The Argentinian/ French auteur Gapar Noé has been recognised as a contributor to the rise in French Extremity cinema. Within the content of his work he explores deep, dark, and controversial parts of the human experience, having to use a variety of techniques to make the characters empathetic for an audience in the challenging, sometimes unbearable viewing content. There are arguments for and against his attempts to shape meaning as being successful and unsuccessful; he has a variety of creative techniques he uses to construct and explore narrative. I will use three of Noé’s films as examples to analyse; Irreversible (2002), Enter The Void (2009) and Love (2015). These films showcase Noés talent and track his development and further explorations of reoccurring themes such as love, violence, and drug use.
One of the first pieces I chose to analyse was an illustration poster, and I will then compare this to the sort of style he uses in the actual mangas. This piece shows one of the main characters, Light Yagami, in the centre holding an apple (which holds a particular significance in the story), a Shinigami (the creature, a God of Death) crouching behind him, and a skull to emphasise the element of death and gothic genre of the manga.
Currently Marvel studios has two movies in theaters that are producing a lot of money in the box office. Infinity War brought in $1.8 Billion. Deadpool 2 was able to move Infinity War out of the number one spot for the past 3 weeks. The reason Infinity War was so successful was because of the mystery behind the plot till it came out. Many of the trailers did not give away much of what the movie was showing. Comedy is always alluring to younger and older crowds especially if that comedy is able to cause a few out loud laughing in the theater while the movie’s end was very sad. (No spoilers.) It had the combination of many different Marvel characters from all of our favorite movies; Guardians of the Galaxy, Doctor Strange, Black Panther (which just came out in February of 2016) and the original Avengers. This combination of movies that also just recently came out made it more attractive to super hero fans of all types even if you only had seen one movie. Since Marvel has released 3 major box office movies in the past few months, their ability to captivate the audience grew creating a reminding factor to the consumer. While we all hate how expensive the movie theaters are, we still go to see our favorite releases and different movies that have sequels can bring in a lot of money. Why write another storyline when we can continue with the one we have? The separation and elongating of the story line will cause huge amounts of people to go see the new movie that just came out all at once. The first few days a movie is released is when they will receive a fair majority of their proceeds. As a Marvel fan, for many years seeing a new Marvel movie became something to look forward to for months. You hear the movie is coming out and you almost always plan on seeing it the first week or two of its release. The same type of commitment goes with Harry Potter fans; all 8 movies came out far enough apart to create that urgency when they are released. The marketing model behind this is to bring in the four P’s: Product (the movie), Price (varies between theater), Promotion (little is needed when you already have a massive fan base), and Place (has to do with timing of releasing each movie).
The art of creating characters is a representation on reality. In other words, characters in books and films do not actually exist. However, a good creation of a character causes the audience to temporarily forget that the character is only an artistic creation. In order to create a character, the artist needs to give it life. This illusion of life includes, motion, imagery and emotions. This can be done by giving the characters animation and personification. What is the difference between the two? Do the characters need to be both personified and animated? In the picture book The Cat in the Hat by Dr. Seuss and in the film Pinocchio by Walt Disney productions, there exists both animation and personification. To clarify, animation is the artistic creation of life and movement. Personification is the attribution of human characteristics to something non-human.
The recent super heroine film, Wonder Woman, came out kicking and lasso swinging as it left satisfaction among its viewers. The blockbuster broke the traditional aesthetic surrounding comic book films, introducing a new way to save the world with your friends –– and while doing so, included a scene touched with a bit of inspiration from one of Disney's popular animated films, The Little Mermaid.
First, he gave us these beautiful Disney Princesses. Then, of course, the devilishly handsome Disney Princes. Now Finnish artist Jirka Väätäinen is back and this time, he made a realistic rendition of the infamous Disney villains.
Jirka Vinse Jonatan Väätäinen has gained widespread attention for envisioning Disney characters in "Real Life".
Russian born Californian based artist Andrew Tarusov considers art and animation as his general occupation. In this series, he imagines superhero caricatures that could've been designed by Tim Burton.
Craig Drake’s designs are flat, as in geometrically simple, and aren’t abstract with too much details. His artwork removes the invalids, simplifies the scenery, emphasizes the necessary few and is sprayed in soft watercolor and selective vibrant solid colors. His third solo art exhibit wanted to change the gallery experience, – “Think mood and atmosphere, special lighting, a soundtrack; the sight, the sound and the manner in which you view and experience the artwork will be completely different,” and his fine art speaks for itself.
If you love Disney, then you gotta love the Disney women (including the princesses). The problem is they are often remembered for their perfect beauty before anything else. There is more to a Disney woman than just her looks. Concept artist and illustrator, Elaine Ho, recognized this and made a series of art depicting the beauty and personalities of these iconic animated women. She even goes on to explain why each of these characters are so special to her.
The Deadpool sequel may not be due for release until June 1, 2018, but that doesn't mean Fox's marketing machine isn't getting to work. The first film was known for its witty, irreverent (and frankly utterly bonkers) marketing, and it proved a tremendous success. The first poster for Deadpool 2 clearly shows that Fox is hoping lightning will strike twice.