Environment Online Greenlight Review

8/3/2019 Environment Online Greenlight Review

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Steven Payne

Unit ThreeOnline Greenlight Review

Environment


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ContentsResearch and Inuences

Principles of The UncannyWider Research and Inuences

The Development ProcessUnderlying Production Principles

Visual Concept Inuence Map

Getting StartedKey Thumbnails

Establishing the Scene

Written Assignment

Creative Partnership

Contents


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Principles of the UncannyThe Uncanny is a theory that addresses the feelings of

unease and dread in human beings when presented withsubjects of somewhat human resemblance.

The theory was primarily investigated and establishedby Sigmund Freud in his essay, The Uncanny, expanding uponpoints addressed previously by Ernst Jentsch in his essay, On

the Psychology of the Uncanny.The theory is constructed around the ideas surrounding

the German word, unheimlich, meaning unhomely, with theopposite being heimlich.

But at what point does heimlich become unheimlich?Masahiro Mori established a hypothesis regarding the transi-tion from heimlich to unheimlich known as the uncanny val-ley.

The diagram above is a visual representation of Morishypothesis, depicting that the more human-like somethingis, the less familiar it becomes. According to the diagram,objects and images that bear an exceedingly strong humanresemblence (such as a corpse, zombie or prostheses) aremore likely to instill a feeling of unease and distress, as op-posed to objects and images such as stuffed toys, industrialrobots and antropomorphic animals, which are considerablymore pleasing.


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Examples of The Uncanny

This example comesfrom the Chris

Cunningham music

video for BjorksAll is Fullof Love. The video fea-tures a highly human-like android that bearsa resemblence to Bjork.The unnaturally humanappearance is uncannyby default, but thecontrast between the

highly non-human ap-

pearance of the industrial robots in comparison to the vividlyhuman appearance of the android amplies the androidsuncanny nature. Although, the clear industrial construction ofthe android somewhat cancels any unease that would pos-sibly be experienced out, in comparison to something more

The uncanny can also relate to repetition and the feeling ofunease that comes with experiences of repetition such asde ja vu. Whilst repetition and routine can often be comfort-ing (for example, at a young age, routine is preferred as it ispredictable, and therefore familiar, orheimlich), unusual oc-curences of repetition, such as a repeated number or wordthroughout the day, can strike up feelings of unease.

The double is another example of something which could beconsidered uncanny. The double typically denes anythingin which a person experiences duplications of something orsomeone, in a variety of forms. These forms could includereections in windows and mirrors, shadows being cast, twins

and the idea of the doppleganger (a human duplicate that

behaves in the same, or similar, fashion as the original per-son).


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Artistic InfuencesGregory CrewdsonI have been looking at the work ofGregory Crewdson as one of my pri-mary inuences for this piece, both for

his theatricality and his manipulation ofthe uncanny in the overall presentation

of his images. Crewdsons work typicallypresents a relatable, recognisable envi-ronment in an askew, unusual reinterpre-tation. I wish to integrate this style in myown work, as the blatantly staged pres-entation presents ideas of the uncannyeffectively, as well as being generallypleasing on an aesthetic level.

Martin ParrMartin Parrs documentary photographsof 1980s England embody a particu-larly consumerist, plasticy tone I wish toachieve in my scene. His photographsare highly saturated and incrediblybright, and project a feeling that theyare somewhat fabricated as a result oftheir bright, sticky nature, whilst entirelycandid in their origin. This saturated rep-resentation of reality is the sort of thingIm attempting to achieve in my scene.


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Andreas GurskyAndreas Gursky is known forhis incredibly grand scale pho-tography, featuring scenes ofrepetition and vivid colour. Thebeauty of Gurskys work is thatthey are ultimately completelycandid, and the staged ap-pearance of his shots is entirelynatural. I wish to take this grand

presentation of repetition andcondense it down into myscene in some format, possiblythrough the repetition of furni-ture, tiling or lighting.


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TheDevelopment

Process

Underlying Production PrinciplesI started my development process taking an abandoned, desolate ap-proach, creating a scene of chaos and destruction. This idea has com-pletely changed direction, with my approach now becoming more clini-cal and hygienic, with an emphasis on hyperreality and minimalism.

The sugar-sweet, naturally uncanny appearance of the stereotypi-

cal 50s style diner already provides a sense of unease and its this as-pect which I aim to exploit and emphasise.

Fig 1 Fig 2

Fig 3Fig 4

Visual Concept Infuence Map

This inuence map consists primarily of images which Ive referred to inorder to get an idea of typical diner decor. The top right image perfectlysummarises the vivid, sickly sweet presentation Im leaning towards, aswell as the wonderfully cliche image at the bottom. The other two im-

ages of the bars are more for structural reference, whilst the Pepsi posteris there to provide me with an idea of the advertisements and generaltone of the period I aim to integrate within the scene.


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TheDevlopment

Process

Key Thumbnails

Fig 1 Fig 2

Fig 3 Fig 4

Fig 5


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TheDevelopment

Process

Scene Breakdown

The overall presentation of the scene is going to be crisp andclean, without a single aspect being out of place. The scene will be litwith deliberately harsh uorescent lighting, bouncing off of the reectivefurnishings and decor scattered strategically and specically throughoutthe diner. The scene is meant to be a reection of the forced-friendly-ness that comes from a typical fast food restaurant, with oversaturatedcolours ooding the scene, all whilst sitting comfortably next to one an-other. The diner is meant to be as harrowing to the eyes as it is welcom-ing. It is a place which is strikingly familiar, yet youre not quite sure why.

Key Thumbnails

Fig 1- This thumbnail is opened up wide in order to put emphasis on thecleanliness aspect of the scene. Although it does this well enough, empti-ness is not what you would typically associate with something as bustlingas a fast food restaurant.

Fig 2- This is a slightly more conned presentation of the scene, with the

counter acting as a centerpiece. As a centre piece, I like the idea ofusing the counter, but if it is going to draw the bulk of the attention in thescene, it needs to be grander. Possibly a sweeping curve-style construc-tion as opposed to the simple, angular design.

Fig 3- This is where I began to look at repetition as being an integral partof the scene, after all, fast food restaurants are built on the foundationsof mass producing the same thing a thousand times over, so why notreect this in the scene?

Fig 4- This is a slightly more minimalist, yet more striking version of the pre-vious idea. I think the uniform nature of the setting reects themes of theuncanny and hyperreality effectively, and it is highly likely this approachwill nd its way into my nal scene. Although this may also make my life

a little easier in terms of modelling, I may treat these repeated lines oftables and chairs as a opportunity for the matte painting instead.

Fig 5- Another thumbnail depicting repetition, with each aspect is exactlythe same as the last, even down to the table arrangements. On a largerscale, I think this highly repetitious approach will instill a vivid sense of the

uncanny.


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Written

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Written AssignmentI have not included a complete introduction to my essay as of yet,

as in response to the feedback I recieved for my Unit Two essay, I wishto spend a little more time gathering relevant references and sources inorder to create an overall better essay.

I have a general idea for the essay, but nothing overly relevant oruseful in terms of sources for it to grow from.

The theme for the essay I have been thinking about is,

What Design Choices are Made in Order to Prevent Films Slipping

into The Uncanny Valley?

I aim to compare lms considered uncanny in the way they pre-sent characters and environments, such as I, Robot with lms that emu-late reality in a less unheimlich way, such as The Incredibles, in order

to determine the point where the heimlich becomes unheimlich andvice versa.

I will be spending the remainder of this week researching sourcesand the full introduction will be complete and posted @Phil by the end

of the week.


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Creative

Pa

rtnership

Creative Partnership for Unit Three

Messages from Myself to Amihi ami. it may be a good idea to rene some of your thumbnails a little further

to get your points across. right now, im nding your explanations of your thumb-

nails more informative than the thumbnails themselves. there are some good

ideas here, they just need to be clearer. really sell your ideas and do them jus-

tice! on Different Sketches

hey ami. nice collection of work here. you seem to be adding thumbnails in

drips and drabs though, maybe assemble them together so you can give an

idea of what youre going more clearly, as im a little lost myself! onJust Some

Updates (Mostly Maya)

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