Figure 1 Own Photo (Welch, 2018)

Level 3 Extended Diploma in Creative Media Production & Technology

FILM AND TELEVISION

UNIT 12January 9 – February 15

Week 1. January 9 th -11 th

The story of how I wanted to become a filmmaker isn’t a long one. At the age of 8 I received a camcorder for my birthday and was inspired to make Indiana Jones-based stunt films in my garden. My naïve frustration that they weren’t the same quality as major blockbusters led me to want to seek out the practices that would make them look professional. This is what led me to developing my love of movie making, with me visiting many different movie studios and talks on film in the ensuing years.

In 2015 I joined the Media department of Canterbury College to learn more about the industry, study film and then make films with the equipment that the department had available. 4 years later, I’m still here and all the more wiser and experienced for it. Now I’m in my final year, I’m putting my best foot forward and plan to make whatever work comes out of the next few months the best I’ve ever created.

WHAT ARE MY PASSIONS?

To figure out what theme or concept would inspire this Unit, as well as potentially my Final Major Project, I decided to make a mind map and plot out the things that interest me the most, and further distil that to a concept both fitting my usual style and personality, but also highly unique and unlike anything I’ve tackled.

The starting point I chose to decide were my biggest media interests – sans Stephen King as I had produced a film based on his work in a previous year. From there, I would let my imagination run with the choices, leading me to the idea.

Figure 2 Mind Map of Interests (Welch, 2019)

The path that I was most interested in was clear, that being Disney. Or more specifically, Disney Theme Parks and the stories the attractions in them tell. To take a further look into this process, I created a second mind map involved purely around Disney Parks and the individual elements that I love and am inspired by.

Figure 3 Disney Mindmap (Welch, 2019)

WHAT IS MY FOCUSED SKILL?

Throughout my years of film study, I’ve gained so many abilities and knowledge about the creative process of filmmaking and this has led to projects with increasing production values over time. The skills I have I think really bring out my own distinctive style within whatever project I’m working on.

For choosing one singular skill to focus on, I considered my strong suits in filmmaking and narrowed it down to 3 finalists: Cinematography, Editing and sound design, all of which I’ve had a lot of experience with during all the major and minor projects I have undertaken over the past few years.

Out of the three choices, i chose Editing as my focused skill, firstly because I feel it’s my strongest attribute and secondly because I’ve had years of practice with editing, beginning even before I joined any film course – which makes me very comfortable with it at any time.

Being at college however, has taught me both professional techniques, and how to use industry-grade editing software, such as AVID. I always enjoy editing, but I love the challenge of taking large amounts of raw footage and then turning that into something fluid and professional looking that would really capture the attention of whoever is watching.

Below is an example showreel of my editing work in various projects.

https://www.youtube.com/watch?v=K_R2c2jJIt8&feature=youtu.be

The footage in the showreel comes from three projects:

“Graduation Afternoon” (King, 2008) “Based on a True Story” “Winter Dance Ball”

What I find interesting about these 3 examples is that apart from Graduation Afternoon which was a final major project, the following two were projects with a shorter turn around, however I think come out as far stronger pieces. This makes me consider whether working under increased pressure and time actually improves the end result. That’s something for me to at least muse upon.

Something I take a lot of personal pride in, with regards to editing is how I time music to it. I wouldn’t consider this soundscaping as I base the edit around the audio, not vice versa. Elements of these are visible within my showreel, especially during “Based on a True Story” and “Winter Dance Ball.”

Editing has always been an interest, so it just seems natural for it to now be my focus.

WHAT ARE MY INFLUENCES? WHAT IS MY CONTEXTUALITY?

In my initial Mindmap, i included 3 different ideas about what route I would want to go down in terms of project concept or basis. Discounting my chosen subject for the moment, Marvel and Wes Anderson are examples of two things: Old Favourites and New Interests.

Figure 4 Thor by Jack Kirby (Marvel, 1966)

(Kirby, 1967)

Marvel Entertainment, best known for its superhero comics and movies has been a staple in my life since at least 2002 when the first Spider-Man film directed by Sam Raimi was released. Not only is it my earliest memory of a Marvel comics property, but also to the character of Spider-Man, who has remained one of my favourite fictional characters (and who’s recent animated outing, “Into the Spider-Verse” became my favourite film of 2018).

It wasn’t until 2008 that I began truly getting into the comics aspect, X-Men and Fantastic Four being a favourites of mine. As the success of the Marvel Cinematic Universe has flourished, I’ve always been there as an excited fan with ticket in hand ready to see whatever the next film is. I love Marvel’s universe over any other comics’ because of how pulpy-retro it is, how much fun it can have, but how also it has very genuine looks into social issues (e.g. X-Men is an analogy for the civil rights movement) and hard hitting themes, told through the lens of fantastical characters. In the end, this path didn’t seem quite as concrete of a concept to base a Unit around, and maybe making a film directly based on a Marvel property wouldn’t be the best idea for me, as I’m now just finding my feet in regards to my own stories.

Figure 5 Moonrise Kingdom (Focus Features, 2012)

(Anderson, 2012)

The first film by American director Wes Anderson I became aware of was 2009’s Fantastic Mr. Fox, a stylish stop motion based on the Roald Dahl novel. The novel was my entryway to becoming interested in the film, and after viewing it, the entire atmosphere of the film stuck with me in a way I couldn’t quite understand. Maybe it was the music, maybe the cinematography, but it did. It wouldn’t be until several years later when I watched The Grand Budapest Hotel when it finally clicked that it was the style of the director that stuck with me.

Anderson’s quirky, off-reality brand of auteur-isms is popular for a reason and has inspired many of my classmates over the years. Yet for some strange reason, after Budapest I didn’t proceed to watch more of his work. Not until 2018, when after watching Isle of Dogs, his second stop motion feature, I fell in love with that style all over again and watched his entire

library within a matter of days. As someone who loves retro influences and stylings, his work just speaks to me. But I suppose in the end that’s why that path didn’t interest me as much, while yes I find him influencing me to a great degree, if I were to base an entire project around him, it would become almost derivative and at this point within my college Career, I want to find my own voice. The time for copying the work of others is over.

Figure 6 Disneyland Paris Castle (Welch, 2018)

I think it’s a safe assumption that most people were raised with Disney, even if they don’t consider themselves fans. Personally, my first ever bedroom after being brought home as a baby was themed to Disney’s Winnie the Pooh. Disney has been there very much from the beginning and it is by far, the one media franchise I love the most.

It’s all very well to talk about my favourite Disney movies or characters (although they may play a key role down the road), but inspiration instead comes from Disney Parks. Beginning with the first Disneyland in 1955, the Walt Disney Company and its team of “Imagineers” (creative storytellers) have made several around-the-world resorts for guests to experience whatever magical worlds the company brings into some space of reality.

For me personally, my first experience was at 3 years old when my parents first took me to Disneyland Paris. From then, to my current age of 20, I’ve visited the resort at least 25+ times, and the Parks in America 3 times. To make things clear, I have no siblings who long to go, my going is purely out of my and my parent’s love of the place. I’ve grown up with it, to the point where it is truly a second home. I know the routes and paths of the resort inside out, know all the hints about what rides to go on first and which rides are worth queueing long amounts of time for, I know it all and revel in the fact I’ve never tired of it.

Clearly I would be inspired by this place regardless of any separate takeaways from it other than “I like going to this theme park”, but as early as I can remember my trips to Disneyland Paris, one thing always stood out to me. Something that I would and still think of on a day to day basis: The Storytelling.

Disney attraction storytelling is a beast quite unlike anything else, because the task of the creatives involved is to tell a live story, running continuously throughout the days and years through either just words, or generally, just with visuals alone. Certain storylines have never left my mind and others have crept in and become full blown obsessions.

So my research question is this: How Does Disney Craft Effective Visual Storytelling in Attractions?

Week 2. January 16 th -18 th

Figure 7 Fantasia Sounds and Sorcery (Welch, 2018)

(Welch, 2018)

Cultural Sources and Contextuality

The purpose of this task is to further illustrate my history with Disney Parks, how their attractions tell stories and how that particular type of storytelling has influenced my own kind. A further point, reflecting on my chosen discipline, is to showcase how Disney Attractions use editing, in both traditional ways, and ways unique to theme park rides.

The best way in my opinion to get all of these points across is through a video which you can view below.

(Backup Link: https://www.youtube.com/watch?v=Llx78bZvv2w )

I hope at this point in the Unit, my passion and interest has been truly cemented. As seen within the video, my love of Attraction storytelling has inspired me for so many years and this is the first time I’ve been able to really vocalise that in any meaningful way, or at least an academic way.

Applying my long-standing passion into academic essays provides me with an endless flow of motivation and content that I want to produce. Not just films, but also essays – written and video, as well as ways I can apply practical filmmaking experience towards the concept

My editing style – my cuts are often based around styles of other directors, however in my experimentation with editing, Disney attractions have absolutely inspired that in terms of how to visually display a story, more than just in an instantly noticeable sense. If I play a scene I’m in my mind, I will often consider it in the format of an attraction so I can create a coherent atmosphere and flow to the scene, and this is a system that I think works incredibly well.

Figure 8 Disneyland Hotel at Night (Welch, 2016)

(Welch, 2016)

As is quite visible within the video, I filmed some scenes at Disneyland Paris the year prior, as I had hoped at the time I would be able to make an essay at some point about my love for certain attractions and luckily this Unit provided me the opportunity to finally do so.

With this all being said, this bookends the second week. I’m immensely proud of what I’ve accomplished over the past few days and look forward to see how I can apply my skills and passions to next week’s tasks.

Week 3 & 4. January 23rd-February 4 th

Figure 9 Storybook Bald Mountain (Welch, 2018)

Critical Perspectives Introduction

The overall goal of the following tasks is to demonstrate my knowledge of Disney Attraction Storytelling and Editing, via my ability to research several different facets of both these items of interest.

This will also conclude with an experimentation piece to demonstrate my understanding of what I have researched and how I can then recreate it.

Research Plan

Type of Research Literature Review - Practitioners ReportSubject to be Researched

Rolly Crump, a legendary Disney Parks creative and his work in conceptual art for visuals in classic attractions.

Research Question How did Rolly Crump’s Work Set the course for future attractions?Sources/ form/method of your Research

Recorded interviews with him from youtube, extracts from his autobiography “Kind of a Cute Story”, comparing his conceptual art with the final result.

Type of Research Literature Review – Historical DevelopmentSubject to be Researched

How Disney Began to Create Visual Attraction Storytelling

Research Question When did Disney’s ride storytelling evolve away from other theme park rides?

Sources/ form/method of your Research

Concept art and journals catalogued online from when the ideas were being developed, interviews with the creatives involved from the earliest periods from Disney Archives and from Youtube.

Type of Research Literature Review - Key CharacteristicsSubject to be Creating atmospheres with editing cuts and soundscaping.

ResearchedResearch Question How filmmakers with little resources created immersive atmospheresSources/ form/method of your Research

I will watch films such as 1963s The Haunting and 1960s Psycho to look at what are widely considered to have the best editing within film history.

Type of Research ExperimentationSubject to be Researched

Atmospheric Editing.

Research Question How to create atmosphere through editing alone.Sources/ form/method of your Research

Using knowledge attained from all previous research fields, I will film inside my house and use that footage to try and capture atmosphere and tension through editing.

Practitioners Report

The purpose of this Literature Review is to examine pieces of media regarding Disney Legend Rolly Crump, and how his work within the company revolutionised Theme Park Visual Storytelling. All resources used will examine his work in the order they were made.

A further note to begin with is that the term “Imagineer” will be used – a name given to those who work in the Disney Parks development team and is a standard in my and other sources Disney-based vocabulary.

The very first source I focused on was Crump’s 2012 autobiography, “It's Kind of a Cute Story”, which deals with his life’s work and experiences.

Even within the introductory pages of the book, he makes clear his love of atmosphere, stating on Page 13: “My work varied from the grandest of attractions to the smallest of details”. To me, this immediately set the tone for not just what the ensuing book would be like, but also in regards to what kind of a creative he is.

Some pages on when he’s recounting his childhood experiences and inspirations, he states how he would draw out the scenarios he would hear on radio plays, furnishing the images with as much detail as could fit on the page, something with the benefit of being a fan of his work is a clear indication of where things would go in terms of his art style and the eventual attraction results.

Figure 10 Kind of a Cute Story (Bamboo Forest, 2012)

Overall the book in its entirety is incredibly informative, going into detail about his time as an animator and how that work got him a job as a concept artist for the Parks division. However what the book really provided in terms of information is about his inner workings. His inspirations come from a very real world, very personal place and the imaginative things he designed aren’t meant as a grand statement, but instead just an evolution of normal things turned into the fantastical, the weird and the spectacular.

The second resource I looked at for this review was something visual, and I found a video on Youtube that was taken from a 1966 episode of the “Disneyland” TV series, in which after discussing development on the Haunted Mansion, Walt Disney speaks with Rolly Crump about his concept for The “Museum of the Weird.”

(Backup Link: https://youtu.be/NgsA3v56gGg?t=91 )

What’s especially striking to me about this video is after Walt speaks to another Imagineering Legend, Marc Davis, about his now iconic Mansion artwork, is that when he moves to Rolly, the Museum of the Weird art and Marquette’s are entirely unlike anything else. The surreal-ness of his concepts, especially compared to the more traditional Haunted House concepts by his co-workers Davis and Gracey, is quite startling – as this wasn’t an experimental art gallery, this was the Walt Disney Company in the 1960s.

What I realised retrospectively after watching this video is that as detailed in his autobiography, Walt Disney was so impressed with Rolly’s ideas, he allowed him to have full control over a potential attraction. From what little interaction we see in the video above, it’s entirely clear that Walt has a lot of respect for the Imagineer and his ideas.

Figure 11 Rolly Crump, 1964 (Walt Disney Company)

The concepts Rolly showcased within the video was entirely unique and each being incredibly eye catching in their own right. I think what a major take away is for me is his own

motivation. Yes he had a job as a creative, but his ideas fuelled him to the point where everything seen within that video was his own work without any kind of outside assistance.

Every single drawing, every model was made by him from a place of pure imagination and I think that’s why, out of all of the Imagineers, his work inspires me the most.

The final resource I chose to look at is another Youtube video. I specifically wanted to look at a video of the Disneyland Resort attraction “The Haunted Mansion” and pinpoint precisely where his influence landed and where it informed.

(Backup Link: https://www.youtube.com/watch?v=ZAnYRlNDM5A )

The attraction is a stunning display of visual storytelling and has always been a point of interest. The scenes are more vignettes than a coherent story, however visual cues give hints to a broader narrative.

Figure 12 Face Chair - Art to Reality (R. Crump)

If you know where to look, Rolly’s influence is everywhere, one of the first visible contributions made by him to the attraction is the face chair, visible by the endless hallway.

Even more of a connection to his art, a far more direct and iconic part of the mansion is the purple demonic wallpaper as seen in all iterations of the manse.

Figure 13 Mansion Wallpaper (Crump, 65)

A large part in Crump’s storytelling is through items. Through their design, which often based off human or animal features giving the notion they might be alive, the mind will run based on ideas from them.

Mine did when in 2016 I made a short stop motion based off the Candleman concept.

Overall the analysis and facts I’ve learnt from this task helped me to understand why Rolly Crump was inspired and how that very real world basis led to all his incredible artwork and concepts, many of which would ultimately become reality.

Historical Development

For this literature review, I wanted to dive deeper into Disney attractions more than just set dressing or plot. What I specifically wanted to delve into was how they evolved past the carnival spookhouse or boardwalk fun wheel. How exactly did Disney Attractions come into their own?

My first resource will in fact be a comparison of two videos. One the Alice in Wonderland attraction at Blackpool Pleasure Beach, the other the Disneyland attraction “Alice In Wonderland” in its original 1958 opening format.

(Backup Links: https://www.youtube.com/watch?v=huaQ2ki7Fhw, https://www.youtube.com/watch?v=Eufa1DD3RCE&t=)

It should first be noted that the Alice Ride in Blackpool Pleasure Beach opened in 1961, 4 years after the one in Disneyland and it’s entirely clear that the Blackpool one was heavily informed, inspired and borrowed from the Disneyland version.

My initial takeaways from watching these two back to back is that there are consistent set and production values between the two that go beyond the confines of the source story they’re adapting. This generally involves the use of moving doors, props and characters that are cut out plyboard and painted accordingly, a technique used when more direct or expensive props cant be used. The usage of them in both of these attractions is quite striking to me as modern-day attractions no longer use this and the concept of it is extremely “fair ground attraction”-like.

The diversion between the two’s similarities end. The Blackpool attraction uses a looping music track from “Willy Wonka and the Chocolate Factory”, with highly inconsistent lighting, whereas the Disney attraction utilises different audio tracks and smart lighting choices for both its interior and exterior scenes.

Of course the owners of Pleasure Beach cannot afford to create attractions to the scale and quality of Disney’s, however there are things they could do to make their attraction more Disney-like and not have to spend ridiculous amounts of money to do so, such as decrease the tacky lighting to only single colours, and in regards to the speakers – well in my opinion no music for a time would be better than that monotonous single track, but this could be improved with a different, longer music track with less repetition.

My next resource is purely concept art based, specifically around the original 1955 Disneyland. The aim of examining these is to inform both myself and the reader about the intention of attractions prior to them being built in real life.

Figure 14 Mad Tea Party (Blair, M. 1953)

Figure 15 "Tomorowland" (WDI, 1953)

Figure 16 "Monstro, Story Book Canal" (WDI, 1963)

Before I fully familiarise myself with what these attractions ended up looking like in real life, what I take away from these concepts were that the people designing them didn’t have feasibility as the primary goal. Immersion appears to be.

To begin with the Mad Tea Party, a highly recognisable and iconic attraction, the art demonstrate an intention to immerse the rider into Wonderland, with various set pieces around the track, with the Mad Hatter and the March Hare in the centre of the madness. The thing that particularly sticks within my mind is how the concept art doesn’t illustrate the ride’s mechanism or workings in any way. It focuses purely on the experience.

Figure 17 Mad Tea Party (Joseph, B. 2017)

Comparing that now to the eventual look of the ride, while the attraction doesn’t have all the set pieces that the concept art had, it has an incredible atmosphere, with the colour tones of the cups, ground and lantern faithfully recreating the look of the 1951 animated film and the nearby March Hare cottage perfectly creating a mini-Wonderland.

The next art piece I examined depicts the entryway into Tomorrowland, which as the name suggests is the land dedicated to the future and all its potentiality. The first thing I personally took major notice of was how the concept art looks like that of a city – which if you’re aware of Walt Disney’s aspirations, he wanted to create a real life “City of Tomorrow” and it’s hard to think that the concept wasn’t given to the artist during the concept stages.

The art is effectively like a kind of sci-fi Emerald City, which would almost certainly be inspiring from any visible distance away. A fairy tale kingdom of the future is an incredible concept and the genuine 1950s style of futurism at play in this photo really makes me think there’s more to this idea than just a land at a theme park.

The way Tomorrowland, and by default its gateway ended up wasn’t precisely to the concept, as on opening day in 1955, the land was nothing but showcase centres for corporate sponsors, however that vision of the future and it’s travel began to appear.

The Tomorrowland Entrance of today, while not quite like the futuristic city of the concept art, still embodies a sense of wonder at the technological marvels standing tall ahead of you.

Sadly, it seems that Walt’s true vision for the City of Tomorrow never materialised in Anaheim, California.

The final piece of art I’ve examined was created for the Storybook Boats, the classic boat ride which showcases miniature locations and characters from classic Disney films. The art specifically focuses on the scene where the riders emerge from the mouth of Monstro the Whale from Pinocchio, and my first thought is how other than the lines which denote the path of the boats, it shows quite a striking image of the Whale in an active movement. Striking because of my familiarity of how it turned out in real life.

Figure 19 Monstro The Whale (DeCaro, D. 1955)

This image, taken from 1955 shows the end result of the Whale, but has remained very much like that in the 64+ years since opening. Now of course limitations must always be

Figure 18 Astro Orbitor Tomorrowland (Andress, J. 2016)

taken into account, however what I especially take note of is the action as compared to the one in the concept art.

The only visible “action” is the spouting water effect from the top blowhole, but comparing that to the dynamic concept art, it’s less than impressive, however that art also showcases a drop from the mouth, while the final ride is a slow moving boat, with no speed or thrills. I’m not knocking the ride in the slightest however as I find it and the final design of Monstro extremely charming.

My final resource for this literature review is something especially direct and close to my passion. The strange thing is that I had not become aware of this video until looking for resources.

It’s a video that includes a series of interviews with Imagineers and sound technicians about how the music and sounds are created to tell a story in the Parks.

(Backup Link: https://www.youtube.com/watch?v=mj2szK1X4n8)

I have to admit, when I began this Literature Review I thought I know it all, or at least as much as someone who doesn’t work in the Parks can know about how Disney creates sound storytelling. I had read countless interviews and blog posts and theories about it, but this video has opened my eyes even wider.

The first thing I have to discuss is my own feeling of joy and excitement from watching this. It includes footage from places, revealing details I hadn’t even an inkling about. That alone makes it worth it.

The first point I want to talk about in the video is the use of speakers. I knew about the use of them – having even mentioned them several times within this very Literature review, however the point was made by Imagineer Kurt Kinzel that “The only speakers that can be seen are meant to be seen and is part of the storyline”. I had never actually considered this before and it struck a chord inside me. As filmmakers, we show on screen what we want to

show, and one would hope everything on screen is by design. It’s often how we perceive things, and this bit of information opens up a whole new way for me to look at the landscape design of the Parks and what speaker usage means for visuals.

The video is most excellent for making points about the cinematic ambience that noises can have, and talks about the Pirates of the Caribbean audio that I complimented so within last week’s video. But the video goes further into the idea of editing and music synching, when it was brought up how soundtracks are created for rollercoasters – different segments with long tail-ends so fades during the editing phase can be done to make the coaster’s soundtrack linear and coherent.

This is something that resonated with me to a high degree, as when I film scenes for a project, I give it tail beginnings or ends because during the edit, you need options and space when you need a cut or a smooth transition. I see shades of my own editing style in ways I never quite thought possible. What is also said during this particular segment is how attractions can be quite a visceral experience at times, and how that can stoke the imagination about ways to add to it. That is very much the point I have been trying to go for with this entire unit.

Creating sounds is an aspect of things we have delved into in college and to my continued surprise, the art of Foley is examined in its own segment in the video. Having seen examples and experimented with Foley myself within college, watching how it’s done within the Parks for certain effects and moments brings a new dimension for myself to the art. In a very personal sense, knowing how some of the great Imagineers used the art, it makes me never want to use online sourced sound effect libraries ever again. I now want to get out there and create my own sound effect library, to experiment and to think outside of the box.

It seems to be a general rule with me that if there’s a practice or concept used at Disney Parks, I will want to begin using that in my own media practices. I can confirm that continues to be the case. I feel incredibly informed by this video, but most of all, I feel overjoyed that this video even exists and I absolutely know I will be returning to it time and time again when I need inspiration.

Key Characteristics

For the final literature review of this Week, I further examine my chosen discipline, that being editing and its use in movies. What I specifically want to look into his how filmmakers in previous years created tension through editing, without the use of masses of special effects or a large budget.

As a student filmmaker, and a lover of psychological based films, editing and cuts are by far the most powerful tools available to keep the audience at the edge of their seats.

So for my first resource, I am very glad to say it is 1963’s “The Haunting”, adapted from Shirley Jackson’s seminal 1959 novel “The Haunting of Hill House”.

The film is widely considered to be one of the greatest Horror films ever made, directly because of its use of atmosphere and tension.

I’ve had the benefit of being a fan of this film for years, initially enabling me to enjoy it for the experience, and then later on a more analytical level for what it did for the genre itself.

“Hill House had stood for 90 years and might stand for 90 more. Silence lay steadily against the wood and stone of Hill House and whatever walked there, walked alone” Begins the narration at the beginning of the film.

The tone and atmosphere is already set for that the audience is about to witness and for me personally, this is the best introduction to a movie. It excites you, intrigues you but most importantly terrifies you with nothing more than a still image of an old house and a narration.

Figure 20 "The Haunting" Theatrical Poster (Metro-Goldwyn-Mayer 1963)

The film is almost exclusively made up of terrifying imagery and moments, and when the film was first premiered, some audience members reportedly passed out from fear and stress.

There is a reason why I think the Haunting is so effective in drawing emotions and outward fear, that is because of the utterly ingeneous editing. The film’s effects are incredibly advanced and ingenious, however what brings all of the shots, effects and sound together is the cuts in the edit. Often in horror, what you don’t see is scarier than what you do, and through shot change to shot change, you rarely see what’s scary, but the reactions of the people staying in the house.

This creates tension for multiple reasons, one being that the mind is anxious to see whatever is menacing the characters, the other being from a fear of what this thing actually is. This trick is used several times within the film but unlike modern jump scares, doesn’t get old quick. There are no feelings of being cheated by the scares within this film as they are all planned out expertly.

Another editing choice I think is just brilliant takes place in the prologue directly after the opening credits, where Dr. John Marquay relates the troubled history of Hill House. The footage is shot in a very standard, straight forward way. The direct intention of this was to trick the audience into a false sense of security in terms of how frightening the film would be, only for that proverbial rug to be pulled out from under their feet shortly after. We know for a fact this ended up having that desired effect.

On an interesting final note for this resource, when the Disney Imagineers were creating the various concepts for The Haunted Mansion, The Haunting was a major inspiration for the attraction. This is clear in some of the mansion’s effects, but direct proof of this can be found via an invitation of a Screening of the film for Imagineers from 1965. Note Rolly Crump’s name on the guest list.

Figure 21 the Haunting WDI Screening (Disney, 1965)

For the second resource within this Literature Review, I decided to watch a second film lauded for its suspense and was made for a minimal budget: Alfred Hitchcock’s “Psycho”. In many ways, this film is considered critically, on a higher scale than The Haunting, and is one of the most famous films in the horror-thriller genre.

When the film was being made, the studio gave Hitchcock very little money as a budget, and yet the end result is iconic and unmistakable.

Hitchcock was known as the Master of Suspense, and this film demonstrates why. With the combined usage of both cinematography and editing choices, a true sense of tension is built, long past the iconic shower scene.

The tension begins from the get-go as Marion Crane with stolen bank money in tow flees town, only to be caught in the dark Bates motel. However, I find the film to truly pick up after the shower scene. You know what the other characters don’t, and you desperately don’t want them to visit the grounds of the Bates Motel.

This can be equally as scary as the unknown because you have an even greater sense of the kind of danger the characters are in.

Figure 22 Norman Bates (Universal Pictures, 1961)

The cinematography in the film is fantastically intense, and i always find myself at the edge of my seat while watching it. What I find really brilliant about the overall editing design of the film is the sheer uncomfortableness of it. How shots are left to linger on a person or an object in near or total silence really brings out feelings of obliqueness. You want the camera to look away, but it isn’t, and you are effectively forced to remain uncomfortable, because of course you’re not going to look away. At this point you’re far too gripped.

Sometimes it’s hard to find things to say about a movie that has been overanalysed to heaven and back, however in rewatching this movie, it stood out to me that Norman, as a leading character is sympathetic. Yes, by the end it’s revealed that he is the killer, not the long-suffering son of a domineering mother cleaning up her messes because he cares for her. Yet, you still feel for him. Is this because of actual sympathy for the character, or because the audience has developed that feeling throughout the film and are unable to shake it by the end. This is a concept I think I would like to develop more within the script for my final major project.

Films like The Haunting certainly could not have happened without the mark Psycho made on film goers. In my opinion I do believe the tension of The Haunting is far more engaging than that of Psycho, however this film is a classic for a reason and I adore it for all it did and continues to do for the genre at large.

For my final resource, I decided to use one final gothic horror film that is not often talked about for its use of cinematography and edits, but is one that had remained ever present within my mind since I first watched it over 10 years ago. 1961’s “The Innocents”, directed by Jack Cameron. Based off Henry James’s novel “The Turn of the Screw”, and like the other two films I have looked at, is filmed in black and white and features a gothic location.

Figure 23 The Ghost in The Reeds - The Innocents (20th Century Fox, 1961)

The theme of this literature review is editing, but a sub-theme of this is 60s black and white gothic horror. With The Haunting we’ve seen the inexplicable, with Psycho we’ve the tangible, but with The Innocents – this is a story about good and evil with a distinct vibe of it all being within the main characters head. If you’re in the dark, you probably are alone, but you can never be quite sure.

The cinematography within this film is my favourite out of all the other films I’ve discussed here for several reasons. But mostly the use of high and low angles when characters are introduced. In the beginning it’s used to show the normal dynamic of the Governess having authority over the children, but later, that switches as the Governess loses control and Miles, the child takes a dominant position.

A further cinematography choice is the use of wide-angle lenses to get these incredible establishing and location shots, and often, as visible within the image above, having figures standing ominously in the background. This effect is continually quite terrifying and strikes a primal, raw fear inside you about strangers and people whose intentions are never quite clear.

Gothic horror is my favourite sub-horror genre and the three films I’ve discussed absolutely inspire me and remain in my mind years after watching them. They are some of the best examples of any film’s editing and cinematography and I will continue to rewatch them.

Experimentation

This is the finale of all the dual-week tasks. The purpose of this is to gather together all my findings and knowledge from the 3 previous Literature Reviews and then conduct an experiment based around them.

I knew all along exactly what I wanted to attempt. Tension from editing, inspired by the Haunting and Disney attractions. I began to consider how I would possibly do this, when it occurred to me that my Grandmother’s house (which I had previously filmed in for my short film “Winter Dance Ball) had the type of architecture and décor entirely befitting my set needs.

However before I could start filming, there were some props I needed, and while prop hunting in my Grandmother’s attic, I found items that would tie more of my research together. This would come in a collection of items that had faces on them. Carved decorative logs with faces on, strange custom made porcelain pots with bearded faces and a south pacific-esque drum with a face which looks eerily similar to Rolly Crump’s various concept art pieces – faces on objects were his niche.

So with everything in-person ready to go, I filmed within inside my Grandmother’s house one dark evening. The only outside assistance I had with it was for the closing door, my Grandmother was standing behind the door, slowly moving it back.

Figure 24 AVID edit in Progress (Welch, T. 2019)

When it came time to take all this footage to the edit, I had kept the Haunting as the prominent inspiration within my mind. As I first reviewed the footage, I made the creative choice to convert all of it into black and white, as I feel this really increased the atmospheric quality.

More important to myself however were the cuts. I made several drafts of the video to see if the shots went on for too long, therefor ruining the flow of the tension, and after 4 or 5 different drafts and several deleted shots, I think the finished product definitely achieves

what I set out to do, and tells a somewhat cohesive set of events, as to which the viewer can decide upon the meaning of.

The Experiment can be viewed below via a Youtube link.

(Backup Link: https://www.youtube.com/watch?v=I0hsIdJHsuQ)

My next step was the all-important audience test, and several of my classmates gave their thoughts on the short film below:

Tom: Congratulations! You have done an amazing job at creating suspense, everything from the colour choice to the sound effects, you really have done an impressive job. The prop choice I thought was great.

James: this short does a good job of creating suspense especially when it comes to sound design. Although I do think more care needs to be taken with lighting as there are some interesting things you can do with lighting when filming in monochrome.

Ameera: I really liked this video due to the sound effects used create a suspenseful atmosphere for the audience and I definitely felt on edge whilst watching. The use of the visual were impressive however some of the other aspects which you could have included could be use of camera movement and direction which you touched on slightly. Overall the effect of the slam of the door made me jump which was surprising and I hope this is what you intended to make the audience feel when they watch this!

The completion of my experimentation then signalled the end of the tasks. I honestly feel slightly sad as it’s been a comfortable, yet deeply informative few weeks and I’ve felt entirely at home. But we always move onwards.

Week 5. February 6 th -12 th

Figure 25 Haunted Gypsy Wagon (Crump, R. 1964)

Evaluation

This week is all about reflecting back on what I have worked on for Work 3 and 4, aka all the research and experimentation pieces. It’s ironic considering at the end of last week I had spoken about a kind of sadness to move on from this topic, but I’m especially excited now to speak retrospectively about all the things I looked into.

As a preface, to evaluate my choices, editing was of course a safe bet for me to focus on for my Chosen Discipline, however Disney Attractions not so much. The reason being I wasn’t initially entirely sure how to fully connect it logistically in a way that would make sense for a Film and TV course. However, after completing Week 3, I absolutely knew it would work and it does. The research phase not feeling like work at all and with the chosen subjects, it gives me a much clearer vision for a Final Major Project concept.

The very first Literature Review was a Practitioners Report on Walt Disney Imagineer, Rolly Crump and his inspirations and source of creativity. Being that the artist was someone I had been a major fan of for a few years, I didn’t think I’d learn anything new or have any major thoughts that would shape the way I look at his work. However this was absolutely not the case.

The first source I looked into was his autobiography, which of course in any situation would provide a lot of insight about any one person’s life, but through giving a background to why and how he began drawing, it explained his style. His use of inanimate objects within his art was always a large draw for me to his art, and to have it contextualised in such a way gives me even more fascination and respect.

The second source I used was an episode of the 1960s “Disneyland” TV series, the episode in which the concept stages of the Haunted Mansion was shown with various imagineers, including Rolly, being interviewed. I didn’t learn anything entirely unusual here, however it’s

certainly striking to see the more nuanced haunted house concepts, and then to see Rolly’s very imaginative, colourful and terrifying concepts not keeping to any one theme or style.

The final source was a combination of images of his concept artwork and a video of the Haunted Mansion attraction today, to see how much of it translated. Ironically, I had always been far more focused on his art, so it was a kind of journey of discovery discovering how much did actually make it in. I of course knew about the iconic wallpaper (it’s the background of my WordPress after all), but with some of the other pieces, I had no idea.

Figure 26 Rolly and Walt (Disney, 1965)

My question for this review was “How did Rolly Crump’s Work Set the course for future attractions?”, and I feel I can absolutely answer that now. It brought Rolly’s realistic art sensibilities into a something beautifully uncanny. There was no fear of making things too cartoony, too “Disney”. This begun a trend that would continue into some of the best attractions the company has ever made, such as the Twilight Zone Tower of Terror with its story and atmosphere, and the recent attraction “Mystic Manor” which utilised many of Rolly’s unrealised concept pieces.

The second Literature Review, the “Historical Development”, focused around the way Disney attractions tell stories through visuals. This was always very much a cinematic element within my mind, and something I really wanted to look into. My first source, and the best way to demonstrate this point was to compare a Disney attraction with that of a normal fairground’s attraction. I chose Alice in Wonderland because it has two prevalent attractions based on it: the one at Disneyland and the one at Blackpool Pleasure Beach,

Now I entirely understand it’s an unfair comparison, but in the context of the report I felt it had to be made. I can’t say I learnt anything especially new from this source, however it was interesting to realise just how much some theme parks attempt to emulate Disney without

understanding precisely why their attractions work so well. Even without masses of resources, atmosphere and storytelling can indeed be told, but the want of appearing to like Disney on just a surface level is presumably too great for some locations.

Figure 27 The Whale Sized Point of Contention (Glover, E. 2015)

The second source I used, one I considered extremely practical, would be to compare concept art of 1955 opening day Disney attractions to their finished result within the parks.

This was a really interesting exercise because it made me discover something it seems people don’t discuss all that often – Imagineers not putting ride mechanisms within the concepts. This I suppose reflects back on what I learnt from Rolly’s art, because there’s a definite intention of the experience over viability. I mostly knew the end results of all the concept art I had chosen and I had presumed that again, I wouldn’t have much to learn from them, however I found myself falling down a rabbit hole, considering some of the art – the Tomorrowland “City of the Future” piece and its similarities to the idea of EPCOT struck a chord with me and made me do a lot of internal thinking about it long after I had completed that source write up.

My third and final source I used for this report was a video, a short documentary on the audio from the Disney Parks and how the Imagineers create soundscapes and individual noises using Foley and other methods.

I think I made my opinion entirely clear after delving into that video, but it was by far the most informative and inspiring video I have ever watched in regards to just about subject. I had previously known some facts about how Disney had done their soundscaping, and the use of speakers, but apart from the in-person technical details, I didn’t know a thing about the behind the scenes efforts. Since that week when I had first watched the video, I’ve gone back a few times to rewatch it and I continually find myself being deeply entranced within it.

Again, to return to a sentiment I had discussed previously, this video made me want to go out and experiment on Foley, and while I wasn’t able to do this for my experimentation, I have however made it a habit at home to record sounds from items and textures, which is also in part, preparation for my final major project where I intend to make many of my own sounds as opposed to using online sound libraries.

My research question “When did Disney’s ride storytelling evolve away from other theme park rides?” The answer to that question is immediately. As soon as Disneyland began to take shape in the minds of those involved, it was something so much more than a normal amusement park, and despite the lack of technology in 1955, those working on the projects had a true eye for immersion as much as fun.

The final Literature Review was about the Key Characteristics of my chosen discipline, editing. Instead of choosing three resources of different categories, I chose 3 movies, all falling under three points:

1. An early release date from the 1960s.2. Black and White.3. Gothic horror featuring a house.

These three films are: 1963’s The Haunting, 1960’s Psycho and 1961’s The Innocents. What these films all share with me personally is that I had watched them years prior and they have always stuck in my mind since. It’s always nice to watch something as it is, as entertainment, but for this I wanted to go back to watch them with the critical eye of a filmmaker.

Figure 28 Cinematic Hauntings (Wise, R. 1963)

Over the weekend I had watched all three of the films and took notes on specific cinematography and moments. What I find interesting is that when you watch a film and keep the technical aspects of production in mind, it really changes the atmosphere and vibe you get from it. I wouldn’t actually do this often, at least with new films because I found it at times took away from the story.

However, by doing this, I gleamed so very much from the production process. Viewing the cinematography, I understood the meaning by the choice of framing and shots. Looking at

what kind of emotional response the filmmaker’s wanted to achieve as opposed to feeling them. Especially for directors like Hitchcock, his style is long since copied and now I can understand why.

The film that always stuck within my most for the story is The Innocents, because there is something so terrifying about even an adult not being believed when something uncanny happens. The cinematography, even more than the Haunting and Psycho, due to the way it plays on certain raw emotions. A featureless figure in the distance is something that would strike fear in most people.

That being said, my statement that The Haunting is the quintessential haunted house movie is entirely reaffirmed. Despite all the times I’ve seen the film, it still manages to keep me gripped on the edge of my seat every single time. Also, with that very slight connection-inspiration fact to the Haunted Mansion, it does it all back full circle to Disney attractions.

My research question was “How filmmakers with little resources created immersive atmospheres”. I’m not entirely sure if I was able to answer that successfully in terms of what I took away from the films. In a sense I discovered that cinematography and editing do half the job, so in a way, that could render the question as solved. Rewatching these films flicked a switch within my mind that makes me really want to do good cinematography. With previous years FMP’s, I never gave much of a thought towards it, but researching how these films affect people and how they affect me personally. Now, I just want to make the best film possible and finally acknowledge the important things I never dealt with. I’d call this specific review a success because of that.

My Experimentation was the culmination of all three Literature Reviews, using everything I’ve learned from them to inform what my experimentation was to be. I did this through shooting various footage inside an older house, focusing on props and the general atmosphere. The during the editing phase, I converted the footage into Black and White and edited the footage accordingly to what shot lengths would make the pacing most tense. The finally, I created a soundscape to enhance the mood of the scene.

My research question for the experimentation was How to create atmosphere through editing alone.

To begin with the reflection on the video piece, I don’t believe it was the right choice to make the footage black and white, at least not without prior research as how to do that effectively. The problem, as I found out during the editing, is that because I filmed in low light, the black and white obscures any details that have even the smallest hint of darkness. I still pressed on with the edit as it being in black and white was consistent with my Literature Review on the three Black and White horror films.

According to the feedback given by my classmate James, use as much light as possible within reason when filming footage that will be filtered into Black and White, as the shadows and darkness will still appear strong and atmospheric. This is a whole learning curve, and as

I am potentially interested in making further black and white films in the future, so this has been incredibly informative and I’m glad for the experience.

I’m incredibly proud of the cinematography in my video, and I like to think I really captured the kind of shots like those in the films that inspired me. Below are a few examples of shots from my film next to shots from The Haunting.

Figure 29 Establishing Shots (Welch, T. 2019. Wise, R. 1963)

Figure 30 Omonous Doors (Welch, T. 2019. Wise, R. 1963) Figure 31 Hidden Faces (Welch, T. 2019. Wise, R. 1963)

Looking at these, I absolutely think this aspect of my experimentation was a major success and made it especially worth it. I filmed all the shots on my phone, and other than a natural shakiness, I think it all came out surprisingly well, including all the shots like the Pans and the close ups. The shot I’m most proud of is the close up shot of the deer statue, because despite the strong shadows, it’s still clear what the silhouette is meant to be and the suddenness of the shot I think is quite alarming for those who wouldn’t expect it.

Another shot that I see capturing the essence of the Haunting, and to an extent the Haunted Mansion is the close up shot of the Clock. I personally read this as the time running down to something happening, especially as it’s such a major focus on-screen. I like to think I captured some fear in the every day normality of house hold items, a very Haunted Mansion like concept.

The next comparison I want to make is the props used within my experimentation, compared to props used in attractions like The Haunted Mansion and Mystic Manor, as well as concepts from Rolly Crump.

Figure 32 Uncanny Faces (Welch, T. 2019. WDI, 1969)

Figure 33 South Seas Idols (Welch, T. 2019. Crump, R. 1962)

Figure 34 Thru The Mirror (Welch, T. 2019. WDI, 1969)

As I had talked about when initially writing for the Experimentation, I had come across several of items with faces on when looking for props within my grandmother’s house. This ended up being my favourite part of this Experimentation process. The fates just lined up so perfectly for this to happen, and while I knew of some face-items available, I didn’t know the complete amount. If in future I ever decided to make a full film based around Rolly’s conceptual art, then I know exactly what I’d use for it.

I’m especially proud of the Soundscaping in my video, as it highly compliments the atmosphere and shots of the video. I got a lot of really positive feedback on the video regarding its audio design. My favourite moment of audio within the video is the wind, how when the scene changes from the outside to the inside, the same wind track is playing, just slightly muffled. This is an effect I also employed during my Short Film in December, and it just adds that extra sense of realism and coherency to the project overall.

One major regret for me is that I was unable to create any Foley sound effects for the film as I had originally hoped to do. My time ran out so I had to use online sound libraries, but as I had previously stated, I will be making Foley effects for my Final Major Project.

In regard to the editing of the video, I think it was good. Nothing overly incredible, but definitely serviceable. I kept all the films I had examined in mind while editing, and I think that shows. No shot overstays its welcome, but some are longer to increase the tension – I think that is clear from the video. Obviously, I could never achieve the same level of tension as the films, but a definite atmosphere is created and when I watch it, turning off the part of my brain that remembers it’s my video, I still feel unnerved, even if it is by clichéd imagery of doors closing by themselves.

I’d like to experiment on this topic further in the future and use people within it. One thing I learnt from this video, while still good, one of the major tension builders within the films I watched was the reactions of the characters to the events transpiring. With people and their reactions added to an experiment, I think it would complete the intent of the experimentation more so than it just being a singular, person-less location.

The question for the experimentation was My research question for the experimentation was “How to create atmosphere through editing alone.” I can now answer that dispelling it. Atmosphere is created through a mix of editing, cinematography and soundscaping. Individually they can all provoke some feelings of emotion, but together they create a beautiful swirl of reactions and emotions. Out of everything I’ve learnt from this experimentation is that all of the individual pieces have to be perfect for the end result atmosphere to be even the slightest bit effective.

One can’t be half-done, and I feel like this was my point of failure in many previous projects. Knowing this and going forward, it’s going to be invaluable to me as a filmmaker and I feel just that one step closer to being the professional filmmaker I want to be.

This experimentation, this entire Unit was an absolute success and I feel ready to take on the Final Major Project.

BIBLIOGRAPHY.Welch, T. (2018). Assorted trip photos from Disneyland Paris. Marne La Vallee.

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TABLE OF FIGURES

Figure 1 Own Photo (Welch, 2018)........................................................................................................1Figure 2 Mind Map of Interests (Welch, 2019)......................................................................................2Figure 3 Disney Mindmap (Welch, 2019)...............................................................................................3Figure 4 Thor by Jack Kirby (Marvel, 1966)............................................................................................4Figure 5 Moonrise Kingdom (Focus Features, 2012).............................................................................5Figure 6 Disneyland Paris Castle (Welch, 2018).....................................................................................6Figure 7 Fantasia Sounds and Sorcery (Welch, 2018)............................................................................8Figure 8 Disneyland Hotel at Night (Welch, 2016).................................................................................9Figure 9 Storybook Bald Mountain (Welch, 2018)...............................................................................10Figure 10 Kind of a Cute Story (Bamboo Forest, 2012)........................................................................11Figure 11 Rolly Crump, 1964 (Walt Disney Company).........................................................................12Figure 12 Face Chair - Art to Reality (R. Crump)..................................................................................13Figure 13 Mansion Wallpaper (Crump, 65)..........................................................................................14Figure 14 Mad Tea Party (Blair, M. 1953)............................................................................................16Figure 15 "Tomorowland" (WDI, 1953)...............................................................................................16Figure 16 "Monstro, Story Book Canal" (WDI, 1963)...........................................................................16Figure 17 Mad Tea Party (Joseph, B. 2017)..........................................................................................17Figure 18 Astro Orbitor Tomorrowland (Andress, J. 2016)..................................................................18Figure 19 Monstro The Whale (DeCaro, D. 1955)................................................................................18Figure 20 "The Haunting" Theatrical Poster (Metro-Goldwyn-Mayer 1963)............................................................................................................21Figure 21 the Haunting WDI Screening (Disney, 1965)........................................................................22Figure 22 Norman Bates (Universal Pictures, 1961)............................................................................23Figure 23 The Ghost in The Reeds - The Innocents (20th Century Fox, 1961).....................................24Figure 24 AVID edit in Progress (Welch, T. 2019)................................................................................25Figure 25 Haunted Gypsy Wagon (Crump, R. 1964)............................................................................27Figure 26 Rolly and Walt (Disney, 1965)..............................................................................................28Figure 27 The Whale Sized Point of Contention (Glover, E. 2015).......................................................29Figure 28 Cinematic Hauntings (Wise, R. 1963)...................................................................................30Figure 29 Establishing Shots (Welch, T. 2019. Wise, R. 1963)..............................................................32Figure 30 Omonous Doors (Welch, T. 2019. Wise, R. 1963) Figure 31 Hidden Faces (Welch, T. 2019. Wise, R. 1963)........................................................................................................................33Figure 32 Uncanny Faces (Welch, T. 2019. WDI, 1969).......................................................................33Figure 33 South Seas Idols (Welch, T. 2019. Crump, R. 1962)..............................................................34Figure 34 Thru The Mirror (Welch, T. 2019. WDI, 1969)......................................................................34