3. David Puttman
Producer/Executive
David Puttnam was born on February 25, 1941, in London,
England, UK. He is a producer and executive, known
for The Mission (1986), Chariots of Fire (1981) and The
Killing Fields (1984).Puttnam founded Skillset, which
trains young people to become members of the film and
television industries. From 2002 to 2009, he was UK
president of UNICEF and remains an ambassador.
Puttnam was the first Chancellor of the University of
Sunderland from 1997 until 13 July 2007.David Puttmans
involvement in helping young people break into the
industry especially in Sunderland inspires me as he has
worked on some iconic films helping to shape the industry
and now tries to help others have similar careers.
4. Rachel Morrison
Cinematographer
Rachel Morrison made history this year by becoming
the first woman to be nominated for the best
cinematography Oscar, for her raw, immersive work on
Dee Rees’ Mudbound (2017). But that stellar
achievement is something of a double-edged sword.
It’s possible to be thrilled by her success – which can
be also be measured by her expansive work on this
year’s Black Panther and visceral approach to Daniel
Barnz’ Cake (2014) – while also remaining frustrated
that she’s the first woman to be so honoured by the
Academy and that gender representation across all
industry sectors remains so shameful. Being the first
female cinematographer to be recognised by the
academy means that Rachel Morrison is breaking down
barriers for women in the industry and now hopefully
the academy will recognise the work women do more.
5. Si Bell
Si Bell BSC is an international
Cinematographer represented by
United Agents in the UK and Sandra
Marsh in the US. Si is known for his
work on high end TV shows such as A
Very British Scandal, The Serpent, Peaky
Blinders 5 and A Christmas Carol as well
as feature films Electricity (2015) and In
Darkness (2018).Si Bell a
cinematographer originally from the
Northeast inspires me as proves that
even if you are not from a county where
the industry is thriving you can go on to
work on big productions and make it
not only in the UK but all over the
world.
7. Cruella is dressed by
the two-time
Academy Award–
winning costume
designer Jenny
Beavan, who puts
across in the film one
the most artistic,
beautiful, and
accomplished
costuming works of
this century so far,
bursting with
numerous instantly
iconic dress reveals
and scene-stealing
costumes. Made by
the mainstream giant
Disney the film draws
inspiration especially
in the costumes from
non-conformist
underground trends of
the ’70s for a live-
action prequel made
for the masses,
bringing the period to
life with inspired
visual nods to the
likes of Vivienne
Westwood, Alexander
McQueen, David
Bowie and even
Marie Antoinette.
In this film we can see
an evolution of
characters personality
and development most
evidently through her
costume as Emma
Stone develops the
character from the
reserved persona of
Estella into the
outrageous and
flamboyant Cruella with
this being a major
storyline of the film the
costuming evidently
reflecting it from going
from reserved one colour
outfits to the outrageous
and flamboyant style and
personality of Cruella
allowing the audience to
see the personal and
emotional transformation
of the character visually
as emotions are
explored and the
character evolves
eventually finding a
combination of the two
allowing her to be her
true self.
Estella's work uniform
taking inspiration from
Vivienne Westwood with
the black suggesting she
is quit a mysterious dark
person and quite reserved
keeping herself to herself
which can also be seen
through the performance
of Emma stone in the
costume as she has
closed body language with
her shoulders hunched
over and her facial
expression looking almost
as if she is worried or
anxious reflected in the
costuming. This costume
almost foreshadows the
story of Estella and the
baroness who she works
for and the dark
connection that links them
together.
This costume is a nod to the original 1961 Cruella with a 21st century revamp. This
is probably one of Cruella's most iconic and recognisable looks with black and white
hair and the “dalmatian fur” coat however it has had an update to keep in with the
time period and aesthetics of the film with the full fur coat being replaced by a half
black half dalmatian white coat with leather elements and black gloves referencing
the punk element and aesthetic that is carried throughout the costuming and film as
a whole. This evolution means that audiences can see this character from a different
viewpoint than what they may have seen the original however still being identifiable
and recognisable with the audience. This costume shows not only the evolution of
the time period but also the evolution of the character within the film as she now has
her real hair colour and is expressing herself and style also shown in the
performance of Emma stone as her body language is now open and free reflecting
her emotional status and we as the audience can see she feels a lot better being
herself than pretending to be something she's not sending a positive message to the
target audience which is children aged 13 and up.
Estella
2021
1961
Colour scheme
Black-black connotes mystery and death but also connotes power and
dominance.
Red-red connotes typically love and anger but can also connote
vengeance and blood.
White-white connotes cleanliness innocence and safety however is often
used not for its connotations but white famously is one of the best
contrasts for black therefore is used stylistically and not meaningfully.
8. Black panthers costumes were designed by
academy Award-winning costume designer
Ruth E. Carter who is an expert storyteller
who harnesses the power of visual
communication to share narratives of culture,
race, and politics. Creating costumes for
generation-defining films, she brings
vibrancy, nuance, colour, and texture to each
of her culture-shifting characters.
In black panther carter is able to develop the
costumes masterfully not only to make the
characters look good but to add depth and variety
to the costumes whilst also being able to keep in
touch with the personality of the characters their
heritage and journey throughout the film.
In this scene especially for the character of Shuri we are shown the heritage of the
characters and their culture developing their storylines and allowing the audience to
understand the characters more as we go on a this journey of emotions throughout the
film. Shuri usually wears more modern clothing such as space age clothing or modern
day clothing connecting her to the setting she is in as Wakanda the place the movie is
set is suppose to be years ahead of its time in things like technology and science and is
someone the audience can relate to and inspire young girls to get into science and
engineering by wearing these clothes however in this scene she is wearing traditional
ceremonial clothing inspired by the Dinka people connecting her to her roots and Africa
showing that from no matter where you come from you can go on to do great things
sending a positive message to the audience which is primarily children.
In black panther Ayo Dora is a warrior who is
fierce confident and bold which is reflected in her
costume and hair along with keeping with the
African/tribal aesthetic of the movie. The first
thing we notice is that Ayo Dora is bald. Most
women fear going bald or having the hair shaven
so having women bald in a mainstream film not
only represents that as a character she holds
confidence which is clear throughout her clothing
and personality but that being bald should not be
a taboo or bad thing and that it should be more
widely accepted in society and regarded as
positive suggesting positive female
representation throughout film and costuming
and to show not only the audience but the film
industry as a whole that women are not objects
they are not there to please the male eye they are their own person and are allowed to
feel and bee seen as confident and beautiful no matter what they look like even if they
don’t conform to societies standard of beauty and the film industries standard of beauty
that was the norm for so many years and everyone else is an outcast this
representation proves that there is a development happening change is coming and
women should not and will not be subject to objectification. Her costume much like
Shuri's is shown to resemble and include references of Africa and African tribes showing
that all characters but in this case Ayo Dora is proud of her culture which can be seen
throughout the film and that the audience should be proud of their culture to.
Ceremonial outfit Modern outfit
9. Atwood has been nominated for the Academy
Award for Best Costume Design twelve times,
winning four times - for the films Chicago
(2002), Memoirs of a Geisha (2005), Alice in
Wonderland (2010), and Fantastic Beasts and
Where to Find Them (2016); the latter is the
first Wizarding World film to win an Academy
Award. She has collaborated several times
with directors Tim Burton, Rob Marshall and
Jonathan Demme.
Timothy Walter Burton[a] (born August 25, 1958) is an American filmmaker and
artist. He is known for his gothic fantasy and horror films such as Beetlejuice
(1988), Edward Scissorhands (1990), The Nightmare Before Christmas (1993), Ed
Wood (1994), Sleepy Hollow (1999), Corpse Bride (2005), Sweeney Todd: The
Demon Barber of Fleet Street (2007), and Dark Shadows (2012). Burton also
directed the superhero films Batman (1989) and Batman Returns (1992), the sci-fi
film Planet of the Apes (2001), the fantasy-drama Big Fish (2003), the musical
adventure film Charlie and the Chocolate Factory (2005), and the fantasy films
Alice in Wonderland (2010) and Miss Peregrine's Home for Peculiar Children
(2016). His accolades include nominations for two Academy Awards and three
BAFTA Awards, and wins for an Emmy Award and a Golden Globe Award
Colleen Atwood
Costume designer
TIM BURTON-DIRECTOR
Costume designer
and
director
of
Alice
in
wonderland
10. The makeup for the mad hatter in Alice in
wonderland was not supposed to look like
makeup but suppose to look like his skin this
is down to the fact that the character
suffering mercury poisoning and is not only
told to the audience but shown physically
and mentally as that is what makes him
“crazy” compared to the other characters.
His makeup could be described as an
explosion of colour with no real purpose
which could represent his flighty and skittish
behaviour and mental status and could
almost be referring to how his mind feels like
an explosion with no structure or purpose
relating to the characters childlike behaviour
and the sense that everything is exciting and
fun to him.to the audience he could look
almost clown-like unnerving and
unpredictable and even though through the
film his attitude relates most to that of a child
and something we shouldn’t be afraid or
worried by at first appearance this look may
be perceived as negative almost a nod to
the saying don’t judge a book by its cover.
His pale-white face could reference
something of a ghost and is most prevalent
in horror movies which is no the intended
genre for the film. With the mad hatter
breaking the genre norms of a fantasy film
it keeps the audience engaged and exited.
This break from genre norms may also
reflect the characters personality meaning
the character may break the norms of the
society in that world and suggest his
mental health breaks the norms of the rest
of the characters allowing the audience to
see that this character is different to the
rest of the characters and he may go on his
own personal development creating a sub-
storyline for the film keeping audiences
entertained. It is safe to say that the mad
hatter doesn’t follow a colour scheme or
pattern design within his clothing makeup
and hair also reinforcing the belief in the
audience that the hatter has a poor mental
state that has no structure or purpose not
only that of his mental state but maybe of
his life .
The
White
Queen
M
A
D
H
A
T
T
E
R
The white queen is an unusual quite quiet whimsical woman with
no background that the audience previously know her from. The
white queen is introduced as a new character for this adaptation
however by first appearance she looks quite elegant regal from
her clothing makeup hair and accessories. She has a pale white
face similarly to the mad hatter however instead of making the
audience uneasy and on edge the white queen looks quite
comforting and kind. The white queen suggested by her name is
dressed in all white with pale skin and face along with all white
hair making the audience almost think of her a ghost or spirit like
but instead of being scared of her which is a natural reaction to a
ghost in most films including ghosts such as in the horror genre
she is made out to be someone that the audience should not be
afraid of and should almost be comforted by and relaxed around
her. Her clothing has referencing to the regency era with a corset
top with ruffles and a ballgown skirt along with her crown which
makes her recognisable to the audience that even if we didn’t
know her name we could guess she was someone of importance
or such as a princess or a queen as she follows the common
conventions of what these types of characters look like and how
they are represented in the media. Even though she wears mostly
white she wears a darker lipstick suggesting to the audience she
may hold a dak secret about herself or another and it is visibly
being shown to the audience through use of make-up.
Connotations
of the colour
white:
Purity
Virtue
Innocence
Calm
Elegance
Goodness
Pure
Clarity
Positivity
Balance
Costume
designers
comment:
Atwood
describes the
frothy, Victorian-
inspired number
she whipped up
for the actress
as “Stepford
fairy princess.”
11. Connotations
of the colour
red:
Action
Strength
Energy
Passion
Confidence
Anger
Danger
Revenge
Aggression
Violence
Rebellious
Luxury
The hair design for the queen of hearts is in the shape of a heart which
is prominent iconography for the character and her name as although
she is called the queen of hearts her heart is cold and she doesn’t care
for anyone else so even though at first appearance she sounds nice
and kind she is actually the opposite with the creators of Alice in
wonderland originally using a lot of irony with this character just to
make her seem that much more evil.
Her costume also allows the audience to connect her name to the actual
character making her recognisable using regency style design dresses and
wearing a golden crown allowing the audience to make the sub-conscious
connection and allow the audience to recognise that this is someone of
importance and prestige.
Similarly to a lot of characters in this new version of Alice in wonderland she has a pale white
face matched with blue eye shadow and whilst white usually connotes innocence and purity
combined with the blue shadow the pale face makes the character feel cold empty and distant
from the word effectively contrasting her costume and hair suggesting she feels a conflict within
herself and she does not know wat to do or how to feel almost making the audience feel sorry
for the villain and another layer of depth and meaning not only to the character but to the film as
we explore further her actions and emotions and the affects they have on other people.
As the film is a live action remake audiences had to be able to identify with the
characters for example the queen of hearts is the main villain of the film
therefore needs to be recognisable as we can see similar colours are used along
with similarly designed clothes and crown however there are some extremely
noticeable changes to the two costumes to modernise the film to meet the
society of 2010 and fit in with the new world Tim burton and his team crated with
a lot more use of darker tones colouring and lighti8ng the queen of hearts in the
2010 adaptation is shown as more regal and elegant with the design a tip to the
Elizabethan era a more down to earth grungy believe queen for the setting whilst
the original queen of hearts fits perfectly into her cartoon world that was created
with her outfit full of bright colours and imagery when put together the 2010
queen looks more menacing and evil personifying her emotions and
characteristics visually to the audience presenting a new darker evolved look to
12. Tim Burton-Burtonesque
Tim Burton is an American filmmaker and artist. He is known for his
gothic fantasy and horror films such as Beetlejuice (1988), Edward
Scissorhands (1990), The Nightmare Before Christmas (1993),
Ed Wood (1994), Sleepy Hollow (1999), Corpse Bride (2005),
Sweeney Todd: The Demon Barber of Fleet Street (2007), and Dark
Shadows (2012). Burton also directed the superhero films Batman
(1989) and Batman Returns (1992), the sci-fi film Planet of the
Apes (2001), the fantasy-drama Big Fish (2003), the
musical adventure film Charlie and the Chocolate Factory (2005),
and the fantasy films Alice in Wonderland (2010) and Miss
Peregrine's Home for Peculiar Children (2016). His accolades
include nominations for two Academy Awards and three BAFTA
Awards and wins for an Emmy Award and a Golden Globe Award.
There are two sides to Tim
Burton’s production design: the
naturalistic side and the theatrical side.
The naturalistic side tends to mimic
Burton’s own exaggerated view of
“American suburbia,” like it does here
in Edward Scissorhands: The American
suburbia Tim Burton aesthetic is
defined by bright and bold colors, as
well as 1960s architecture and cars. It
stands in stark contrast to Burton’s
theatrical side, which is defined by
Gothic overtones and
mechanical machinations and heavily
inspired by German Expressionism.
Shots from Charlie and the Chocolate Factory directed by Tim Burton
13. German Expressionism
Characteristics of German
Expressionism
•High angles
•Deep shadows
/chiaroscuro lighting
•Extreme camera tilting
•Impossible sets
An example of where German expressionism was used was in the
1920s film: The Cabinet of Dr. Caligari
Written by Hans Janowitz and Carl Mayer, The Cabinet of Dr.
Caligari was based on the writers' experiences as WWI soldiers and
their distrust of authoritarian leadership. The filmmakers chose to
deliberately distort reality in order to disorient the audience to invoke
a feeling of the time rather than a truthful or realistic depiction.
Edward Scissorhands is a direct descendant of Dr. Caligari. You can see
the angled and broken architecture of the set, the
extreme light/shadow work, and the look of Edward himself. German
Expressionism radically altered cinema. In particular, the love of
chiaroscuro lighting survived and evolved into film noir and the horror
film. There's no denying that it helped build the visual foundation on
which the entire genre rests. German expression has cemented its
legacy in film through the ages most commonly used in the 21st
century by Tim Burton.
Tim burton inspires me as he breaks the mold of a stereotypical
director. In his work German expressionism can be seen
throughout and with his alternate styles between exaggerated
and bright contrasting his more gothic edgy style it makes for his
work to be dynamic engaging audiences of all ages.
14. Cinematography
Inspiration
Evaluation
Cinematography and mise-en-scene play a big part in
the reason I wanted to study film and television with
my favourite directors being the likes of Tim Burton,
Si Bell and Rachel Morrison, their work and
knowledge inspire me to take risks and chances with
my work. Their unconventional style brought to a
mainstream audience whilst breaking down barriers
allows them to make waves in their field and be
recognised on a global level as even though they
made have had some knockbacks in their early career
this allowed them to develop and grow not only in
their field but personally as well. They inspire me to
not give up on my ideas on aspirations even when
obstacles arise and challenges are faced.
16. CDB PRODUCTION
SOLUTIONS
Chris owns CDB Production Solutions he owns and runs the company
from Darlington and is self-made starting in broadcasting as a runner
Chris progressed eventually moving to opening his own company with
high standard professional equipment and a team of, Technical
Engineers and Operators, Production and Event Crew, Load In and Load
Out Crew, Follow Spot Operators and Specialist Installation Engineers. I
recently had the opportunity to work with and learn from Chris at
Durham Fringe Festival where I was taught how to load in and out and
how to operate lighting desks working with clients to offer them the
best possible service. Chris's dedication and passion for the business
truly inspired me to elevate my work to a higher standard in order to
provide the best quality of work for the client.
17. My inspiration technical theatre-Kenneth Posner
Kenneth Posner is an American lighting designer, working on Broadway, Off-Broadway,
and in American regional theatre. His most notable designs include the
musicals Wicked and Hairspray, two highly regarded musicals of the early 21st century. In
2007, he won the Tony Award for Best Lighting Design in a Play for his work on The Coast
of Utopia (Part 2 - Shipwreck).He has worked on hundreds of productions including:
18. Evaluation of
Technical Theatre
and
Events Inspirations
Kenneth Posner inspires me to try new things and
not give up as although he worked on infamous
productions such as Wicked and Hairspray he only
ever got nominated and didn’t win until he worked
on a much smaller play called "The Coast of Utopia
part 2-Shipwrecked" where he won both a Tony and
a Drama Desk award for lighting design. As this is a
career, I aspire for his career reminds me that even if
I get knocked back there are new opportunities
around every corner. Chris from CDB PRODUCTION
SOLUTIONS inspires me as a person his dedication
and attitude influences me to remain positive, never
give up and is living proof that people from the
northeast can be successful in both events and
television.
