Animated Shorts Review

Gopher Broke

The animated short film ‘Gopher Broke’ is about a gopher living on the countryside who is shown trying hard to procure vegetable/fruits in the film to eat. It opens with the sign board which reads ‘Farmers house’ and then at the root of the board we see the gopher. It is in this way that the main character – the gopher is introduced.

The characterization of the gopher is very good. He has an innocent looking face and has two big frontal teeth which further show his gullibility and country fool characteristic. The naiveté and yet the clever tactics he applies to procure food reveal to us the interesting character that he is.

He is on a road where trucks are moving produce to market. He digs a pit on the road so that every time a truck passes it jumps up and fruits-vegetables fly into the sky. The fruits-vegetables are shown in slow motion for added effect, and the sparkle in his eyes when this happens is a very heartwarming moment. But he can never really enjoy the feast as the crows always get it before him.

The audience feels sorry for him, we connect with him because we have seen him try for food, get really close and then get disappointed. We too get disappointed with him.

The film has a comical ending, as this time around a truck carrying a cow passes and jumps up because of the same pit he had dug. The animal then flies out and lands on the poor gopher! Following this we see the truck go away with the cow in it and the gopher stuck on his behind! :D

A very cute short, with a simple storyline and basic human emotions we can connect too.

A Gentlemen's Duel

This animated short film opens like a typical princess in the castle or fairy tale. We see a beautiful pond, with two frogs trying to have the same butterfly. Then the frame expands and we see a very pretty lady looking out from the balcony to the left and there the title of the film is shown.

The film as the name suggests is about two men fighting for a girl. The girl like in all classical fairy tales is shown as a passive participant who has a pretty face. The characterisation of the two men is very interesting, one is very English and the other is very French in his appearance. So the classic rivalry between the English and the French is revived.

They fight verbally, bicker over the lunch, but the main fight happens with the men running huge robots. In this too fun is made of English traditions like the evening tea. In the middle of the fight, at a very decisive moment the servant comes and rings a tiny bell. All of a sudden the fighting stops and we see both the men and the lady at table sipping tea like civilized human beings!

Once it’s over, they return and resume from exactly where they had left. Finally after a lot of destruction, they realize the woman is missing and later see her boots under a boulder. Assuming that she is dead, they both run away. We see all the destruction they’ve caused and then see rustling in the nearby bush. We then see the lady naked in the bush smiling - we wonder who is she with and we soon see the servant pop out of the shrub too. So somewhere in the middle, the lady had gone out with the servant leaving both the men to fight! :) An unconventional end to a very predictable plotline. 

German Expressionism and Architecture in Cinema

Introduction

The Expressionist movement began in Germany around the 1900’s. Originally the idea was for the artist to produce a piece of work entirely from a subjective point of view. Popular examples are: The Scream by Edward Munch, and Starry Night by Van Gogh.

Expressionism in architecture also began in Germany around the early 1900’s. It refers to German, Dutch, Czech, Austrian and Danish Avante Gard from 1910-30. Architecture showing original, unique design was popular.  Research from Sigmund Freud and Karl Jung helped start the Expressionist movement. There was more focus on the psychological effects of form and space when designing. Socialist government was repressing towards art, it was a way to act out for the artists/architects. 

Characteristics:

• Distortion of the form to invoke emotion
• Striving to be new and original
• Heavy use of ‘Artisan Craftsmanship’
• The idea of architecture as a work of art

Some e.g. of buildings:

• Einsteins tower - This was built by Erich Mendelsohn and is the most iconic representation of expressionism in architecture.
• Goetheanum - This can be found in Dornach, Switzerland. It is the world centre for anthroposophical movement.  Designed by Rudolph Steiner, this building is basically a perfect definition of expressionist architecture.

Cinema and Architecture

Many critics see a direct tie between cinema and architecture of the time, stating that the sets and scene artwork of Expressionist films often reveal buildings of sharp angles, great heights, and crowded environments, such as the frequently shown Tower of Babel in Fritz Lang’s Metropolis.

This film movement paralleled Expressionist painting and theater in rejecting realism. The creators of the time sought to convey inner, subjective experience through external, objective means. Their films were characterized by highly stylized sets and acting; they used a new visual style which embodied high contrast and simple editing. The films were shot in studios where they could employ deliberately exaggerated and dramatic lighting and camera angles to emphasize some particular affect - fear, horror, pain.

So I discuss two films belonging to the early Expressionist phase (1920’s and 30’s): The Cabinet of Dr. Caligari (1920), and Metropolis (1927). Films then were highly symbolic and deliberately surrealistic portrayals of filmed stories. The extreme non-realism of Expressionism was short-lived, and it faded away (along with Dadaism) after only a few years. However, the themes of Expressionism were integrated into later films of the 1920s and 1930s, resulting in an artistic control over the placement of scenery, light, and shadow to enhance the mood of a film. Therefore I discuss two recent films influenced by German Expressionism: Blade Runner (1982) and Batman Returns (1992) in my paper very briefly before I end.

 

The Cabinet of Doctor Caligari (1920)

With this movie, director Robert Wiene created a masterpiece.  Not only is the story interesting and engaging, but nearly every shot in the movie looks like an Expressionist painting.   The sets, designed by Hermann Warn along with to painters, Walter Rohrig and Walter Reinmann, are filled with strange angles, triangular doors, and crooked roofs.  Complex and intricate architecture, odd stairways, and bizarre props such as giant stools near enormously tall desks all serve to give the film a unique look. The entire production feels like the dream of a madman.

The characters too have been worked upon.  The heavy, exaggerated make-up with sharp angular lines painted across the characters faces and the triangular costumes serve to accent the sets and props.   No film has ever captured insanity so well. The lighting is very important in this film, and a key aspect to expressionist film.  The stark, harsh, shadow filled lighting gives all of the scenes a nightmarish quality.  The sets are painted with shadows which makes the movie even more eerie and otherworldly than it would have been otherwise.  In one of key and often imitated moments in the film, a murder is shown only as shadows on a wall. 

This scene demonstrates the effect created through the Expressionist technique of using angular structures to help represent a disjointed mood and a nightmarish atmosphere.

Cesare’s movements were stiff and robotic. His makeup was excessive and overdone. Some of the shadows in this scene were created by wall paintings to enhance contrast between light and dark. The “Cabinet of Dr. Caligari” employed the Expressionist technique of using dream sequences and flashbacks to twist reality and warp chronology. The unnatural and exaggerated character of Cesare carried out frightening acts during the dream sequences.

Designed by the Expressionist Bahaus School, the films’ sets were contorted and artificial. The distorted designs helped to develop the atmosphere of disorientation.

Metropolis (1927)

Fritz Lang's film Metropolis demonstrates a visually progressive 'Futurist' society dealing with relevant issues of 1920s Germany in relation to labour and society. It contains a lot of weird, futuristic elements that have stuck with science fiction ever since they first appeared in this movie, and the shots of the robot with electricity in circles around her has become quite iconic.

In keeping with Expressionist concepts, Lang portrayed women in the unnatural form of machines.

Huge sets that dwarf the actors is very well evidenced by the enormous power plant and glimpses of the massive yet pristine 'upper' city.

Lang accentuated the dark mood of the film by including lighting practices characteristic of Expressionist cinema.

Blade Runner (1982)

Many analysts believe that Expressionist media often contains an underlying and ambiguous social critique. In the science fiction movie, “Blade Runner”, directed by Ridley Scott, poetic speeches contained vague political themes and ideologies.

In the manner of Expressionism, Ridley Scott incorporated dark shadows, hazy lighting and odd camera movements into the film. In addition to the parallels to movie “Metropolis”, “Blade Runner” imitated sequences from other German Expressionist films. Bladerunner’s emphasis on the degraded, alienating city resembled that of many expressionist "street films" taken together. Some propose that “Bladerunner” was a remake of Lang's Metropolis. 

Similar to the earlier Expressionist film, “Metropolis” (above), “Bladerunner” portrayed a futuristic city as bleak and dark (below). 

Ridley Scott contrasted light and dark and used straight angles and silhouettes.

Batman Returns (1992)

Ambitious adaptations of the style are depicted throughout the contemporary filmography of director Tim Burton. His 1992 film Batman Returns is often cited as a modern attempt to capture the essence of German Expressionism. The angular building designs and severe-looking city squares of Gotham City evoke the loom and menace present in Lang’s Metropolis. The angular building designs and severe looking city squares of Gotham City bore resemblance to Lang’s futuristic city. The urban design of Gotham city resembled a dream or nightmare like landscape. A variety of architectural styles including Expressionism were borrowed from in the creation of the city.

Conclusion

I would conclude with the following quote which sums up Expressionist movement as a whole:

“The Expressionist does not see, he has visions”

-         German Expressionist writer, Kasimir Edschmid, (1919)

This holds true for expressionism everywhere, be it buildings, paintings, theatre or films. 

How ‘Fashion Blogging’ is changing the face of fashion photography (Part III)

Hanneli Mustaparta                     www.hanneli.com/

Norwegian street style titan Hanneli Mustaparta is a model-turned-photographer, blogger and stylist. It's easy to dismiss her as yet another all-singing, all-dancing, multi-tasking model, but for her eponymous blog, which American Vogue reports "sees more traffic than a SoHo sidewalk on a Saturday afternoon", each post prompting hundreds of rapturous comments.

Hanneli began modelling at seventeen, but after realising that she was "never going to be a supermodel," she turned the lens on herself. She's nonchalant about the switch: "I started out taking pictures and posting them on my blog to practise reviewing my own work. In between modelling jobs, I styled editorials, music videos, and worked as a wardrobe consultant. Then out of the blue I gained this big following, which grew and grew."

  

Some of her photographs that have been published in fashion magazines.

Now based in New York, she clearly relishes the control that comes with occupying both sides of the camera: "As a model you are there to be a piece in someone's creative puzzle. Once in a while it's okay to be part of the ideas, bouncing ideas around on set, but mostly you don't. Since I couldn't do much while at work, I would always soak in the shoot every step of the way, asking questions if I saw fit.

She considers herself to be "a photographer slash fashion blogger slash writer and contributor to Vogue.com. Lots of slashes!" Everything on her blog she shoots herself, both street style shots of worthy subjects and photographs of herself. Does she use a self-timer? "I set up the shot and then have an assistant who presses the button."

Some photographs from her blog.

For her a  perfect street style shot would be: “A sunny afternoon in New York with a thin scattering of clouds, a person that is wearing something because they really love it and not because it's a trend. An outfit that's been put together in a unique way with confidence and charm.”

In her interview with the Telegraph (March 2012) she says “I have always found photography magical, and became more taken with it whilst modelling. I got my first proper SLR camera four years ago and started shooting and learning about the different settings. I'm self-taught and emailed photographers I knew if I had questions I couldn't figure out from the manual or online. I took a brief summer class for a month three years back, only to realise the class was at beginners' level. So I didn't learn much, but had fun developing my own images in the dark room. I use a Nikon D700.”

Despite officially 'retiring' in 2008, she still does a bit of modelling on the side - Massimo Dutti have signed her up as the face of their spring/summer 2012 campaign, and she was immortalised on a series of T-shirts by Zara in 2011 - but it's her extra-curricular skills that have made her a real hit. Calvin Klein snapped her up as their social media co-ordinator over fashion week in February of this year (she manned the CK twitter account and launched their tumblr) and she presented American Vogue 's coverage of their shopping event, Fashion's Night Out, on CBS in 2010.

Conclusion

I will conclude by talking about the short 10 minute documentary “Take My Picture” by Garage Magazine which talks about how much has changed in the past 20 years in the fashion industry. With the integration of bloggers and the boom of photographers, fashion has morphed into this ever growing industry. The film examines the phenomenon from the perspectives of bloggers and street style icons as well as fashion magazine editors and other industry professionals. The Garage Magazine sat down with one of the world’s most influential fashion journalists, Tim Blanks. He says in the film: “Things are changing. Street style photography is getting more and more critical when is comes to good photographers, such as the Sartorialists or Tommy Tons.”

The Fashion industry used to be distinctly more insular than it is today, an elitism that was encouraged, a desired lifestyle laced with campness. This elitism and campness got reflected in the fashion photographs too, which has been the same for ages, until now with the fashion photo blogs finally being accepted by the mainstream even if grudgingly. The idealized image of desire, which once was the over-groomed body beautiful, now seems to be the soul searching teenager on her gap year, like the runway favourite Julia Nobis. Where before the must-have invite was for the red carpet, the most influential and photographed forum today seems to be the street or music festival. Could it be said, then, that drama has left the stage for a generation of people on the streets? Yes seems to be the answer seeing the present scenario, and I feel it’s headed the right way.

How ‘Fashion Blogging’ is changing the face of fashion photography (Part II)

Scott Schuman              http://www.thesartorialist.com

Scott Schuman in Autumn 2007. Photo by Christopher Peterson.

Scott Schuman is an American blogger and fashion photographer who created "The Sartorialist." After leaving his position as director of men's fashion at his showroom to take care of his daughter in September 2005, he began carrying a digital camera around and photographing people he saw on the street whose style he found striking. He then posted these to his blog, sometimes with short comments, always either favorable or open-minded. He is well known for photographing what have been described as 'real people.' He pioneered fashion photography in blog form.

Photographs from his blog

"The Sartorialist" quickly became a regular read for fashionistas, both on the street and in the upper echelons of the industry. Schuman began his site with the hopes of connecting fashion and everyday street life. He describes his philosophy as trying to echo how fashion designers looked at what they saw on the street: “My only strategy when I began The Sartorialist was to try and shoot style in a way that I knew most designers hunted for inspiration.”

Condé Nast tapped him to do something similar during Fashion Week in Paris for its style.com website. He has covered shows during New York's Fashion Week for Saks Fifth Avenue. Schuman has been featured in GQ Magazine where he was given his own page in every issue for nearly four years, as well as work appearing in Vogue Italia, Vogue Paris and Interview Magazine.

 An image from Schuman's Coach Campaign.

Schuman collaborated with numerous advertising campaigns: for The Gap and Verizon, with Kiehl’s on an exclusively commissioned product and campaign surrounding Father’s Day, Nespresso, DKNY Jeans, Gant, OVS, Crate & Barrel. Burberry, meanwhile, tapped Schuman to shoot the groundbreaking social media-cum-advertising “Art of the Trench” project.

About his shooting style in a Harper’s Bazaar interview, on how he chooses who to photograph he says: “No. I mean, there is that element–the [person who] totally wants to get shot, and dressed crazy. But that’s never what I shoot. It’s the people who want to be famous, shot by people who want to make their blog famous. But it’s not what I’m interested in. So the only way it affects me is I guess a more congested background when I’m shooting.”

In his interview with Vitamin Daily he says: “It took me a long time to be able to call myself a photographer. I didn’t train with anyone; I didn’t go to school for it. It took me a long time to get to the point where I could say that I have my own unique look, and people recognize my photographs.”

In 2009, an anthology of Schuman's favourite shots from around the world was published as a book entitled The Sartorialist.

 

Some pages from The Sartorialist (2009)

Schuman cites as inspiration the photography of documentary style cameramen like National Geographic’s Steve McCurry, the man behind the now-famous June 1985 cover photo featuring an Afghani girl with haunting sea green eyes. Looking at Schuman’s photos, you can sense that he is trying to capture the inner spirit of his subjects, not only their fashion sense. “I’m not reporting on a bag; who’s carrying what bag and who’s wearing what dress. I’m not reporting on people,” he explained. “What I am looking for is a certain grace.”

But Mr. Schuman’s influence is felt far beyond the blogosphere. His beautifully framed photos, which feature fashion insiders and football fans alike, now appear on mood boards in design studios around the world. His photographic style has inspired countless advertising campaigns and editorials.

Susie Lau                           www.stylebubble.co.uk/

Susanna Lau, also known as Susie Bubble, is a writer, editor and photographer living and working in London. Lau started her blog "Style Bubble" in March 2006, and since then she has enjoyed many fashion and photography adventures. Every day, Susie Lau logs on to her blog, Style Bubble, photographs her outfit, raves about a new designer and inspires her international fanbase. She's one of the first bloggers to be recognised by the industry - she was one of only two bloggers invited to a Gucci show in New York, and has since accepted tickets to Chanel and Lanvin.

“I'm self taught when it comes to photography, but at the beginning I would learn from the pro photographers and just mess around. I spent six months just auto shooting, and just built up my confidence.” she says in an interview with Cosmo magazine.

An overcast day, which is Susie’s preferred outdoor lighting, is much easier to work with, as it produces a friendlier and more diffused light - you'll see no dramatic shadows here! “And in any case, think of the poor model having to squint up at the sun while you get the correct camera settings. A screwed up face is never a good look.” she is quick to point in an interview with Marie Claire (2013). 'In terms of shooting, I have a set order of what shots I want to get in my head – a full length, a 3/4 and then catch any details close-up (shoes, bags etc.),' she says.

 

Photographs from her blog

“You want the attention to be focused on the person you’re photographing, not on the background. Scaffolding and white van don’t create the best background. It changes the entire photograph; you find your focus is drawn away from those beautiful clothes to read the background sign. If you want to express calm in a portrait, choose a calm background. Rather than shooting on a flat wall (Susie loves to get depth in a photograph) placing a model in the centre of a road, preferably a quieter one, will create an instant frame.” says Sussie in ‘How to become a fashion photographer: a masterclass with Susie Lau’ in Cosmo magazine (2013).

Style Bubble's Susie loves to photograph details. She often finds her self snapping away in restaurant or walking down the street when she sees wonderful textures all around her. These snapshots are great for inspiration on colours and themes for future shoots.

Some other photographs from her blog.

Lau was editor of Dazed Digital, the website of Dazed & Confused magazine, from 2008-2010. Lau now works full-time on her blog and other freelance projects, including writing for Elle, The Daily Rubbish and Dazed Digital.

How ‘Fashion Blogging’ is changing the face of fashion photography (Part I)

Introduction

If you Google the term ‘Fashion photography’ the definition you generally get is that it is a genre of photography devoted to displaying clothing and other fashion items. In present times there is a contradiction here: In theory, its purpose is the same as that of a catalog: to depict the clothes and help to sell them. In practice however, fashion photography has been used as a vehicle for self-expression by some of the world's greatest photographers. Over time, fashion photography has developed its own aesthetic in which the clothes and fashions are enhanced by exotic locations and story lines.

In order to discuss fashion photography, it should first be understood as a unique type of photograph, one that is simultaneously documentary and art work. In addressing fashion photography in his book The Fashion System, Roland Barthes explains that the world is a backdrop. That backdrop can be transformed into particular stages for specific theater themes. The theater of meaning in fashion then walks the line between the serious and the whimsical. Barthes describes fashion photography as an exorcism in which everything in the photo is made “outrageous” so that the garment alone seems real and convincing. Barthes identifies 3 common strategies in the fashion photograph:

1)      Literal representation: the catalog shot displaying the garment. 

2)      Romanticized: fashion becomes referential, a story where real life becomes art like in acting out dreams. 

3)    Mockery: a model in an outrageous situation using unreal juxtapositions, unlike the previous there is no romance or reason but total absurdity. 

Since its inception in the 1880s, the fashion photograph has generated criticism. Some photographers consider it too commercial, an impure application of the art form. It has sometimes been dismissed as frivolous and criticized for promoting negative stereotypes.

Latest development: Fashion Photography blogs

Fashion photography blogs are blogs that cover the fashion industry, clothing, and personal style. They cover fashion at all levels from the biggest names to the smallest indie-designers.

Fashion is a multi-billion-dollar industry that has considerable impact on the way ordinary people dress and present themselves. But there is more to fashion than the different articles of clothing, fashion is made up of designers, buyers, retailers, editors, columnists and photographers. While all parties work together to create an image, all of these parties can simultaneously be affected by outside forces, especially blogs. Fashion is trend-driven and fashion blogs provide a new way to follow and oversee these fast-paced trends, it is likely that the blogoshepere will have a considerable long-term influence on the industry, as the number of fashion based blogs continue to grow. All this will eventually (and is presently also) influencing fashion photography.

Fashion is ever so changing and so is fashion photography.

Even photographers from yesteryear like Richard Avedon brought movement to the pages of fashion magazines which were so posed and stiff before he came along and Helmut, well, Helmut brought out the kink and free spirit in everyday fashion. The new breed of street fashion photographers is just taking the momentum they created forward.

Also often, the creative desires of the photographers are at odds with the intentions of the editor, as Anna Wintour, fashion editor at Vogue, illustrates: Our needs are simple. We want a photographer to take a dress, make the girl look pretty, give us lots of images to choose from, and not give us any attitude. Photographers - if they are any good - want to create art. So, bloggers have been chipping away at the mainstream media as more and more people want to hear about fashion from people who apply it to everyday life.

The historical aspect aside, fashion photographers should love fashion! Live it, love it, and dream about it. Fashion photographers have to be aware of a lot of things; you’re photographing garments that need to grab the viewer’s attention, you need to know how to photograph them well and may even have to lend your eye in styling them to make an image. Even Paolo Roversi has occasionally styled his own editorials!  Obviously, a strong background in fashion is a must for this. It’s not something I wish on anyone, but there will always be one of those days where you need a stylist and the only person that can come through is you, so you better know how to put an outfit together! And this is one trait that a lot of mainstream fashion photographers lack presently and this is where our new breed of fashion bloggers scores over them.

“Fashion used to be very dictatorial,” said Constance White, style director of eBay and a former fashion journalist, speaking at a panel on fashion blogging hosted by glam.com last year. Getting access to the fashion tents is very difficult for outsiders. For years fashion was something written about and photographed by a small number of publications whose writers and photographers guarded their access to shows and designers as fiercely as their Chanel handbags. Many people might not have heard of Scott Schuman, Susie Bubble and Hanelli Mustaparta but they are household names to dedicated followers of fashion photography blogs. All three are big players in the blogging revolution that has turned the fashion world on its head.

Bloggers see themselves as truth tellers in a world where the truth is hard to come by. “What we offer is a personal point of view,” said Scott Schuman of The Sartorialist. “I love magazines, but they can come across as corporate.” “If you’re a junior writer at Vogue, you can’t write a scathing review of Oscar de La Renta,” said Kathryn Finney of The Budget Fashionista. “Whereas, as a blogger, I have a lot more flexibility because my boss is me.

Like consumers, the blogs come in all shapes and sizes. Schuman's Sartorialist blog photographs style as it catches his eye on the street, finding inspiration in everything from designer dresses to filthy workwear. The hierarchical fashion landscape changed beyond all recognition with the advent of digital media.

Early adopters such as Susie Lau of Style Bubble and Scott Schuman of The Sartorialist have become part of the new digital media establishment, where they face increasingly well-heeled competition from digital editions of Elle and Vogue, as well as the brands themselves. The situation was summed up by the flamboyant, meat-dress wearing Lady Gaga in her column for V Magazine: "The reality of today's media is that there are no echelons" –this applies to fashion photography perfectly today.

My problem with depiction of Old age in cinema!

Mainstream popular cinema always plays on all the existing stereotypes associated with elderly people. Old Age is generally associated with impending death and sadness, which is funny considering it’s the last stage of life and should be rich in experiences and valuable lessons learnt. But death, especially when it comes at the right age is nothing to cry about but to be celebrated and cherished. 

Also you have memories of a lifetime with you, but that doesn't mean you stop creating new memories, new experiences, you are still living and so still learning. Old age is about experience and it does not entitle every old person with the wisdom of an owl. They've lived, they've flawed.  Some learn some, still make mistakes. Old people are humans too, so stop painting them in virtuous light all the time. ‘Angel in the house’ holds true only in the Utopian fictional world, not in reality. So old age should be portrayed in not only the idyllic white but blacks too.

Its grey that is interesting, black and white are plain boring. 

Shot by Shot breakup of ‘Derrida’

Given below is the Shot by Shot breakup of the Film ‘Derrida’ - only the first 10 minutes: 

Shot 1          00:00 to 02:00

The camera from a moving train captures the water outside, the water body over which the train is running. This shot taken from the train opens the film. Then as the train comes on land, we see the railway tracks, the bridge at a distance and then the cityscape. Starting with jerky movements, the camera now becomes more stable. We see a wall which completely blocks our view and the visual matches with the narrative voice running in the background which says “when I am completely unable to foresee their arrival”. The train then stops abruptly at a place, and we cannot see clearly as to where it is.

Shot 2          02:00 to 02:11

We see somebody’s house; an old man walks in, familiar homely environment. The old man walks up to the cupboard and hangs a coat in.

Shot 3          02:11 to 02:34

Then we see a clipping of a TV programme, where a woman with a bob cut is just about to introduce a very great philosopher, but before she can tell us the name the shot ends.

Shot 4          02:34 to 03:00

We are back to the house; the old man is shown closing the cupboard and wearing a coat. He then leaves the room after apologizing for not even saying hello.

Shot 5          03:00 to 03:16

A BBC clipping (the watermark tells us) where a voice introduces us to the great philosopher, as a black and white photograph of the old man is shown on the screen, and finally the name is revealed ‘Derrida’.

Shot 603:16 to 03:37

We are back at the house, which we now know belongs to the great philosopher Derrida. We see the old man coming into the house; he talks a bit and then picks his car keys and goes out. 

Shot 7                                                                                                         03:37 to 03:55

An old recording of an interview, where we again see only the introduction by the host of her guest - Derrida. The intermingling of shots that portray his image as a ‘great’ philosopher of his times are cleverly interspersed with his casual shots at home. The opening gives you both the images – how people perceive him and how he is in his normal surroundings, most importantly at home.

Shot 8                                                                                                       03:55 to 04:00

Right outside Derrida’s house, he gets into his car.

Shot 9                                                                                                       04:00 to 05:00

Outside scene, shots from the window of the car presumably. Shows us the route he takes, what all he is passing by. It is very similar to the opening shot, but from a longer angle this time as its shot from a car on road and not a train. Then the car goes in an underpass and it gets dark. Screen blacks out completely and we see ‘de’ written in white on the screen. Then ‘rrida’ appears right next to it in white, and simultaneously ‘de’ changes to grey in colour. Sound of ambulance comes and screen becomes grayish-white.

Shot 10                                                                                                     05:00 to 06:00

Screen is grayish-white; the camera zooms out to a pavement on top of which five people are walking. As they come close to the camera, we see one of them is Derrida. He is lighting a pipe. Once he reaches the camera, the cameraperson follows him while he crosses the road with his friends.

Shot 11                                                                                                      06:00 to 06:07

A lane where Derrida and three of his friends are walking with him and the camera person is moving with them (ahead of them).

Shot 12                                                                                                     06:07 to 06:22

Inside a building, Derrida is talking facing the camera as he waits for the lift with his friends. The lift door opens and he walks in still talking and the camera follows.

Shot 13                                                                                                     06:22 to 06:31

Derrida trying to talk and listen to a person right next to him. He is in focus, whereas two men in the foreground who frame him are out of focus. There backs are towards the camera.

Shot 14          06:31 to 07:42

Side profile of Derrida talking on the mic at the New York University (NYU) lecture. Cut to a person clicking his photograph (the press/ media) – Fraction of seconds. And then back to him. He is talking about Heidegger’s philosophy and his thoughts on biography.

Shot 15          07:42 to 08:17

Camera moving swiftly into a room and then following a lady in the alley walk down the steps and enter another room. Here we see Derrida, who goes to his cupboard and the lady follows him. Camera shows both of them; he shows her a coat and wears it on being asked.

Shot 16          08:17 to 09:06

Derrida speaking at the NYU lecture, shot from the front. He fills up the screen appropriately. He is talking about Heidegger’s philosophy.

Shot 17          09:06 to 11:00

Side shot of Derrida smoking his pipe as he walks past shops on a street. The camera-person is walking with him, coordinating footsteps. Once very briefly Derrida looks into the camera and then looks up and then continues looking ahead normally again – walking all this while, not stopping. The background voice gives us a glimpse into his pasts – childhood and growing up years, interesting facts. This is a very long and continuous shot, just like the opening of the film. He keeps walking and so does the camera-person beside him. Parked cars, telephone booth and people – they all come between them, but the shot goes on. Derrida looks towards the camera once again but as before looks away and keeps on walking. They close in on the face and end the shot.