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Which clippings match 'Eerie' keyword pg.1 of 1
13 MARCH 2012

Jean Cocteau: la Belle et la Bête

"La lumière brillante et surnaturelle qui avait dominé toute la scène du château (flamme des chandeliers, feu, reflets étincelants de l'argenterie) s'estompe pour laisser la place à la lumière naturelle du jour [plan 9] [9]. Ces rayons lumineux rappellent ceux des dernières gravures de la Belle au vois dormant. D'autant plus que cette lumière naturelle n'est pas légitimée par la présence d'une fenêtre, comme c'est le cas chez Doré. C'est une lumière naturelle, la lumière du jour, mais elle semble toujours éclairer le personnage de manière surnaturelle : comment la lumière extérieure peut–elle pénétrer à l'intérieur sans la présence d'aucune fenêtre ? Les flambeaux s'éteignent un à un, le personnage traverse un grand pan de lumière blanche, la porte se referme toute seule, l'escalier apparaît en plongée : la scène semble se rejouer à l'envers, ce qui souligne la structure circulaire et la clôture de la séquence, mais aussi l'influence de l'œuvre de Gustave Doré. Le dialogue des contes et des illustrations se poursuit jusqu'à la dernière image de la séquence puisqu'elle se termine sur les ronces qui envahissent l'escalier du château de la Bête, comme celles qui envahissent les gravures du château de la Belle au bois dormant."

(Estelle Plaisant Soler, 26 juin 2006)

Fig.1 Jean Cocteau (1946). "la Belle et la Bête"

2). PDF of 100 Cult Films (Screen Guides).

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TAGS

1946atmosphericbeastbeauty • candlebra • candlestick • caryatids • castlechandelierscostume design • daylight • eerie • enchanted garden • engraving • external light • externalisation • extinguished • fairy talefantasyfilmfilm designfireflameFrenchgloveGustave Dorehorse • iconogaphy • in the mindinterior spaceJean CocteauJean Marais • Josette Day • Jungian • key • La Belle et la Bete • light • living arms • Madame Leprince de Beaumont • magic • merchant • metaphormotion picturemyth • natural light • Prince Charmingrealityset design • silverware • Sleeping Beauty • smoke-breathing • sparkling reflections • spatial symbolismspecial effectsstaircasestory • supernatural • surrealismsymbolismtalismantheatrical space • torch • visual designvisual metaphorvisual spectacle • white light

CONTRIBUTOR

Simon Perkins
23 NOVEMBER 2011

Limbo: beautiful 2D sidescroller puzzle game

"Though this is just an early teaser trailer to the upcoming Danish platformer, Limbo, it's already looking brilliant and I'm already thinking of the possibilities. An indie game to the core, Limbo is being produced by 1 extremely talented individual, Arnt Jensen, who is behind the art, concept and design. Limbo has recently received a healthy grant from the Danish government in order to continue the development of the game, more proof of the good that government funded innovation achieves."

(Playthrough.net, 26 September 2006)

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TAGS

20102D • 2D sidescroller • ambientanimation • Arnt Jensen • artatmospheric presenceblack and whiteboychiaroscurodangerous environmentsDanish • Danish government • darkeerieexpressionismfantasy elements • film grain effects • game • gruesome • gruesome imagery • horror genreindie gameslighting • limbo • Limbo (game)monochromaticopen-endedphysics systemplatform game • Playdead (game developer) • puzzle platformerspooky woodsstripped-downteaser trailer • trial and death • video gamevideo game artvisual designvisual spectaclevisual stylevisualisationworld of the storyXbox 360Xbox Live Arcade

CONTRIBUTOR

Simon Perkins
16 SEPTEMBER 2008

Luminous: by experimental choreographer Saburo Teshigawara

Sadler's Wells, 11 – 12 October 2003

"Luminous is a choreographic masterpiece danced with virtuosity and refinement, litheness and lyricism. Saburo Teshigawara, who created it for his company Karas in 2001, is also lead dancer and, with his long–time collaborator Kei Miyaka, responsible for music, costume and scene design. His choreography is thrillingly liquid and – through both movement and stillness – boldly explores the sculptural qualities of the human body. Trained in classical ballet as well as the plastic arts, Teshigawaraís [sic] dancing seamlessly integrates the formal and amorphous, controlled and wild, slow and frenzied dimensions of his choreography.

In part 1, the dancers streak in and out of patches of light which at first seem to entrap them, but from which they eventually escape with spellbindingly mercurial gestures. Light is explored with glass mirrors, luminous constumes, light–box silhouettes and masterful use of spotlighting. And darkness – which in Teshigawaraís fertile choreographic imagination seems so much more than merely the absence of light – is embodied in the remarkable Stuart Jackson, a dancer blind from birth whose contact with the space around him feels almost physical. When he spreads his hands, or tries to touch the air with outstretched arms, or twists and turns in a space that he seems to have perfectly measured out, he brings alive a world – almost a world–view – experienced through touch and movement alone.

After the interval, the atmosphere changes completely. Strange figures, phosphorescently lit, some minus heads or hands or entire upper torsos, caper around elusively. At one point a cloak flies over the stage. A nun–like figure is suspended mid–air. Two walls enclose a glowing green figure, and open and shut like a huge book. And then all this eerie activity gives way to a meditative solo by Teshigawara, in white on a bare stage, who alternates floating movement with sudden sharp slicing curves and fast spilling turns. He is eventually joined by a black–clad Jackson. They circle around each other, in a dialogue that seems incomprehensible to the on–looker and yet vital in every sense of the word.

The only irritation in Luminous is the portentous and sometimes vapid poetry read by Evroy Deer, which gets in the way of the dancing and dilutes rather than adds to its ëmeaningí [sic]. Apart from that, however, nothing is sensationalist or kitschy. Above all nothing is arbitrary: everything feels essential in the indefinable way of great art."

(Simon May, 2003, Online Review London)

Fig.1 Dominik Mentzos, 'Saburo Teshigawara'.

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TAGS

20012003 • absence of light • aestheticsballetblind • blind performer • choreographic imaginationchoreographyclassical balletcostumedancedarknessdesign formalismDominik Mentzoseerie • everything feels essential • evocative performance • Evroy Deer • figures in spacefloating • floating movement • gestureglassglowinggraphic representation • green light • interdisciplinary • interdisciplinary project • Karas (dance company) • Kei Miyaka • lightlight-box • litheness • Londonluminousluminous costume • lyricism • masterpiecemirrormovement • nothing is arbitrary • nun • phosphorescence • plastic arts • portentous • poses plastiquesSaburo Teshigawara • Sadlers Wells • scene design • sculptural qualities of the human body • sharp slicing curves • silhouettespace • spilling turns • spotlight • stage • Stuart Jackson • suspended mid-air • theatretorso • vapid poetry • virtuosity • visual dramavisual literacy

CONTRIBUTOR

Simon Perkins
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