Artist profile: Dil Humphrey-Umezulike

Artist Profile: Dilomprizulike V1 by Terry Brunt on Scribd

Animation Session 5

In this session we were tasked with created a Halloween animation using the skills we have learnt from the last few sessions.
I first decided to draw a background in Photoshop, then I actually started on the animation.
My idea was to have a pumpkin jump out of the ground and then bounce down a hill.
I also wanted the moon to pass in the background.

Edward Scissorhands & Vance Packard Symposia

Edward Scissorhands & Vance Packard by Terry Brunt on Scribd

Film Review: La Belle et La Bête

This review will be covering Jean Cocteau's La Belle et La Bête (1946) and its relation to Queer Theory and LGBT representation. Key sources include: David M. Halperin's Saint Foucault: Towards a Gay Hagiography (1997), Rictor Norton's analysis of Jean Cocteau's Le livre blanc (1998), Lisa Thatcher's review of La Belle et La Bête (2013) and Gwilym Mumford's news article on the international release of Beauty and the Beast (2017). This review will look at an overview of Queer Theory, the director: Jean Cocteau & his relationship with the actor that played the Beast: Jean Marais, the differences between the personality of the Beast in both the 1946 & 1991 versions of Beauty and the Beast and lastly, will look at LGBT representation in the most recent adaption.

Fig 1. La Belle et la Bête (1946)

Queer Theory is a form of critical theory built from the foundations of Feminism and Gay/Lesbian Studies. Unlike either Feminism or Gay Studies, which only focus on binary gender or sexuality, Queer Theory covers all sexual and gender identities that fit under the Queer umbrella term.
“As the very word implies, “queer” does not name some natural kind or refer to some determinate object; it acquires its meaning from its oppositional relation to the norm. Queer is by definition whatever is at odds with the normal, the legitimate, the dominant. There is nothing in particular to which it necessarily refers.” (Halperin, 1997:62)
For many years the word "queer" was, and still is by many, considered an insult; however in more recent years the word has started to be less insulting and has been used as an umbrella term to cover all non-binary genders and sexualities.

Queer Theory is mostly based on ideas from Michel Foucault, a French philosopher and social theorist (1926-1984). The term was first coined by Italian Feminist and film theorist Teresa de Lauretis in a conference at the University of California, Santa Cruz (1990), which she edited down into an issue of Differences: A Journal of Feminist Cultural Studies. The current ideas of Queer Theory came from Judith Butler, specifically her book Gender Trouble: Feminism and the Subversion of Identity (1990).

One of the goals of Queer Theory is to see films and media through a queer perspective to identify possible hidden subtexts and meanings.

Fig 2. Jean Cocteau (1923)

Jean Cocteau was an openly gay writer, poet, artist and director. Regarding his sexuality and the homophobia he endured, he wrote a semi-autobiographical novel called Le Livre Blanc (The White Book/Paper) (1928). While he never attached his name to the novel, he never denied that he created it; he also added paragraphs at the beginning connecting himself to the story and added his own drawings in later editions of the novel.

“It is a curiously weak response, characteristic of the sense of yearning to escape experienced by homosexuals in the 1930s, when they did not yet realize that they were against the wall with no place to flee for refuge. However unrealistic this exile might be, the narrator's decision is nevertheless squarely founded upon a rejection of the homophobic judgment of society: "in exiling myself I am not exiling a monster, but a man whom society will not allow to live, since it considers one of the mysterious cogs in God's masterpiece to be a mistake." He hopes that someone may publish these memoirs precisely so that society may understand this fact: that homophobia is the problem, not homosexuality.” (Norton, 1998)

Cocteau's novel was trying to explain how homophobia is a serious problem with society and that people need to realise that. However...

“Cocteau's intention has largely been ignored by most readers and critics, who respond to the work as though it were a "confession" of his homosexuality rather than a "white paper" on homophobia. It has been read as an apology rather than as a challenge, and scholars have busied themselves with biographical speculation rather than sociological analysis.” (Norton, 1998)

Many readers of Le Livre Blanc saw it as either an addition or as an apology, completely disregarding whatever Cocteau was hoping his novel would actually achieve.

Through the lens of Queer Theory, hidden homosexual subtexts could be found in any of his works, including La Belle et La Bête.

Fig 3. Jean Marais (1949)

Cocteau had many relationships with many different people, however is he's longest relationship was with Jean Marais. Jean Marais was a bisexual actor that Cocteau cast in a few different films.

“Cocteau was also openly gay, and his Beauty and the Beast has a very strong campy subtext. One of the reasons for bringing Avenant into the film is the homoerotic relationship displayed between he and Beauty’s brother who objects strongly to the couple marrying, because he thinks Avenant is good for him but not good enough for Beauty. There is a great deal to be read into the film when seen through Queer theory as well – those costumes and that Beast are as camp as camp gets, and Cocteau did cast his lover Jean Marais as the Beast and Avenant.” (Thatcher, 2013)

With La Belle et La Bête, Cocteau's homosexual undertones were shown through both of Marais' characters. The character of Avenant is shown to have a sort of "Bromance" with Belle's brother as some subtle homosexual subtext, however most of the homosexual hidden meanings are with The Beast.

Fig 4. Beauty and the Beast (1946)

Throughout the film, the Beast is shown to be rather timid, submissive, slightly feminine and emotional; these are attributes commonly paired with gay stereotypes. He is also shown in large frilly clothing, another stereotype. However, this depiction of the character did not last. In 1991 Disney decided to take a shot at recreating the fairytale of Beauty and the Beast. In Kirk Wise & Gary Trousdale's adaptation of the story, the Beast has a very different personality.

(Disney's Beauty and the Beast, 1991)

In this version of the film the Beast is a lot more aggressive and masculine, which is in complete contrast to the 1946 version.

With most of the queer subtext missing from the 1991 version, it may have been surprising when gay director Bill Condon picked the story back up for the 2017 adaptation.
This time however, there wasn't much in terms of queer subtext, instead there is outright LGBT representation in the character of LeFou.

Fig 5. LeFou LGBT Collage (2017)

“In the new version of Beauty and the Beast the character of LeFou, the sidekick of the story’s villain Gaston, is “confused about his sexuality”, according to director Bill Condon. The film features an “exclusively gay moment”, where LeFou dances with another man.” (Mumford, 2017)
In the film LeFou (A character only seen in the Disney adaptations) is shown dancing with another man; which isn't much, but it was enough to spark controversy in several places. The film was banned in Malaysia and in the American state of Alabama; the film was also given an adults only rating in Russia.

LGBT representation has always been important in media even back when it wasn't legal so it could only be shown through hidden meanings. Into present day and LGBT representation is still extremely important in film, but unfortunately still receives controversy.

Bibliography

Halperin, D. (1997) Saint Foucault: Towards a Gay Hagiography [Online] At:https://books.google.co.uk/books?id=o9ct-YPs66UC&printsec=frontcover&dq=Saint+Foucault:+Towards+a+Gay+Hagiography&q=queer+odds&redir_esc=y&hl=en#v=onepage&q&f=false (Accessed on 11 October 18)

Mumford, G (2017) Beauty and the Beast: Disney refuses to cut gay scene for Malaysian release [Online News Article] At: https://www.theguardian.com/film/2017/mar/16/beauty-and-the-beast-disney-gay-scene-malaysia (Accessed on 24 October 2018)

Norton, R (1998) Cocteau’s White Paper on Homophobia [Online] At: http://rictornorton.co.uk/cocteau.htm (Accessed on 24 October 2018)

Thatcher, L. (2013) La Belle et La Bête - Jean Cocteau Re-Imagines Fairytales [Film Review] At: https://lisathatcher.com/2013/03/04/la-belle-et-la-bete-jean-cocteau-re-imagines-fairytales-film-review/ (Accessed on 24 October 2018)

List of Illustrations

Figure 1. La Belle et la Bête (1946) [Poster] At: https://en.wikipedia.org/wiki/File:La_Belle_et_la_B%C3%AAte_film.jpg (Accessed on 24.10.18)

Figure 2. (Unknown) (1923) Jean Cocteau. [Photograph] At: https://gallica.bnf.fr/ark:/12148/btv1b90243642/ (Accessed on 24.10.2018)

Figure 3. Carl Van Vechten (1949) Jean Marais [Photograph] At: https://www.flickr.com/photos/trialsanderrors/4708826489/ (Accessed on 24.10.18)

Figure 4. Beauty and the Beast (1946) From: La Belle et La Bete, Directed by: Jean Cocteau. [Film Still] France: DisCina. At: https://brightlightsfilm.com/wp-content/cache/all/watch-la-belle-et-la-bete-france-jean-cocteau-1946/#.W9BqPktKguU (Accessed on 24.10.18)

Figure 5. LeFou LGBT Collage (2017) [Collage] At: https://www.broadway.com/buzz/187742/sneaking-suspicions-confirmed-in-new-beauty-and-the-beast-lefou-is-gay/ (Accessed on 24.10.18)

List of Video References

Beauty and the Beast (1991) Directed by: Trousdale, G & Wise, K [Film Clip] United States: Walt Disney Animation Studios. At: https://www.youtube.com/watch?v=_A2DlPqUGTI (Accessed on 24.10.18)

Film Review: King Kong

This review will be covering Merian C. Cooper and Ernest B. Schoedsack's King Kong (1933), looking at how it portrays indigenous tribes and women. The key sources used are Jordan Zakarin's article: King Kong's Long Journey From Racist Monster to Woke Hero (2017), Kristen Lopez's review of King Kong (2013).

Fig. 1. King Kong Poster (1933)

Early on in the film, when the main characters arrive on skull island, the audience is introduced to the natives of the island.
“King Kong is a fantastical depiction of those far-off lands, with a meta story that featured a movie crew that stumbles upon primitive, almost animalistic local villagers. Those villagers are the worst kind of stereotype: They dance around in loincloths and coconut bras, commit human sacrifice, try to trade six of their women for the production’s blonde woman (Fay Wray), and worship a gigantic beast that kills them. It is, by today’s standards, ridiculously racist, though Michlig notes it was more reflective of common attitudes in the 1930s than any political statement.”
(Zakarin, 2017)
Here Jordan Zakarin (writer for Inverse.com) explains the appearance of the natives in King Kong. He explains how they are shown to be primitive and animalistic; they are shown trying to trade some of their own women for Fay Wray's character, Ann Darrow; they were are shown to be wearing attire that is inappropriate and ridiculous;
"It is rare to see a coconut brassiere in a non-comedy"
(Ebert, 2002)
And they are shown to have a primal religion devoted to Kong were they engage in human sacrifice. These characters are incredibly racist by today's standards as this kind of behaviour is seen a sub human and could be seen as a political statement on native people, however Zakarin also mentions that John Michlig (Author of the book: Eighth Wonder: The Amazing True Story of Carl Denham and The Beast-God of Skull Island (2005)) argues that the appearance and behaviour of the natives was more reflective of what most people thought to be true, rather than an explicit political statement.

Fig 2. Island Natives (1933)

In Peter Jackson's 2005 remake the natives are still primitive and animalistic.

“In the 2005 version, the natives on Skull Island have been marooned away from civilization for hundreds of years and have gone accordingly insane; they’re more like rabid ghosts haunting the exotic jungle than functional humans — violent and fanatical in worship of their gorilla god.”

(Zakarin, 2017)

As Zakarin explains, the native in the remake are even more aggresive and it shows that these characters have gone insane. It is possible that some may view as just as racist, if not more so.

Fig 3. Darrow and Driscoll escaping from Island Natives (2005)

This entire depiction of the natives was finally flipped in Jordan Vogt-Roberts' Kong: Skull Island (2017), where the natives are shown to be a somewhat peaceful and intelligent tribe.

Fig 4. Island Natives (2017)

The representation of the natives isn't the only problematic representation in the film, the representation of women in King Kong can be seen as sexist to many people.

“Fay Wray became the “Queen of the Scream” with this film, and while she’s gorgeous with a killer set of pipes (that should have been exhausted by the hour mark), her constant screaming becomes a barrage on the ears.  Furthermore, she’s relegated to being the damsel, practically paralyzed with fear from the moment she’s kidnapped by Kong, till the end. I grasp that this is a sign of the times but it becomes ridiculous; look at her inability to get off a bed to avoid Kong’s hand in the climax for proof of her helplessness."

(Lopez, 2013)

Fay Wray, regarded as the "Queen of Scream" because of how often she screams in film, is seen as barley anything more than the damsel in distress throughout the film. She faints at the slightest sign of danger and she barley even moves in scenes where she could escape easily. She is almost completely useless and can easily bee seen as a sexist caricature of how women were treated in the 1930s.

Fig 5. Ann Darrow being held by Kong (1933)

Wray's character, Ann Darrow, along with presumably multiple tribes women were sacrificed to Kong in attempts to appease him. This came with a lot of what can be interpreted as rape imagery.

"She’s the girl who must be saved by all the menfolk, or she’s the victim about to “raped” by the creature. There’s a litany of rape imagery when Ann is “sacrificed” to Kong; the phallic bolt sliding to open the gate, Ann tied with her arms spread, and the first appearance of Kong’s face, in close-up, emphasizes his lust as he beats his chest and grins.  The infamous sequence of Kong taking off Ann’s clothes is also a fumbling assault gesture; and while Kong grows to love Ann, his relationship becomes obsessive as he goes to great lengths to secure her for himself."

(Lopez, 2013)

After her sacrifice, Kong claims Darrow as his. While he does go out of his way to protect her from other prehistoric creatures, Kong also does things like rips her clothes off and sniffs her. Watching what could be considered a rape scene can be uncomfortable for many people; in fact this specific scene was even uncomfortable back in 1933, resulting in it being cut. The scene was later re-added, however.

The film also shows men being incredibly sexist towards Darrow, specifically her love interest, John Driscoll.

"Of course, the rest of the men are no better, particularly the “love interest,” John Driscoll (Bruce Cabot).  Driscoll gets sore that Ann is coming on-board the ship, chalking it up to a general abhorrence for women on boats; “Women can’t help being a bother.”  When he declares his love for Ann it’s romance soaked in clumsiness: “I guess I love you. Anne: But Jack, you hate women!” And thus, a romance is born!  Driscoll is apologetic, but that doesn’t mask his blatant chauvinism.”

(Lopez, 2013)

Driscoll is very obviously sexist with his “Women can’t help being a bother.” comment. Also his romantic relationship with Darrow is so bare bones, it doesn't even look like an actual relationship to modern audiences.

Fig 6. Ann Darrow and John Driscoll (1933)

In the 2005 remake, Ann Darrow was made into a stronger character and Kong is a lot less creepy and problematic.

(Peter Jackson's King Kong, 2005)

In this clip, Ann, instead of just screaming and fainting, tries to entertain Kong. However, as he keeps pushing her over, she snaps and shouts at him. This shows that this version of Ann Darrow is much more independent and can at least stand up for herself. It also shows Kong to be a lot less perverted and a lot more playful, like a real gorilla.

Merian C. Cooper and Ernest B. Schoedsack's King Kong (1933) is very much a relic of its time. The characters they created were not seen as problematic back in 1933, but they are now. Throughout its numerous adaptations, King Kong's natives, leading lady and title character have been significantly changed. From savage tribesmen to peaceful villagers in the 2017 reboot; from helpless damsel in distress to independent woman that can defend herself. The characters from King Kong have at least evolved over the years to be more fleshed out and politically correct.



Bibliography

Ebert, R. (2002) Great Movie King Kong (1933) [Film Review] At: https://www.rogerebert.com/reviews/great-movie-king-kong-1933 (Accessed on 18 October 2018)

Lopez, K (2013) King Kong 1933 [Film Review] At: https://journeysinclassicfilm.com/2013/06/06/king-kong-1933/ (Accessed on 18 October 2018)

Zakarin, J. (2017) King Kong's Long Journey From Racist Monster to Woke Hero [Online] At: https://www.inverse.com/article/28860-king-kong-skull-island-politics-racism (Accessed on 18 October 2018)


List of Illustrations

Figure 1. King Kong Poster (1933) [Poster] At: http://www.widescreenmuseum.com/posters/kingkong.jpg (Accessed on 21.10.18)

Figure 2. Island Natives (1933) [Photograph] At: https://www.cineplex.com/People/noble-johnson/Photos (Acessed on 23.10.18)

Figure 3. Darrow and Driscoll escaping from Island Natives (2005) From: King Kong, Directed by: Peter Jackson. [Film Still] New Zealand/United States: Universal Pictures. At: http://www.tokyolivespodcast.com/gmn/2016/6/24/the-many-skull-islands-of-kong-part-2 (Accessed on: 23.10.18)

Figure 4. Island Natives (2017) From: Kong: Skull Island, Directed by: Jordan Vogt-Roberts. [Film Still] United States: Legendary Entertainment. At: http://phubb.blogspot.com/2017/08/kong-skull-island-2017_3.html (Accessed on 23.10.18)

Figure 5. Ann Darrow being held by Kong (1933) From: King Kong, Directed by: Merian C. Cooper and Ernest B. Schoedsack. [Film Still] United States: Radio Pictures. At: http://forums.stevehoffman.tv/threads/king-kong-1933.122693/page-2 (Accessed on 23.10.18)

Figure 6. Ann Darrow and John Driscoll (1933) From: King Kong, Directed by: Merian C. Cooper and Ernest B. Schoedsack. [Film Still] United States: Radio Pictures. At: http://classicmovierev.com/bruce-cabot-bio (Accessed on 23.10.18)



Video List

King Kong (2005) Directed by: Jackson, P. [Film Clip] New Zealand/United States: Universal Pictures. At: https://www.youtube.com/watch?v=7ghrraB8mTU (Accessed on 23.10.18)

Terry Brunt: Invisible Cities Master Post

Concept Paintings
https://tdbucaanimation.blogspot.com/2018/10/diomira-concept-art.html

Art of
https://tdbucaanimation.blogspot.com/2018/10/art-of-diomira.html

Thumbnails
https://tdbucaanimation.blogspot.com/2018/10/invisible-cities-thumbnails.html

GIFs
https://tdbucaanimation.blogspot.com/2018/10/diomira-development-gifs.html

Research
https://tdbucaanimation.blogspot.com/2018/10/diomira-research-material.html

Influence Maps
https://tdbucaanimation.blogspot.com/2018/10/diomira-influence-maps.html

Perspective Exercises
https://tdbucaanimation.blogspot.com/2018/10/perspective-exercises.html

Who's Who?
https://tdbucaanimation.blogspot.com/2018/10/whos-who-dennis-chan.html

Film Reviews
https://tdbucaanimation.blogspot.com/search/label/Film%20Review

Digital Painting Exercises
https://tdbucaanimation.blogspot.com/search/label/DP%20Sessions

Reflective Statement
https://tdbucaanimation.blogspot.com/2018/10/invisible-cities-reflection.html

Invisible Cities Reflection

Honestly, I think that this project went better than I had expected.

I'm actually surprised at the amount of work I managed to get done at last minute, however I am aware that this is just not good practice. I don't think it clicked with me how much more challenging this course would be in comparison to college until this week. So, I've decided that from now on, I'm going to stop being so lazy and actually get work done when I first receive it; in hopes that I don't have to rush around last minute again.

With the actual work I produced, I'm not exactly proud of it, but I'm at least glad I did it. I notice things like lines being to thick, colour being too flat, it's lacking a lot of details, perspective is a bit wonky and the cities seem bland with the lack of life in the paintings.

For the next project I intend to manage my time a lot better and experiment a bit more in photoshop, to try a create something different. I also need to add more detail, block colour is kind of boring to look at.