Luckily we have been given the films on disc to view as important reference material. Even though we are well on our way to editing the film, something could deeply inspire us and change our view of our own film. Joelle C Vosper's work is a collection of student films which is wonderful to see other students than classic well known references. These would have been created by students going through a learning process the same way we are.
Joelle Vosper is a BA Hons Fashion Promotion graduate, she started in 2006 at the Univesity for Creative Arts Rochester. The DVD James has leant us is a collection of lots of her work with different influences films photographs and moving stills.
When watching the films we chose to look at the lighting and composition throughout, just for impact in the way the film has been pieced together and put in an order. We also took note of transitions from story section to section and also clothing changes. This is because this is what we were working on for our film.
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Rochester House Shoot-MIchelle Vaughan, Amarilli Wiseman, Kalea Mbayi, Sofia Vourdanou, Eurydice Butoyi, Hannah Jarvis, Nadia Butt, Stying by Janice Furneaux, assistant stylists Gemma Falcone and Simona Mohan, photography by Rikard Osterlund, filmed and produced by Joelle Vosper.
This short film is very atmospheric and moody one especially with the backing track, its a shame they did not put the music in the credits as this is something i wish to know and will include in our own film. The film uses spinning and rotating around the room fast to set the scene. It then uses layering and fading with a hand held camera to introduce the model character and continues to do so in a documentary jumpy way, but with a fading quality that keeps the film smooth. The are areas where shots of movement jumping from one position to another are used to expresses a sequence from one place to another but in breaking it up and jumping it is a shorter clip. The film is shot like a documentary of a shoot, it uses dark lighting in the room, natural day light from outside, flashing studio lights and diffuser boxes. We like the way the fading has been used and the way calculated moments of jumpy footage explain a narrative but in a short amount of time (good for our short film) This is noticeable in a close up of the photographer shooting the model near the fireplace, he jumps from kneeling to standing in less than a second, it also worked with the music.
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Alisha- styling by Laura Power, model Alisha Petty, filmed by Joelle Vosper
This film straight away we could see was influenced by David Linch Particularly 'Lost Highway'
from the way it was shot on a hand held camera, to the eery music quite in areas louder in other, unclear soft blurry lighting from street lights, a creepy mask and even a car with its full beams on. This film has used repeat sections of the same imagery emphasising particular movements and good at leting the viewer see the clothing the model is wearing. The full beam car lights look to be lighting the model however studio lighting could have been used. We like the way the shots range from close ups of the legs moving up to the midriff focusing on sections of the clothing (which appears to be night dresses and sheer lingerie). Out of focus shots and compositions of the model centre frame and far left or right add clips to the film. We have tried to build our film up in this way with shots from different angles and the character positioned at specific areas of the frame. We also have lots of close up shots of our clothing so the overall film should be very dynamic.
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The Missing- Nicole, Bonnie, filmed and produced by Joelle Vosper
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Alisha- styling by Laura Power, model Alisha Petty, filmed by Joelle Vosper
This film straight away we could see was influenced by David Linch Particularly 'Lost Highway'
from the way it was shot on a hand held camera, to the eery music quite in areas louder in other, unclear soft blurry lighting from street lights, a creepy mask and even a car with its full beams on. This film has used repeat sections of the same imagery emphasising particular movements and good at leting the viewer see the clothing the model is wearing. The full beam car lights look to be lighting the model however studio lighting could have been used. We like the way the shots range from close ups of the legs moving up to the midriff focusing on sections of the clothing (which appears to be night dresses and sheer lingerie). Out of focus shots and compositions of the model centre frame and far left or right add clips to the film. We have tried to build our film up in this way with shots from different angles and the character positioned at specific areas of the frame. We also have lots of close up shots of our clothing so the overall film should be very dynamic.
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The Missing- Nicole, Bonnie, filmed and produced by Joelle Vosper
This fim is set on a sandy beach just like our concept however the film uses different techniques of extreme whitening and fading, combined with white clothing the effect is very bleached out with dreamy music serene. The film uses jump cut throughout a sequence to speed up events but in a faded smooth way to speed up time in a calm way. This is another film that uses hand held shaky camera movements as a medium. The music behind this film is very angelic church choir music suiting the visuals and giving a holy atmosphere. The mood changes however with a few unsettling guitar stings and the characters feet dragging in the sand away from the sea, the viewer is not sure what has just happened whether she has just drowned her self in the water or if another character has murdered her :S We liked the way the camera was held as still as possible for this scene with a little swaying and movement as line is drawn in the sand half way down and all the way across the screen. The scenes are collaged with fading bright white movements of sand sea and sky until you are not sure what is what. It gives the feeling that time is passing.
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Run Away Girl- model Harriet LaMont, filmed by Joelle Vosper
This film is beautifully shot in black and white, the styling and clothing contrasting beautifully with the woodland background, leafless trees pale sky and floor. The character has dark hair and eyes with dark clothing so it is all well considered for composition. The film uses eery music but in a different way to Lynch the music has a slow tempo with the occasional shrill notes creating tension and slight horror from string instruments and tin harpsichord- (an instrument from the baroque period like a piano but with strings. The keys on a traditional piano are black and white the harpsichord are inverted white and black keys) Shot on a hand held camera the film uses close ups of the female character of her face and clothes. The 'runaway girl' is shot looking around in a mysterious way layering repeat clips, and fading from scenes to scenes.
We have noticed signature traits that Joelle Vosper uses like the layering, fading, hand held quality, speeding up time and slowing down sections in a colaged sequence to describe a rough narrative. Some of the films are also left in a way that lets the viewer think about what is happening in the plot.
(Video 0018)
Run Away Girl- model Harriet LaMont, filmed by Joelle Vosper
This film is beautifully shot in black and white, the styling and clothing contrasting beautifully with the woodland background, leafless trees pale sky and floor. The character has dark hair and eyes with dark clothing so it is all well considered for composition. The film uses eery music but in a different way to Lynch the music has a slow tempo with the occasional shrill notes creating tension and slight horror from string instruments and tin harpsichord- (an instrument from the baroque period like a piano but with strings. The keys on a traditional piano are black and white the harpsichord are inverted white and black keys) Shot on a hand held camera the film uses close ups of the female character of her face and clothes. The 'runaway girl' is shot looking around in a mysterious way layering repeat clips, and fading from scenes to scenes.
We have noticed signature traits that Joelle Vosper uses like the layering, fading, hand held quality, speeding up time and slowing down sections in a colaged sequence to describe a rough narrative. Some of the films are also left in a way that lets the viewer think about what is happening in the plot.
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