Semester 2 - critique presentation feedback

Summary
For the critique presentation, I decided to change my approach for displaying my works over the past four weeks. Instead of listing each and every element of my project that has been changed, altered, created or removed, I thought it would be a better idea to elaborate on the two most important elements of my project thus far. These two elements were conventions of American and Japanese directed horror and my final piece. I elaborated on the conventions and two types of codes for each region, providing quotes and relevant images for each example. Next, I broke down what I would like my final piece to look like, what it will include, how I will be developing my work and what visual elements I will be focusing on.

Feedback

• Lynn - Elaborating that I should avoid Japanese constructed buildings and instead, focus on depicting the atmosphere. When breaking down and analysing my own works, I should pay attention and try not to contradict myself on certain points. It was also recommended that when using literature to support my work that I avoid referencing blogs and focus on published pieces.

• Brian - Very happy that I had developed a progressive framework and that my process for analysing and developing my own work was solid. His only request was that I provide more practical work as I have been focusing more of my time on theoretical work.

• Ken - Appreciating the visual story that I had provided, but recommended I try and elaborate on why the directors made the choices they did and how they did it, in order to grasp the successful depiction of Japanese horror.

• Ryan - Loved being educated about the details of codes and conventions but felt that I had neglected certain areas relevant to the development of my project (as ken had brought up) such as cinematography, lighting techniques and colour patterns.

Next steps

• Develop 3D work
• Develop 2D work
• Elaborate on why and how within blog work and referenced materials

Supervisor meeting 3 (semester 2) - feedback

Feedback:
This was a quick meeting in which I displayed my work over the past three days (18/03/13 - 21/03/13) and asked about the structure, as well as guidance towards constructing my case studies. My work was met with very positive feedback (Brian was absolutely thrilled at my progress) with naught but encouragement towards expanding on my analysis process, directed towards why certain design choices were made as well as the how and what.

After this I asked Brian about my case studies, as I was unclear on my approach as well as my direction. Brian encouraged me to continue onward in the identification of the unique characteristics of Japanese directed horror, looking at an American directed horror film and a Japanese directed horror film and drawing appropriate conclusive results from both.

Next Steps:

• Why? - reference and look at why certain design choices were made in referenced or analysed pieces.
• Case studies - comparison study between American and Japanese directed horror.

Characteristic identification

 What and why?
To move forward with my project, the unique characteristics of Japanese horror films must be identified. To solidify these characteristics, I will be taking several images from both Japanese and American directed horror films, critically analysing them, building a conclusion on these findings and thus, improving my critical framework/criteria and knowledge on the successful depiction of Japanese directed horror.

American directed horror:
Using various scenes from Halloween (1978) and The Hills Have Eyes (2006), I started to analyse and pick apart the scenes.

Figure.1a

Figure.1b

 

Description:
There is awkward and poor scaling between the characters and the surrounding environments. Rectangular, square and circular shapes are present within these scenes. Lines are soft, horizontal and vertical in nature but are mainly straight instead of angular. High value colours are clear, focusing on cool and warm patterns. The shapes do not conflict and blend well, separating the characters from the environment. Cameras vary between close, medium and long distances. Cameras are favoured from a lower height. The angle of the cameras in these films are mixed, adhering mainly to the side angle. The depth of field changes between infinite and shallow. Use of high and low key lighting, as well as high contrasting lighting are preferred to balanced or three point lighting. Colours in the background use monochromatic patterns.

Analysis:
Bad characters/antagonists are depicted using lower value colours and dark patterns, whereas good characters/protagonists. Characters in the foreground are complimented by the monochromatic tones in the background. Focus is directed using high key lighting and shallow depth of field. High value colours such as oranges, yellows, greens and blues are used to depict warm and cooling/calming patterns. Character performance is heightened using close camera distances, capturing actions and expressions more effectively. The low camera angles grants visual authority to whomever it is pointed at by granting him/her with the higher ground. Background activity is clearer to the audience by using the side angle.

Interpretation
Depiction of horror is the central role of these scenes. Themes of violence are depicted with the use of weaponry, blood and gore (figure.1a + b). An isolated atmosphere is projected (figure.1a) by placing the characters in vast, wide open setting. Themes of insecurity are evoked using a mask to cover the antagonist's face (figure.1a). Themes of deformity and insecurity are highlighted by the grotesque appearance of the antagonist (figure.1b). The height of the camera is used to symbolise authority within the antagonist's presence (figure.1a). Feelings of anticipation and excitement are evoked by placing the antagonist behind the protagonist(s) (figure.1a). The use of white highlights themes of death (figure.1a).

Judgement
The criterion I think are most appropriate for making a judgement about these scenes are setting, lighting composition and colour. Themes of violence are depicted successfully using melee weapons, firearms and mild use of blood and gore (figure.1a + b). An isolated setting is projected successfully by using a large, peaceful and deserted location (figure.1b). The symbolism of authority in the antagonist's presence is successfully depicted by the camera's low height (figure.1a). As we cannot see behind the antagonist's mask, suggested themes of insecurity are evoked successfully (figure.1a). Deformity is clearly displayed in the antagonist's appearance, therefore, themes of deformity and insecurity are successfully evoked (figure.1b). As the camera angle is placed to the side, the audience can clearly see the antagonist behind the antagonist(s), which in turn evokes feelings of anticipation and excitement (figure.1a). White is a colour used to depict supernatural beings as well as skeletons, therefore, themes of death are effectively displayed.


Japanese directed horror:
Again, using a number of scenes from Ju-on: The Grudge (2002) and Ringu (1998), I continued to pick these scenes apart and analyse them.

Figure.1c

Figure.1d

Description:

The scaling between the characters and the environments are both realistic and appropriate. The shapes that are present within these scenes focus mainly on rectangles and squares. The vertical and horizontal lines in these films are primarily angular rather than straight. Colour is very dull, focusing on low values and dark colour patterns. Characters and the environment are separated well through the use of non-conflicting shapes. Close and medium camera distances are favoured. The cameras in these scenes appear to be set at high and low heights. Cameras angles are mixed, however, the side and top-down camera angles appear to be preferred. Infinite depth of field is used as there are no signs of shallow activity within these scenes. Contrasting lighting is evident within these scenes as well as three point lighting.

Analysis:

Antagonists are visually depicted using lower value colours, primarily white. Contrasting colours within the background compliment the characters in the foreground. Materials and colours of the walls use contrasting colours to highlight and compliment the floors. Dark colour patterns are depicted using shades of grey, blue, cream and brown. Hiding objects in the background using the close up camera angle helps drive suspense within these scenes. Mixing the height of the camera allows a less fixed pattern of power and/or authority in a characters presence and performance. The top-down and side camera angles grants the audience with clear vision as to what is happening in each scene.

Interpretation:

The aim of these scenes is to successfully project horror. Feelings of suspense are evoked through camera driven perspectives (figure.1c + d). Themes of isolation are projected using high contrast lighting and deep shadows (figure.1c + d) . Themes of insecurity and feelings of anxiety, excitement and anticipation are evoked by the hiding of the character's face using long black hair (figure.1d). Themes of death are promoted by the use of white in the protagonist(s) appearance (figure.1d). Themes of darkness are evoked through the use of lower value colour patterns (figure.1c + d). The protagonist's clothing aids in the projection of the high contrast lighting by using solid light and dark colour values (figure.1c + d.)

Judgement:
Setting, composition, lighting and colour are the criterion I think are most fitting towards drawing judgement upon these scenes. Themes of isolation are projected successfully because the high contrast lighting hides objects/characters/details in the background (figure.1c + d). Low value colour patterns successfully depict a darkened atmosphere because light is being absorbed rather than reflected (figure.1c + d). Death is highlighted via the use of white because white is the colour of bones and is the central colour of the final state/appearance of a deceased body (figure.1d). As the camera perspectives focus on character performance, environment activity and are not fixed, feelings of suspense are effectively evoked (figure.1c + d). The audience cannot see the full details of the antagonist's appearance, therefore, themes of insecurity and feelings of excitement, anxiety and anticipation are successfully evoked (figure.1d). High contrast lighting focuses on using solid light and dark values, effectively aided of course by the high colour value of the protagonist's wardrobe (figure.1c + d).

Conclusion: What unique characteristics have I identified within these Japanese directed horror film scenes?
The unique characteristics that I have identified within Japanese directed horror films are best described using the criteria for my judgements; setting, colour, lighting and composition.

• Setting - the settings are focused on interiors rather than exteriors. isolation is projected by using large rooms and carefully planned object/prop placement that does not draw focus from what is happening on-screen.

• Colour - alongside a heightened greyscale as a result of increased saturation, low value and dark colour patterns are used to promote the Japanese horror atmosphere. The only bright or high value colours used are those for the protagonist(s) clothing and the depiction of the antagonist(s) appearance

• Lighting - high contrast and three point lighting are the preferred choices for Japanese directed horror films, adding more shadows to the surrounding environment and thus, projecting an isolated horror atmosphere more effectively by evoking feelings of anxiety. 

• Composition - the scale of objects/characters/environments are realistic and straightforward. Ambiguous changes in proportions are not present and seemingly unused. Lines are more angular, encouraging perspective art work. The camera focuses on being set at higher and lower heights, with the preferred camera angles being set at the side or from a top-down perspective. Shapes are non-conflicting and do not draw focus. The level of detail in each scene is improved by using an infinite depth of field.

Next steps:

• Apply characteristics to personal horror interpretation
• Update personal horror criteria
• Continue to add and update these unique characteristics

Project deliverables list (updated)

What?
I have updated my project objectives, therefore, I will be trimming some of my project deliverables based on each of my objectives such as, the removal of European horror films from the comparison elements (objective one), replacing criteria for each country with my personal criteria/framework (objective one), removing film theory and research on John Carpenter (objective two), replacing my choice of title for my American directed horror film case study (objective two) and subtracting all but one list item from objective three.

Why?
I have removed European horror from my comparison studies because of time constraints and lack of knowledge. Criteria has been replaced with my own horror film criteria/framework because of context and time constraints. For a more effective comparison within my case studies, I have changed my choice of title for the American directed horror film from 'The Thing' (1982) to 'A Nightmare On Elm Street' (1984). Film theory has been removed from objective number two because I feel that it will be covered within my case studies and thus, will not require being made into a separate piece on my blog. Research on John Carpenter has been removed from objective two because I will no longer be studying his works in my case studies. Objective three has been thinned out to ensure my final piece has more development time and is not interrupted by any other deliverables.

Objective 1 deliverable(s):

• Personal horror interpretation (sketchbook(s) and supporting files included)
• Japanese and American horror film characteristic research (references included)
• Japanese and American horror film codes and conventions research (references included) 
• Personal horror film criteria
• Critically acclaimed Japanese horror film research (references included)
• Japanese horror film remakes/interpretations research (references included)

Objective 2 deliverable(s):

• Case study on 'A Nightmare on Elm Street' (1984) (references included)
• Case study on 'Ringu' (1998) (references included) 
• Summarised findings (references included)

Objective 3 deliverable(s):

• Complete 3D environment (sketchbook, references and supporting files included)

Next steps:

• Japanese and American horror film characteristics
• Japanese and American horror codes & conventions
• Develop practical work

Project aim & objectives (updated)

What?
The changes below that I have made to my project include the removal of European horror from objective one, objective two being changed to a comparison study and objective three will be developed using my personal horror interpretation

Why?
Objective one has been changed because my knowledge on European horror is thin and studying two regions of horror film will not be possible to work within the remaining time-frame. Objective two has been altered to reduce the level of interpretative work, so that I can focus more of my time on highlighting further unique characteristics of Japanese directed horror and apply them to existing/future works. Objective three has been altered to provide context as to where I will be locating my Japanese characteristic inspired environment.

• Project Aim

To study and identify the unique characteristics used to depict Japanese horror in the medium of film.

• Objective 1

Investigate what characteristics used in Japanese directed horror films differ from American directed horror films.

• Objective 2

How does Wes Craven's 'A Nightmare On Elm Street' (1984) differ from Hideo Nakata's 'Ringu' (1998)

• Objective 3

Using your personal horror interpretation, visually depict the unique characteristics identified in Japanese directed horror films.


Next steps

• Update project deliverables list

Identifying codes and conventions

What?
In this section I will be underlining the codes and convention I have identified in Japanese and American directed horror films

Why?
To prevent confusion between characteristics and codes & conventions and to make a comparison between Eastern and Western directing styles.

Codes:
Definition/meaning:
Codes are systems of signs, which create meaning. Codes can be divided into two categories – technical and symbolic. Some codes fit both categories – music for example, is both technical and symbolic.
 
Symbolic codes show what is beneath the surface of what we see. For example, a character's actions show you how the character is feeling.

Technical codes are all the ways in which equipment is used to tell the story in a media text, for example the camera work in a film.



Codes in American directed horror films:
(which I have identified)
 
Symbolic:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEaAcBeG1aBwBY8ydEH8__gBAnEQahF_Rcah6n4hRcKLhLSdPcJw71Az9HiXlC9kKqVmTih8QjIU3n5amPBclJGJvLnVp2zPg2ejXALKSo6hqwsCriLtDOXbiPBRJ33SlUCJsr4FIxmVo/s1600/leatherface2.jpg

Weapons:
'A majority of horror films involve the use of weapons, from machine guns to saws. Weapons have phallic symbolism that suggests masculine power and the woman that outsmarts the villain essentially castrates him. Leatherface’s weapon in the Texas Chainsaw Massacre (1974) is the ultimate phallic symbol of raging power. The type of weapons a writer chooses for his or her villain – knife, gun, sword, club, saw –is most powerful when it reflects character; Leatherface lives on and on for this very reason.'
(http://constructinghorror.com/index.php?id=123)

Examples: 
A Nightmare on Elm Street (1984), The Texas Chainsaw Massacre (1974) and Friday the 13th (1980) 


Technical:

http://nzfilmfreak.files.wordpress.com/2013/02/blair-witch-project-heather-donahuejpg-cc43367e7ecdc67d.jpg

POV camera perspective:
‘POV horror is easy and cheap to make and has proven time and again to go viral in advertising and turn a profit quickly because of the low costs.’
(http://thesketchydetails.net/archives/721) 

Examples:  
Paranormal Activity (2007), Quarantine (2008) and The Blair Witch Project (1999) 


Codes in Japanese directed horror films
(which I have identified)

Symbolic:

http://www.dvdtimes.co.uk/protectedimage.php?image=ColinPolonowski/grudge5.jpg

Death:
'Death is naturally pervasive in horror films and there are countless representative objects, such as coffins, gravestones, skeletons, angels of death, and so forth.'  
(http://constructinghorror.com/index.php?id=123) 
 
Examples:
Ju-on: The Grudge (2002), Chakushin Ari (2002) and Ringu (1998)


Technical:

http://i77.photobucket.com/albums/j46/hannahmfan101/chakushinaricupboard.jpg

High contrast lighting:
‘High contrast lighting is dominated by harsh lines of light combined with dramatic streaks of blackness. This lighting style tends to use shadows and can look haunting and eerie when it is used well. As a sign, high contrast lighting suggests a sense of anxiety or confusion. It can also be used to suggest a corrupt world which haunts and threatens the characters on screen.’
(http://inpoint.cinematheque.bc.ca/pdf/LanguageofFilm08.pdf)

Examples:
Ju-on: The Grudge (2002), Chakushin Ari (2002) and Ringu (1998)


Conventions:
Conventions are the generally accepted ways of doing something. There are general conventions in any medium, such as the use of interviewee quotes in a print article, but conventions are also genre specific.
 
Conventions in American directed horror films: 
(which I have identified)

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhasgKDoka-Nc5l-wHGsHlf1pvQ__mj6zAPecr2lLcxduCAisnhM4FckWhQIybbt8eMn5adi0ijioMJuBnAU5N0KKombHA2E-anaEwv1DWK_vdpPAV_v_6ZY6Ng2cdAUBQM-9Qwvqh1n01c/s1600/halloween+laurie.jpeg

The Final Girl:
‘A  term coined by the awesome Carolyn J. Clover, the Final Girl is the one at the end - dirty, covered in blood, about to spend a mint on therapy, but victorious - the one who lives to tell the tale.’
(http://www.allthingshorroronline.net/2013/03/slicing-through-final-girl-fantasies.html) 

Examples: 
The Texas Chainsaw Massacre (2003), Halloween (1978) and I Know What You Did Last Summer  (1997)


Conventions in Japanese directed horror films:
(which I have identified)

http://whatculture.com/wp-content/uploads/2011/10/darkwater3.jpg

Supernatural presence:
'Ghosts are particularly common - everyone is believed to go to a limboish place after death, for seven years. They move on through the prayers and rituals of their ancestors, so a lack of filial piety is one reason for troublesome spirits, but the main cause is a lack of calm at death, particularly violent emotions leading to especially potent ghosts. Clearly these are two reasons rich in narrative possibility. Revenge is of course the most common desire for restless spirits.'
(http://www.japanese-arts.net/themes/horror.htm)

Examples:
Ju-on: The Grudge (2002), Chakushin Ari (2002), Ringu (1998) and Dark Water (2002) 


What relevance does this research provide towards the development of my project?
To identify the unique characteristics of Japanese horror, one must first look at the codes and conventions of horror, not only in Japanese horror but in American horror too. Doing so can aid in the identification of the characteristics of Japanese horror in the medium of film. 

Resources
(http://media-studies.tki.org.nz/Teaching-media-studies/Media-concepts/Codes-and-conventions) - codes and conventions

Critically acclaimed Japanese horror films - Dark Water

http://cdn-2.cinemaparadiso.co.uk/080110014855_l.jpg

Plot summary

In the heat of a divorce settlement and custody hearing, a mother and her daughter move into an apartment building. Along with a never ending leak in the ceiling, strange supernatural activities take place, leading this mother and her daughter to uncover the history of the previous owners of the apartment above.

What (if any) are the differences to American and European horror films?
***NOTE - to prevent repeating myself on certain differences, I will be elaborating on differences I have not yet brought forward and listing previously mentioned differences that I have noticed again in this film below in bullet point form***
As the forth critically acclaimed Japanese horror film I have watched, this film was the first to avoid as many recognisable or common characteristics found in the previous three titles I have researched. Yes, it did use some recycled characteristics, however, it brought forth new ones. Scenes involving flashbacks were displayed in tones of yellow, separating these sequences from the regular or real-life footage clearly and effectively. I noticed that background ambient sounds and noises were played at a greater volume, allowing me to hear them more clearly. Finally, I noticed that in this film and the three horror titles I had watched prior to this one, built up the suspenseful moments more effectively, stretching them out further, making them last longer which in turn, had me on the edge of my seat, dying to see what would happen next.

Previously mentioned, discovered again in this film:

• Female character(s) usage - protagonist and antagonist are female
• Focus/attention needed - plot requires constant focus and attention to keep up and fully understand 
• Curse - the plot circles around a curse of sorts, someone has died in the past and is now killing the living
• Sound - audio is used more effectively to reinforce the atmosphere of horror and drive suspense
• Unique sounds - a unique noise/sounds are used to depict the presence of the antagonist(s)
• Visual gratuity - there was little or no use of blood, violence or gore in this film
• Scary - more frequent moments using scary images or visual sequences rather than shocks
• Focus - cameras are focused on the point of interest and does not suddenly change
• Inconclusive - the ending to this film was inconclusive and/or left unanswered questions relevant to the plot 
• Child - a child is used to develop the plot of this film and/or is one of the cursed beings
• Secondary - male characters are secondary characters and do not play the central role/central protagonist or antagonist
• Pauses - there are long, dramatic pauses within the character dialogue

Were there any cultural differences in this film? 
***NOTE - to prevent repeating myself on certain differences, I will be elaborating on differences I have not yet brought forward and listing previously mentioned differences that I have noticed again in this film below in bullet point form***
Besides the usual design choices and common mannerisms, there were a lot of cultural differences in this title. Firstly, the Japanese people make more effective use of the umbrella when it begins to rain, even the children, regardless of gender, everyone seems to have an umbrella during rainfall.

During an interview with what appears to be the principal, a child is brought forth and yelled at firmly by both the principal and the teacher whom brought him up for unacceptable language. I have seen this many times before, even in my childhood, however, the two adults project the idea that the child's actions were shameful instead of wrong.

http://filmjournal.net/mjocallaghan/files/2008/04/dark-water-2.jpg

A sequence in which we see the mother and the daughter bathing, the daughter is seen kneeling in the shower to scrub/wash, then she takes a bath. This is not common western tradition as it is usually either just a bath or just a shower. The doors for apartment buildings open outward, instead of inward, totally contrasting with traditional western design.

http://content9.flixster.com/photo/10/47/19/10471927_gal.jpg

Previously mentioned, discovered again in this film:

• Wood - the majority of any building interiors or exteriors were made using wooden materials
• Colours - brown and white are favoured colours for building interiors
• Furniture - interior setting furniture appeared smaller and/or lower to the ground
• Bowing - characters bow when introducing themselves or displaying gratitude
• Shoes - shoes are removed by characters when entering someone's home 

What evidence is there that this horror title is critically acclaimed?
'Dark Water is a suitably creepy ghost story - best enjoyed on a dreary rainy night.' (David Nusair, reelfilm.com)

'Dark Water is another ideal reason to turn your eyes in the direction of Asian horror; it's a totally diverse field for the genre. An excellent film, from a director with a remarkable vision.' (Dellamorte, classic-horror.com)

'Dark Water is not the equal of Ring by any stretch of the imagination, but it is still a first class horror film.' (Ian Shone, horrornews.net)

'Hideo Nakata strikes again with this sodden chiller which had me nearly crawling over the back of the seat to get away from it.' (Mark Morrison, heroic-cinema.com)

***NOTE***
This film has also received six awards, including a Silver Raven at the Brussels International Festival of Fantasy Film in 2002 and a Special Mention at the 2002 Stiges Film Festival.

http://img53.imageshack.us/img53/9008/nixx-dw-03.jpg

Are there any atmospheric projections, feelings and moods evoked or symbolisation in this film?
At the start of this film, a young girl (the daughter) is left sitting on her own, whilst other kids are picked up by their parents, evoking feelings of sadness and themes of abandonment. A red bag (plot device) is found by the daughter, to which the mother tells her it is wrong to take things that do not belong to you, effectively symbolising human morality. The mother is successful on finding new employment and dances around the room in celebration with her daughter, evoking feelings of happiness and joy. After all the central character's/protagonist's problems, a friend of the mother (a lawyer, male, secondary) looks into the conditions of the apartment building and helps the mother and her daughter get back on their feet. Through this, feelings of hope are evoked as things are finally looking up.

What relevance does this research have towards the development of my project?
The relevance of this research is to identify the unique characteristics of Japanese horror in the medium of film. This research has helped me identify that not all Japanese horror films carry such repetitive or common characteristics. The three titles I investigated before this one were very high in similarities, whereas this film has taken a different approach, using only some of the characteristics found in the previous researched titles, helping me realise that the framework may be similar, but none of them are the same, which in turn helps me develop other visual possibilities for my personal horror interpretation.

http://cps-static.rovicorp.com/2/Open/France/AB1-RTL-NT1/Dark%20Water/_derived_jpg_q90_600x800_m0/Dark%20Water%20%282%29.jpg?partner=allmovie_soap

Resources:
http://www.reelfilm.com/darkwatr.htm
http://classic-horror.com/reviews/dark_water_2002
http://horrornews.net/65162/film-review-dark-water-2002/
http://www.heroic-cinema.com/reviews/dark-water-2002/

Project deliverables list (updated)

Here is my new and improved deliverables list. I have moved film theory to my second objective as I feel it will be more relevant and useful after grasping the unique characteristics of Japanese horror in the medium of film.

• Objective 1

Investigate what characteristics used in Japanese horror films differ from American and European directed horror films.

Deliverable(s):

• Personal horror interpretation (sketchbook and supporting files included)
• Japanese, American and European horror film characteristic research (references included)
• Japanese, American and European horror film codes and conventions research (references included) 
• Epistemology research (references included)
• Japanese, American and European horror film criteria research (references included)
• Critically acclaimed Japanese horror film research (references included)
• Japanese horror film remakes/interpretations research (references included)

• Objective 2

How could these characteristics be applied to John Carpenters 'The Thing' (1982)?

Deliverable(s):

• Interpretations research (sketchbook and supporting files included)
• 3D interpretations (supporting files included)
• Case study on 'The Thing' (references included)
• Research on John Carpenter (references included)
• Film theory research (references included)

 

• Objective 3

Create a 3D environment that depicts these unique characteristics within Japanese horror.

Deliverable(s):

• Floor plans (sketchbook and supporting files included)
• Prop blueprints (sketchbook and supporting files included)
• Location research (sketchbook, references and supporting files included)
• Complete 3D environment (sketchbook, references and supporting files included)

Critically acclaimed Japanese horror films - Chakushin Ari (One Missed Call)

http://4.bp.blogspot.com/_lpMdmYH7sso/S_2XvbaHtvI/AAAAAAAAAPw/jyqd9Du3KWo/s1600/One%2520Missed%2520Call%25202%2520%282005%29%5B1%5D.jpg

Plot summary

People receive voicemails messages from an unknown number, however, these messages are dated several days in the future and said recipient's voice can be heard reacting to their own gruesome death. Using clues and the messages from victims phones, surviving characters attempt to unravel these peculiar series of deaths.

http://www.synoptique.ca/images/s6_omc2.jpg

What (if any) are the differences to American and European horror films?
***NOTE - to prevent repeating myself on certain differences, I will be elaborating on differences I have not yet brought forward and listing previously mentioned differences that I have noticed again in this film below in bullet point form***
Besides repeating most of the differences I have pointed out in my previous posts on critically acclaimed Japanese horror films, of the notable difference I saw was that the central female protagonist, when in danger or trying to escape, had a tendency to crawl on the floor instead of running. Another notable difference was the fact that the antagonist can be seen by others using digital devices, in this film, a video camera.

http://366weirdmovies.com/wp-content/uploads/2009/06/one_missed_call_cahkushin_ari.jpg

Previously mentioned, discovered again in this film:

• Female character(s) usage - protagonist and antagonist are female
• Focus/attention needed - plot requires constant focus and attention to keep up and fully understand 
• Curse - the plot circles around a curse of sorts, someone has died in the past and is now killing the living
• Sound - audio is used more effectively to reinforce the atmosphere of horror and drive suspense
• Unique sounds - a unique noise/sounds are used to depict the presence of the antagonist(s)
• Visual gratuity - there was little or no use of blood, violence or gore in this film
• Scary - more frequent moments using scary images or visual sequences rather than shocks
• Focus - cameras are focused on the point of interest and does not suddenly change
• Inconclusive - the ending to this film was inconclusive and/or left unanswered questions relevant to the plot 
• Child - a child is used to develop the plot of this film and/or is one of the cursed beings
• Appearance - the female antagonist adheres to roughly the same aesthetic consisting of pale skin, long hair covering the face and white clothing
• Secondary - male characters are secondary characters and do not play the central role/central protagonist or antagonist
• SFX - there is little to no use of special effects in this film
• Phones - phones are consistently used in this film and/or used as a plot device
• Emotionless - male characters appear emotionless and dull
• Pauses - there are long, dramatic pauses within the character dialogue
• Not over - the curse appears to be lifted but in fact it is still present, resulting in one or several characters meeting certain death

Were there any cultural differences in this film? 
***NOTE - to prevent repeating myself on certain differences, I will be elaborating on differences I have not yet brought forward and listing previously mentioned differences that I have noticed again in this film below in bullet point form***
This film, as the third critically Japanese horror title I have watched, was full of little cultural Easter eggs. At the beginning of the film, the group of protagonists are dining at a restaurant. What caught my attention here was the little gas powered stoves on the tables, allowing the diners to cook and heat their food at their own disposal. When taking down other characters mobile phone numbers, one of the characters pulls out a circle of paper instead of more common rectangular sheet. When panning around the room of one of the victims, a sketchbook is seen using traditional anime style drawings.

Previously mentioned, discovered again in this film:

• Wood - the majority of any building interiors or exteriors were made using wooden materials
• Colours - brown and white are favoured colours for building interiors
• Furniture - interior setting furniture appeared smaller and/or lower to the ground
• Spotless - exterior streets and buildings are spotless and litter free  
• Shoes - shoes are removed by characters when entering someone's home
• Titles - characters refer to each other by their correct titles i.e. Mr, Mrs, Miss, etc

What evidence is there that this horror title is critically acclaimed?
'It’s a terrific performance, one that underscores why the Asian Horror boom has been so successful over the past few years.' (David Cornelius, efilmcritic.com)

'Miike's return to the horror genre is a slicker and less original affair than Audition, but also sharply dissects the J-horror phenomenon even as it scares the hell out of you.' (Anton Bitel, Film4)

'One Missed Call is compelling throughout and manages to leave one uncomfortable in their seat.' (David M. Brown, tweedling.com)

'This is a good (if not quite excellent) film that cloaks its eccentricity in the hackneyed vocabulary of mainstream horror, with occasionally startling results.' (Ian Shone, horrornews.net)

'First off, this was fun to watch and indeed contains plenty of creepy, even scary moments. The cinematography is also good and added significantly to the overall atmosphere.' (Sarudama.com)

http://cps-static.rovicorp.com/2/Open/Sundance%20Channel/One%20Missed%20Call%20%282003%29/_derived_jpg_q90_410x410_m0/OneMissedCall2003-Still1.jpg?partner=allrovi.com

Are there any atmospheric projections, feelings and moods evoked or symbolisation in this film?
The main protagonist is seen sitting on her own during her class, projecting an isolated atmosphere. Another character is seen texting in this class, highlighting themes of distraction. As the plot follows several people being told when they will meet their fate, this could be seen as symbolism for acceptance of ones own mortality. Making it's first appearance, the antagonist is invisible, evoking feelings of anxiety and uncertainty. A sweet is found in each victims' mouth, possible symbolisation for childhood innocence. The unique sound used to denote the presence of the antagonist is an inhaler, which could be used to symbolise the link between human health conditions and death. The mother of the cursed child/antagonist was said to make her children ill on purpose for attention. Through this we see themes of insecurity, child abuse and egocentricity. The central character/protagonist has flashbacks about her grandmother who took her own life by hanging herself, highlighting the themes of suicide and childhood trauma and evoking feelings of loss and bereavement.

What relevance does this research have towards the development of my project?
This film has underlined the developing pattern I have began to recognise within Japanese horror films. The relevance of this research is to identify the unique characteristics of Japanese horror films and by doing so, project said characteristics in my own work. This research has helped me add more to the ever-growing list of characteristics/differences in Japanese horror films and thus, allowing me to identify similarities and differences in each film with greater ease.

Resources:
http://www.efilmcritic.com/review.php?movie=11899&reviewer=392
http://www.film4.com/reviews/2003/one-missed-call
http://tweedling.com/2013/01/film-review-one-missed-call/
http://horrornews.net/66241/film-review-one-missed-call-2003/
http://www.sarudama.com/japanese_movies/chakushinari.shtml

Critically acclaimed Japanese horror films - Ringu

http://www.ultimonivel.net/wp-content/uploads/2009/10/Ringu_DVD.jpg

Plot summary

http://2012yearof365movies.files.wordpress.com/2012/08/well.jpg

A Japanese reporter looks into a story of a videotape which apparently kills whomever has watched it precisely one week later. Watching the tape herself, abnormal events take place, so the reporter and her ex-husband put their differences aside to solve the curse of this videotape.

What (if any) are the differences to American and European horror films?
***NOTE - to prevent repeating myself on certain differences, I will be elaborating on differences I have not yet brought forward and listing previously mentioned differences that I have noticed again in this film below in bullet point form***

First of all, straight away, I noticed that the storyline to this horror title involved a child in some way, I have seen American horror films that use children central to the development of the plot such as The Omen (1976) and The Exorcist (1973), however, seeing as this film is the second Japanese horror film I have viewed, the odds of a child character being used as a plot device are very slim indeed. Next, a smaller trivial element, but for the second time I noticed that the female antagonist was wearing white clothing and had pale skin.

Like Ju-on: The Grudge (2002), the antagonists were more or less visible when they appeared but the mother character had her face covered by her hair at certain points, the female antagonist in this film does the same, using her hair to cover her face and thus, preventing the audience from seeing what she looks like. For the first time in the two Japanese horror films I have watched, a male character received almost equal screen time as the female main character/protagonist, however, he was definitely a secondary character because his role portrayed him as some kind of helper or side-kick and sometimes motivator to the main character/protagonist. Special effects were used minimally, more than often to portray the dramatic and stormy changes in weather. Like Wes Craven's Scream (1996), phones are used as a plot device, however, beyond usage to develop the plot, there were constant appearances or sequences displaying people using mobile phones.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIaNtFmGf97W045Dw8Rka9N4LTv6iIsKvcTfvYcSKO8WC4CtHix9c-z9Iwf51SH3xLf9IUoI23k2JSEXHFArLbFVYNZO6XQcbynL6nG-1I63ZyMV4wWE113B3nwOe9enuHaUvHMF649hc/s1600/84DC8F4039.jpg

Some male characters in this film were rather stale, displaying next to no emotions or concern for other characters. During conversations between certain characters, there were long pauses in the dialogue, perhaps to make the conversations more dramatic. To contrast with the emotionless performances of some of the male characters, the female protagonist's performance was very emotional and dramatic, which at times was somewhat over-the-top. The ending of this film projects the idea that the curse has been lifted, but just like Ju-on: The Grudge (2002), the curse is still present and somebody or everybody awaits an inevitable fate.

Previously mentioned, discovered again in this film:

• Female character(s) usage - protagonist and antagonist are female
• Focus/attention needed - plot requires constant focus and attention to keep up and fully understand 
• Curse - the plot circles around a curse of sorts, someone has died in the past and is now killing the living
• Grey - a heightened grey-scale made the entire aesthetic of this title somewhat more visually grey
• Sound - audio is used more effectively to reinforce the atmosphere of horror and drive suspense
• Unique sounds - a unique noise/sounds are used to depict the presence of the antagonist(s)
• Visual gratuity - there was little or no use of blood, violence or gore in this film
• Scary - more frequent moments using scary images or visual sequences rather than shocks
• Focus - cameras are focused on the point of interest and does not suddenly change
• Inconclusive - the ending to this film was inconclusive and/or left unanswered questions relevant to the plot

Were there any cultural differences in this film? 
***NOTE - to prevent repeating myself on certain differences, I will be elaborating on differences I have not yet brought forward and listing previously mentioned differences that I have noticed again in this film below in bullet point form***
Once a character met their fate, a funeral was held to honour their memories, however, those paying their last respects would kneel instead of standing or sitting down. I am uncertain on what the law states in Japan, but one scene during this film required a child to remain at home alone for large time periods, making me realise that this child was left supervised and it did not seem to really bother the mother, the child or anyone else. The protagonist's son is fishing with his grandfather, the difference being that this act was carried out using just a net. Upon entering people's homes, characters remove their shoes as a sign of politeness and manners.

Previously mentioned, discovered again in this film:

• Wood - the majority of any building interiors or exteriors were made using wooden materials
• Colours - brown and white are favoured colours for building interiors
• Furniture - interior setting furniture appeared smaller and/or lower to the ground
• Design - the design of the buildings (interior & exterior) are different to traditional western designs
• Spotless - exterior streets and buildings are spotless and litter free
• Bowing - characters bow when introducing themselves or displaying gratitude
• Titles - characters refer to each other by their correct titles i.e. Mr, Mrs, Miss, etc

What evidence is there that this horror title is critically acclaimed?
'Now Ringu is here, on a DVD that gives this low-budget cult shocker the class-A treatment it deserves.' (Peter Travers, Rolling Stone)

'It's cunning slow-burn, and once the two creepy pay-offs arrive, thick with inky shadows and insidious sounds, all the more potent for it. A sure, stealthy shocker which certainly primes you for the sequel.' (Total Film)

'Yet "Ring" is no heavily-plotted, race-against-time, action thriller but an expertly controlled psychodrama in which much of the film's pulse comes from the sound of silence, and much of that springs from the characters' contemplation and gestures. Subtly expressive faces and spooky interiors are the order of the day in this original, powerful treat.' (Michael Thomson, BBC)

'Ring has indescribably disturbing moments that frightened me out of my wits. But like many of the Japanese horrors that followed, it sometimes has an elliptic and confusing storytelling style that can make plot-progression muddy. A real chiller, though.' (Peter Bradshaw, The Guardian)

Are there any atmospheric projections, feelings and moods evoked or symbolisation in this film?
As mobile phones are constantly used in this film, one may think this has been used to symbolise society's obsession for technology. The home in which the protagonist and her ex-husband find the original grave of the cursed being is located in the woods, projecting a successful isolated atmosphere. A volcanic eruption took place at a certain point in history within this film's storyline and there was a local woman who predicted this event, however, she was said to have thrown herself into the volcano, suggesting themes of suicide and mortality.

A scene features this gifted local woman character at a press conference in which she displays her talents. What drew my attention to this scene was the fact that all the press members were male, perhaps symbolising sexism in employment. The antagonists grave is a well, located beneath the wooden house in the woods highlighting themes of neglect and evoking feelings of uncertainty and anticipation. 

http://ringufan.intelligent-light.com/images/Ryuji%20in%20the%20well.jpg

When looking for the body of the cursed being, feelings of hopelessness are evoked as it seems the body can't be found to lift the curse.  

http://twscritic.files.wordpress.com/2012/08/ringu-girl.jpg

As the antagonist's face is covered by her hair, self-concious feelings of insecurity are evoked.

What relevance does this research have towards the development of my project?
This research helps me continue my understanding of Japanese horror and the unique characteristics that surround it. As the second Japanese horror film I have watched, a pattern appears to be evolving, helping me recognise similarities between different titles and preparing me in advance to look out for elements in other titles that I will be watching.

Resources:
http://www.rollingstone.com/movies/reviews/ringu-20030225
http://www.totalfilm.com/reviews/cinema/ring
http://www.bbc.co.uk/films/2000/08/16/ring_review.shtml
http://www.guardian.co.uk/film/2008/oct/31/ring

Critically acclaimed Japanese horror films - Ju-on: The Grudge

'Ju-on: A curse born of a grudge held by someone who dies in the grip of anger

It gathers in the places frequented by that person in life,

working its spell on those who come into contact with it and thus creating itself anew'

http://cf.badassdigest.com/_uploads/images/ju_on_the_grudge_xlg.jpg

Plot summary:
A supernatural curse is placed on a Japanese home where the vicious murder of a mother her son once took place. Those who step inside the home are cursed and doomed to be stalked by the vengeful spirits that dwell within, only before meeting a terrifying and inevitable fate.

What (if any) are the differences to American directed horror films?
As the first Japanese horror film I had ever seem there were a lot of differences to American and European horror. First and foremost, the plot required constant focus, missing one moment resulted in confusion and frustration. The plant life in people's gardens was harder to identify, as I understand that Japan has different species of plant, tree, flower and other forms of foliage. The storyline involved a curse, someone has died in the past, stalks and kills those whom enter the cursed home - I cannot remember the last European or American directed horror film that used a cursed being or entity. Next, I noticed that the visuals seemed to use a more heightened grey-scale. Sound is also used more effectively to drive suspense.

The camera work is always focused on what is happening, primarily the characters, there are few moments when the camera looks away and focuses on anything else. A unique sound is played to denote the presence of the cursed being(s) in this film, I was more aware when something interesting was about to happen such as a characters death or the cursed being(s) were in the room. Acting in Japanese horror films is very robotic, dull and sometimes emotionless, I have seen my fair share of badly acted American and European horror films but this film was poorly acted from start to finish. This film also contained little blood, violence and gore, showing that the director is focused on developing the plot and projecting an effective horror atmosphere rather than creating another title driven by blood fuelled mayhem.

At random intervals there were black screens with Japanese symbols, perhaps introducing another character or new chapter in the film. The antagonist(s), in comparison to American and European horror films, appear on screen much more often, eliminating questions of what said antagonist(s) look like, varying from subtle to obvious. This film focuses on using scares instead of shocks, it may contain both, but scary images and sequences are more frequent. The most notable difference was the characters, the vast majority of them were female, both protagonists and antagonists, suggesting a complete difference in gender roles when looking at characters in American and European horror films. By the end of the film there were several unanswered questions, requiring me to go online to gain full context, however, it also made me realise that some of these unanswered questions were a good thing because it allows viewers to make their own answers.

Were there any cultural differences in this film?

http://www.offoffoff.com/film/2004/images/juon.jpg

The design of the Japanese buildings were different to what I have seen in American and European horror films, the furniture was lower to the floor, wood appears to be the preferred building material, white and brown are the most favoured colours and all the furniture is lower/smaller/closer to the ground. Sliders are used for most interior entryways i.e. doors, windows and rafters.

Cream, beige and whites are preferred colours for official settings i.e hospitals, offices and police stations. Doors are rarely one fixed shape and are covered in small glass panels. The overall look of buildings are tidy and organised, not to mention the exterior streets and alleyways are spotless, with no little or rubbish lying around.

Characters remove their shoes when entering peoples homes, referring to each other using correct titles i.e Miss, Mr or Mrs. Bowing is also customary for displaying gratitude to other characters and also characters introduce themselves.

What evidence is there that this horror title is critically acclaimed?
'As a film, it is at once too much a part of an overarching story and divided into too many episodes to be all of a piece. However, as a sustained collection of scare moments, it's a winner.'
(Kim Newman, Empire)

"one of the most frightening films I've ever seen."
(Sam Raimi - director of the Evil Dead series)

'On the scare my booty off meter, I give this movie a five out of five.'

(Vicky Renee Johnson, horrornews.net)

This is truly a creepy and memorable film which doesn’t overdo the gore or special effects and provides a nice balance of scary bits with story exposition.
(randomwire.net)

While not perfectly written, “Ju-on” is a visually enthralling and frightening film. It re-imagines the familiar haunted house story with an innovative new take on the genre. “Ju-on” isn’t just for foreign film buffs; it will appeal to anyone who wants a good scare.
(Joseph Savitski, beyondhollywood.com)

Are there any atmospheric projections, feelings and moods evoked or symbolisation in this film?
A cat is killed at the start of the film, symbolising animal cruelty. The opening is both suggestive and strong, highlighting themes of death. In the first chapter, a child is found in a cupboard, promoting themes of isolation and abandonment.  

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCb9iigQlddd9xOn7B92ff5jZOESGLtxAogrfzD6Pu47yENwqgj3xwAEjZiG26cKSsNjaEUIVPn5FkALCCJqzTkN-aj8mkVNDWrZCBzaB6rKLbaWcUG2SMO73-PU4SbQqjQ7G2j1TI0eI/s1600/ju_on_the_grudge2.jpg

Throughout the film, cursed beings appear out of nowhere, evoking feelings of anxiety and uncertainty.

http://www.cityonfire.com/wp-content/uploads/2011/08/345F763B5A.jpg

Finally, there is a scene which includes a large number of black cats, symbolising human superstition or perhaps human obsession.

What relevance does this research have towards the development of my project?
As the first Japanese horror title I have viewed, this film helped create a starting point towards recognising the unique characteristics of Japanese horror films. With this framework, I will be able to analyse other critically acclaimed Japanese horror films with less difficulty and thus, recognise said unique characteristics with much more ease. Some of these characteristics can and will be applied to my personal horror interpretation to create a more successful projection of Japanese horror.

Resources:
http://www.empireonline.com/reviews/review.asp?DVDID=10270 
http://horrornews.net/50493/film-review-ju-on-the-grudge-2002/
http://randomwire.com/ju-on-the-grudge
http://www.beyondhollywood.com/ju-on-the-grudge-2003-movie-review/