Film Poster – Nocturnal Animals (Project 2: Exercise 3)

nocturnal animals (2)
Fig. 1. Nocturnal Animals

project 2 exercise 3

Introduction

I chose this particular poster for two reasons:

  • I have seen the film and thought it was excellent
  • This poster was produced after it won the Grand Jury Prize at the Venice Film Festival

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Photomontage (Project 2: Exercise 2)

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Introduction

Immediately after this introduction I discuss the four artists. My photomontage then follows, with the reflection at the foot of this post.

The artists

I found the work of the four artists mentioned in the exercise truly inspirational. I’ve included one example from each artist below:

Picture 086
Fig. 1. Heartfield, J.  Adolf, the Superman, Swallows Gold and Spouts Tin (1932)

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Notes for exercise 1

PART THREE – Visual communications

PROJECT 1 – Looking for visual communication

DESIGNING MESSAGES

Points requiring consideration

  1. Persuasion

Self-explanatory really but it is worth remembering that this is both good and bad.

  1. Information

Think IKEA instructions!

  1. Identity design

Think branding

  1. Authorial content

Interesting quote from the course materials:

This content aims to entertain, satirise or educate, and is perhaps more closely aligned with other creative disciplines in which the artist has more control over the authorship of the work.

  1. Interactive design

Welcome to the 21st century and the web. And this is only the start!

  1. Alternative messages

Another interesting excerpt from the course materials.

Visual communication isn’t just about promoting commercial interests or conveying governmental advice through mass media. Visual communication is equally used as a subcultural and grassroots tool for protest, creating identities or creating alternative ways of communicating.

The Road (Project 4: Exercise 1)

The Road by Cormac McCarthy

“He pushed the cart and both he and the boy carried knapsacks. In the knapsacks were essential things in case they had to abandon the cart and make a run for it. Clamped to the handle of the cart was a chrome motorcycle mirror that he used to watch the road behind them. He shifted the pack higher on his shoulders and looked out over the wasted country. The road was empty. Below in the little valley the still grey serpentine of a river. Motionless and precise. Along the shore a burden of dead reeds. Are you okay? He said. The boy nodded. They set out along the blacktop in the gunmetal light, shuffling through the ash, each the other’s world entire.”

(McCarthy, 2006, p.4)

The Road has an omniscient narrator.

Re-write a few lines of the extract using different types of narrator:

  • First person narrator – from the point of view of the man (I pushed the cart…)
  • Second person – as if you were the man (You pushed the cart…)

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Comparing three poems (Project 3: Exercise 1)

Read the following extracts and decide how each poem contemplates the theme of ‘place’. Which one:

  • Speaks about place in relation to identity and exile?
  • Purely evokes a sense of place?
  • Makes a social comment about progress and place?

 

1.The Herefordshire Landscape by Elizabeth Barrett Browning

Hills, vales, woods, netted in a silver mist,

Farm, granges, doubled up among the hills,

And cattle grazing in the watered vales,

And cottage-chimneys smoking from the woods,

And cottage-gardens smelling everywhere,

Confused with smell of orchards.

 

My thoughts:

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Character archetypes (Project 2: Exercise 2)

Here is my list before researching character archetypes:

Hero – Protagonist (P)

Villain – Antagonist (A)

Ally – on the side of P

Ally – on the side of A

The voice of reason – again could work for both P or A

Shapeshifter

Romantic interest – again with P or A

Mentor – as name implies

Victim – as name implies

The omniscient – understands what is going on, can see the wood for the trees (possibly the voice of reason?) – used in the authorial voice maybe?

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