tales were popular during the Middle Ages, appearing in works such as Geoffrey Chaucer’s Book of the Duchesse (1368-72). With some accounts tracing the origins of the fictional dream sequence back as far as Aeschylus’ play The Persians (472BC), its heritage on film stems from examples as diverse as Sherlock Jr (Buster Keaton, 1942), the A Nightmare on Elm Street franchise (1984-2010), Federico Fellini’s 8 ½ (1963) and the work of postmodern auteur David Lynch, a director frequently linked to surrealism through films such as Eraserhead (1977). While a fractured movement from its earliest days, key surrealists such as Dalí sought to express the ideas of psychoanalysis creatively through art, charmed in many instances by the randomness and absurdity of the unconscious mind and its dreams. The Spellbound dream sequence contains many of Dalí’s signature surreal images: his melted wheels, strange landscapes and of course the cut eyeball sequence, which refers explicitly to his earlier short film collaboration with Luis Buñuel, Un Chien Andalou (1929). But the finished product was far from the dream product Dalí or Hitchcock had imagined, despite its commercial success. While some critics have in retrospect held the simplicity of the film’s treatment of psychoanalysis responsible for this perceived failure, it is perhaps fairer to suggest that at its heart Freud and his theories –and the creative links to them – were little

theories –and the creative links to them – were little Similarly to Christopher Nolan’s Inception (2010)

Similarly to Christopher Nolan’s Inception (2010) and its shared fascination with the fantastic possibilities of the unconscious mind, it is love not science that drives their protagonists and our interest in them.

that drives their protagonists and our interest in them. more than a surface gimmick pasted onto

more than a surface gimmick pasted onto Spellbound’s real source of interest: romance. For all the attention lavished upon Freud’s ‘talking cure’ in the

film, it is not psychoanalysis but love that conquers all. Constance

is the central character, not

Ballantine, and as such it is

a story about rejecting the

clinical and the professional, and surrendering instead to the hyperbolic heterosexual romance Selznick celebrated only a few years before in GoneWith the Wind (Victor Fleming, 1939). Similarly to Christopher Nolan’s Inception (2010) and its shared fascination with the fantastic possibilities of the unconscious mind, it is love not science that drives their protagonists and our

interest in them. [tbp]

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November/December 2012 29

on locaTIon

the plAces thAt mAke the movies

Mumbai

DeewAAR (1975) Dir. Yash Chopra IND, 174 minutes Starring: Shashi Kapoor, Amitabh Bachchan and Neetu
DeewAAR (1975)
Dir. Yash Chopra
IND, 174 minutes
Starring: Shashi Kapoor,
Amitabh Bachchan and Neetu Singh
Deewaar (The Wall), directed by the
recently deceased Yash Chopra, is
classical Bollywood at its best and
most melodramatic. It also offers
Mumbai in its purest cinematic form,
served up as a cocktail of familiar
ingredients: a husband forced to
betray his ideals; an honest wife
pushed to leave her village to make
a new life in the City of Dreams;
two fatherless brothers, Ravi and
Vijay, who grow up in opposing
ways, policeman and gangster.
Deewaar recounts the story of Vijay,
a worker at the Mumbai port who
leFt
amitaBh Bachchan
becomes a mafia don and climbs to
the top of the luxury skyscrapers on
Marine Drive from where he feels
he owns the city. Deewaar cemented
Amitabh Bachchan’s superstar status
and transformed the nature of the
Bollywood hero into the angry young
man that he initiated with Zanjeer
(1973). Deewaar’s echoes reverberate
through Bollywood and beyond, all
the way up to Slumdog Millionaire.

30 www.thebigpicturemagazine.com

Mumbai, a megalopolis of almost 20 million people is the home of Bollywood, the beating heart of the Indian film industry, and the film set of thousands of fictions that can’t be confined to a few stereotypes. helio san miguel, editor of World Film Locations:

Mumbai takes us on a whistlestop tour of a city rich in cinematic heritage and buzzing with energy.

Images: (opposite) © 1975 Trimurti Films Pvt. Ltd. / (Above) © 1989 Natraj Production, Vinod Chopra Productions

oPPosite niruPa roy as the Poor single mother

BeloW JacKie shroFF and anil KaPoor

PARINDA (1989)

Dir. Vidhu Vinod Chopra IND, 154 minutes Starring: Jackie Shroff, Kamal Chopra and Madhuri Dixit

Parinda’s realistic depiction of gangster life found critical and popular success despite its untraditional tragic ending, and ushered in a new era of Bollywood cinema. Karan, just back in Mumbai after completing his studies abroad, witnesses the killing of his childhood friend Prakash, who became a policeman and is the brother of beautiful Paro, the object of his affection. Mumbai’s urban landscape –the Dadar fountain where they grew up and Prakash gets killed, Babulnath temple, abandoned factories, fancy hotels, the imposing Gateway of India where the climactic scene takes place— all serve as the theatre for a calculated revenge, but also as a lost haven filled with childhood memories. Karan’s downward spiral from naïve college graduate to the depths of the underworld, also made Parinda the precursor of Mumbai Noir, the successful genre that delves into the city’s underbelly, paving the way for other movies like Ram Gopal Varma’s acclaimed Satya (1998).

November/December 2012 31

MuMBAI DIARIeS/ DHoBI GHAT (2010)

Dir. Kiran Rao IND, 100 minutes Starring: Prateik, Monica Dogra and Kriti Malhotra

In Mumbai Diaries, Kiran Rao’s debut feature, the thread that weaves the different stories together is Munna, a dhobi who delivers clothes from Mumbai’s iconic outdoor laundry called Dhobi Ghat, and who dreams of becoming a Bollywood star. Through his daily routine we get a glimpse into the life of the slums, an existence mired in poverty and gangster extortion that deprives slum dwellers of much of their dignity and hope. Munna also befriends upper-class Shai, accompanies her around the city to take pictures, and even poses for her. She in turn is infatuated with painter Arun, who is captivated by videos left behind by Yasmin, the previous tenant of his apartment. Through their eyes we explore other sides of the city, the ones of cafés, art shows, fancy clubs, tourist sites… And in the middle of it all lies Mumbai, the multifaceted megalopolis that becomes the muse that daily weaves millions of such threads together.

on locaTIon

the plAces thAt mAke the movies

BeloW monica dogra in mumBai diaries

Bottom shady goings on in no smoKing

in mumBai diaries Bottom shady goings on in no smoKing Through Munna's daily routine we get

Through Munna's daily routine we get a glimpse into the life of the slums, an existence mired in poverty and gangster extortion that deprives slum dwellers of much of their dignity and hope.

deprives slum dwellers of much of their dignity and hope. Images: (opposite) © 2010 Aamir Khan

Images: (opposite) © 2010 Aamir Khan Productions / (Below) © 1994 National Film Development Corporation

/ (Below) © 1994 National Film Development Corporation No SMokING (2007) Dir. Anurag Kashyap IND, 128

No SMokING (2007)

Dir. Anurag Kashyap IND, 128 minutes Starring: John Abraham, Ayesha Takia and Paresh Waral

No Smoking is a quirky and disconcerting movie, written and directed by enfant terrible Anurag Kashyap, the leading director of what we can call Neo-Bollywood,

a group of film-makers that in the

last two decades is expanding the boundaries of Bollywood and by extension of commercial Indian

cinema. Here a wealthy and good- looking executive embarks on a program to quit smoking. Kafkian reminiscences are hinted in his name, simply K. His journey

takes him from the top of his posh apartment in a high-rise building and from Mumbai’s fanciest clubs, to an underground inferno shot between the slums of Dharavi and the Mukesh Mills in South Mumbai, where the surreal detox program takes place. Although bordering on the implausible at times, No Smoking is nonetheless

a genius film that turns upside

down the idealizations of upper class habitats that are all too frequent in current Bollywood

mainstream movies.

MAMMo (1994)

Dir. Shyam Benegal IND, 124 minutes Starring: Farida Jalal, Surekha Sikri and Amit Phalke

After the tragic riots and ensuing terrorist attacks that tore Mumbai apart between December 1992 and March 1993, many film- makers turned their cameras

towards that pressing reality. Shyam Benegal, one of the top filmmakers of the parallel cinema movement and (along with Mrinal Sen), the most respected Indian filmmaker alive, decided instead to focus on the recent past. Recruiting critic and film-maker Khalid Mohamed as screenwriter, they together made three movies about the situation of Muslims in India. Mammo is a moving coming of age film about Riyaz, a middle- class Muslim teenager who loves Western cinema and The Beatles, plays classical music to his fish, and secretly smokes. Set in 1970s Mumbai against the backdrop of the still resonating Partition, and

made in the aftermath of the 1992- 1993 devastating events, Benegal and Mohamed's Mammo tellingly portrayed normal middle-class lives lived within a diverse and inclusive city.

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November/December 2012 33

WORLD FILM LOCATIONS expLORINg The CITy ONSCReeN
WORLD
FILM
LOCATIONS
expLORINg
The CITy
ONSCReeN

A new film book series from Intellect / www.intellectbooks.com

film book series from Intellect / www.intellectbooks.com MUMBAI £9.95 PaPerbacK Y eDITeD By heLIO SAN MIgUeL
MUMBAI £9.95 PaPerbacK Y eDITeD By heLIO SAN MIgUeL ISBN 9781841506326 Paperback £9.95 Fascinating,
MUMBAI
£9.95
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Y
eDITeD By heLIO SAN MIgUeL
ISBN 9781841506326
Paperback £9.95
Fascinating, incommensurable, and chaotic, Mumbai, formerly known
as Bombay, is a megalopolis of dramatic diversity and heartbreaking
extremes, where immense wealth is just steps away from the searing
poverty of its huge slums. The home of Bollywood, Mumbai is also the
epicenter of India’s film industry and its foremost film location. Through
the lens of Mumbai’s manifold cinematic representations, World Film
Locations: Mumbai explores the sheer complexity of this incomparable
city. This volume comprises insightful essays and beautifully illustrated
scene analyses by leading scholars and film critics who explore the ways
filmmakers from India and abroad have represented Mumbai’s astonishing
urban and human landscape. Their contributions show how movies have
created in the imaginations of billions of spectators the vivid image of a
city that constantly tempts people to escape their dreary existence and
offers them a chance to fulfill their dreams. World Film Locations: Mumbai
will be necessary reading for scholars and film buffs alike.
BeIjINg
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The title of Li Yu’s film Lost in Beijing evokes the experience of many first-
time visitors to China’s bustling capital. The city’s sprawling structure and
rapid redevelopment—embodied by the high-rise apartments taking over
historic districts—render Beijing’s streets hard to navigate and its culture
just as difficult to penetrate. World Film Locations: Beijing is a revealing
and engrossing introduction to both. In a series of spotlight essays and
illustrated scene reviews, a cast of seasoned scholars and fresh new
voices explore the vast range of films—encompassing drama, madcap
comedy, martial arts escapism, and magical realism—that have been set
in Beijing. Unveiling a city of hidden courtyards, looming skyscrapers, and
traditional Hutong neighborhoods, these contributors depict a distinctive
urban culture that reflects the conflict and tumult of a nation in transition.
With considerations of everything from the back streets of Beijing Bicycle
to the forbidden palace of The Last Emperor to the tourist park of The
World, this volume is a definitive cinematic guide to an ever-changing
and endlessly fascinating capital city.

ALSO

AvAILABLe

LOS ANgeLeS MADRID

fascinating capital city. ALSO AvAILABLe LOS ANgeLeS MADRID NeW ORLeANS vIeNNA FOR FURTheR INFORMATION ABOUT The

NeW ORLeANS vIeNNA

city. ALSO AvAILABLe LOS ANgeLeS MADRID NeW ORLeANS vIeNNA FOR FURTheR INFORMATION ABOUT The WFL SeRIeS

FOR FURTheR INFORMATION ABOUT The WFL SeRIeS vISIT

WWW.INTeLLeCTBOOkS.COM

ABOUT The WFL SeRIeS vISIT WWW.INTeLLeCTBOOkS.COM Intellect is an independent academic publisher of books and

Intellect is an independent academic publisher of books and journals, to view our catalogue or order our titles visit www.intellectbooks.com or E-mail: orders@intellectbooks.com. Intellect, The Mill, Parnall Road, Fishponds, Bristol, UK, BS16 3JG. | Telephone: +44 (0) 117 9589910 | Fax: +44 (0) 117 9589911

ScreenGem evocAtive objects onscreen Typewriter The in Delirious (1991) s cott Jordan harris ponders the
ScreenGem
evocAtive objects onscreen
Typewriter The
in Delirious (1991)
s cott Jordan harris ponders the fantastical, love/
hate relationship a writer has with the tool of his trade.
C IN eMA HAS SeeN many
noteworthy typewriters – from
those that clack out the articles
that bring down the corrupt
Nixon administration in All The
President’s Men (Alan J. Pakula,
1976), to the insane, insectile
machine that is easily the most
memorable character in David
Cronenburg’s Naked Lunch
(1991) – but none has quite the
power of the one belonging to Jack
Gable, the struggling soap opera
writer played by John Candy in
Tom Mankiewicz's Delirious. After
Gable is knocked unconscious,
he wakes up inside the TV show
he created and learns he can
control it simply by typing. When
he wants a pastrami sandwich,
he writes a Jewish deli into
being. When his beloved Rachel
(Emma Samms) is carried off
by a runaway horse, he types a
scenario in which he heroically
dashes to her rescue. But, when
he catches himself writing sex
scenes Rachel will have to act
out, he becomes disgusted at his
addiction to his typewriter and
angrily smashes it. Soon, though,
he has to race to repair it in order
to regain influence over his life
and to save the life of a friend.
Gable can control reality with
his typewriter, but his typewriter
can also control him. When it
works, he feels omnipotent. When
it doesn’t, he feels impotent. As
such, it is the ideal metaphor for a
writer’s talent. [tbp]
gofurther
[weB] Read about the ‘top 5 typewriters in movies’ at ManILoveFilms.com » tinyurl.com/9cljell
November/December 2012 35

DIRECTORY OF

WORLD

CINEMA

Directory of World Cinema: Britain Edited by Emma Bell and Neil Mitchell

Paperback Price £15.95 ISBN 9781841505572

eBook Price £6 ISBN 9781841506074

To view our catalogue or order our books and journals visit www. intellectbooks.com.

order our books and journals visit www. intellectbooks.com. EXPERIENCE GLOBAL CULTURE THROUGH THE MAGIC OF FILM
order our books and journals visit www. intellectbooks.com. EXPERIENCE GLOBAL CULTURE THROUGH THE MAGIC OF FILM
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order our books and journals visit www. intellectbooks.com. EXPERIENCE GLOBAL CULTURE THROUGH THE MAGIC OF FILM
order our books and journals visit www. intellectbooks.com. EXPERIENCE GLOBAL CULTURE THROUGH THE MAGIC OF FILM
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EXPERIENCE GLOBAL CULTURE THROUGH THE MAGIC OF FILM

The Directory of World Cinema aims to play a part in moving intelligent, scholarly criticism beyond the academy. Each volume of the Directory provides a culturally representative insight into a national or regional cinema through a collection of reviews, essays, resources, and film stills highlighting significant films and players. Over time, new editions are being published for each volume, gradually building a comprehensive guide to the cinema of each region. To contribute to the project or purchase copies please visit the website.

of each region. To contribute to the project or purchase copies please visit the website. WWW.WORLDCINEMADIRECTORY.ORG

WWW.WORLDCINEMADIRECTORY.ORG

ParTInG SHoT

imitAtion is the sincerest form of flAttery

Heads

Up

Science fiction movies are by design replete with outlandish visual images, here neil mitchell doffs his cap in honour of some very unusual headgear.

doffs his cap in honour of some very unusual headgear. Above A painful process of rehabilitation

Above A painful process of rehabilitation for Alex in A Clockwork Orange (1971)

Opposite An unusual recording device:

Brainstorm (1983)

38 www.thebigpicturemagazine.com

how do you control , manipu- late, explore or capture what is going on in someone else's mind?

In movie-land, the intangibility of thoughts, memories and emo- tions hasn't stopped governments, scientists (sane or otherwise) and various underworld figures from literally plugging into the brain in an effort to conquer inner space. To counter the insubstantiality of what is being sought, film-makers often opt for including visually arresting headgear in scenes during which invasions of the subconscious occur.

In a movie containing numerous disturbing images, Stanley Ku- brick's A Clockwork Orange (1971) saves perhaps the most unsettling one for its central protagonist, ultra-violent Droog Alex (Mal- colm McDowell). Imprisoned and subjected to The Ludovico Technique, an extreme form of aversion therapy, Alex is strapped to a chair and bombarded with images of rape, murder and war. Like the neural connections dot- ted around his brain, a network of electrodes is studded across his head, the bizarre sight compound- ed by the metal clamps that keep his eyes open.

Over a decade later, Douglas Trumbull's Brainstorm (1983) posited a world in which other people's experiences and sensa- tions could be recorded and

Images: (Below) © 1985 Universal Pictures, Amblin Entertainment / (Bottom) © 1983 AJF Productions, Metro-Goldwyn-Mayer (MGM)

(Bottom) © 1983 AJF Productions, Metro-Goldwyn-Mayer (MGM) Below A brilliant failure: Doc Brown's brain

Below A brilliant failure: Doc Brown's brain wave-analyzer in Back to the Future (1985)

brain wave-analyzer in Back to the Future (1985) Shiny, angular and bedecked with light bulbs, the

Shiny, angular and bedecked with light bulbs, the brain-wave analyzer, an invention that doesn't actually work, is fittingly as wild as Doc's hair and imagination.

is fittingly as wild as Doc's hair and imagination. viewed; ostensibly for pleasure or education but

viewed; ostensibly for pleasure or education but co-opted for nefarious reasons by the military industrial complex. A number of prototype versions of what becomes 'the hat' (itself a fore- runner of the 'Squid' in Strange Days (Kathryn Bigelow,1995) are seen during the movie, all of them physical entry points into previously unattainable, ephem- eral universes.

Sometimes, the headgear on show works as an extension of the personality of the person wearing it, with Doc Brown's (Christoper Lloyd) brain-wave analyzer in Back to the Future (Robert Zemeckis, 1985) a prime example. Shiny, angular and bedecked with light bulbs, the brain-wave analyzer, an inven- tion that doesn't actually work, is fittingly as wild as Doc's hair and imagination.

Intrusive and bizarre, frightening or funny, headgear that affects the mind, be it in Terry Gillam's Brazil (1986), Johnny Mnemonic (Robert Longo,1995) or Minor- ity Report (Steven Spielberg, 2002), occupies a relatively small but visually distinct part of the iconography of science fiction cinema. [tbp]

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November/December 2012 39

] Science fiction becomes science fact? The ePOC neuroheadset » tinyurl.com/ycfs37k November/December 2012 39
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Film Index

So you’ve read about the films, now go watch ‘em!

Fight Club (1999)

Dir. David Fincher

see page 4/5

g

Looper (2012)

Dir. Ryan Johnson

g

see page 6

Dark Passage (1947)

Dir. Delmer Daves

see page 7

Face/Off (1997) Dir. John woo

g

g

see page 7

Seconds (1966) Dir. John Frankenheimer

g

see page 8

Black Swan (2010) Dir. Darren Aronofsky

g

see page 9

Harvey (1950) Dir. Henry Koster

g

see page 10/11

Persona (1966) Dir. Ingmar Bergman

g

see page 12

One Flew Over the Cuckoo's Nest (1975) Dir. Milos Forman

g

see page 13

Abre Los Ojos (1997) Dir. Alejandro Amenábar

g

see page 14

eternal Sunshine

Dir.Michel gondry

g

see page 14/15

(2004)

A Dangerous Method (2011) Dir. David Cronenberg

g

see page 16/17

Altered States (1980) Dir. Ken Russell

g

see page 24/25

Inception (2010) Dir. Christopher Nolan

g

see page 29

Deewar (1975) Dir. Yash Chopra

g

see page 30

Parinda (1989) Dir. Vidhu Vinod Chopra

g

see page 31

Mammo (1994) Dir. Shyam Benegal

g

see page 32

No Smoking (2007) Dir. Anurag Kashyap

see page 33

Mumbai Diaries/ Dhobi gat (2010) Dir. Kiran Rhao

see page 33

Delirious (1991) Dir. Tom Mankiewicz

g

g

g

see page 35

A Clockwork Orange (1971) Dir. Stanley Kubrick

g

see page 38

Brainstorm (1983) Dir. Douglas Trumbull

g

see page 39

Back to the Future (1985) Dir.Robert Zemeckis

g

see page 39

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Critical Studies in Fashion and Beauty is the first journal dedicated to the critical examination of the fashion and the beauty systems as symbolic spaces of production and reproduction, representation and communication of artifacts, meanings, social practices, and visual or textual renditions of cloth, clothing and appearance.

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