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Which clippings match 'Threshold Space' keyword pg.1 of 2
11 MARCH 2014

A portal to the underworld in Jean Cocteau's Orphée (1950)

"Jean Cocteau's update of the Orpheus myth depicts a famous poet (Jean Marais), scorned by the Left Bank youth, and his love for both his wife, Eurydice (Marie Déa), and a mysterious princess (Maria Casarès). Seeking inspiration, the poet follows the princess from the world of the living to the land of the dead, through Cocteau's famous mirrored portal. Orpheus's peerless visual poetry and dreamlike storytelling represent the legendary Cocteau at the height of his powers."

(The Criterion Collection)

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TAGS

1950after deathafterlifeallegoryblack and whiteboundary-crossing • Classical mythology • contemplating mortality • Criterion Collection • deathdreamdreamlike storytellingEurydicefantasy about deathglass portalgloveheterotopiain-limboJean CocteauJean Marais • land of the dead • Left Bank youth • legendlove • love and death • love story • Maria Casares • Marie Dea • mirror • mirrored portal • mortalitymythOrphee (1950)Orpheus • Orpheus (1950) • Orpheus myth • otherworldlinessplaceless placeplacelessnesspoetportalprincessSFXspecial effectssurrealist cinemathreshold spaceunderworld • visual poetry • visual spectaclewaterwife • world of the living

CONTRIBUTOR

Simon Perkins
06 JANUARY 2014

Arrested moment allows contemplation for what might have been

"This campaign aims to reframe the way that people look at their speed when they're driving. A person may be a good driver but they can't deny that people do make mistakes–after all, to err is only human. And in life, mistakes are made often. We usually get to learn from our mistakes; but not when driving – the road is an exception. Even the smallest of mistakes on the road can cost us our life, or someone else's."

(NZ Transport Agency, 6 January 2014)

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2014advertising campaignAotearoa New Zealandarresting timecar crashcareless drivingco-optioncollisionconsequencescountry roadcrashdangerous drivingdrivingemotive manipulationfait accompli • fatal crash • final momentfrozen in the moment • hard-hitting • human error • impending disaster • in media res • momentary reprieve • mortalityno escape • NZ Transport Agency • police enforcement • public information adpublic information advertisementpublic service announcementroad safety • serious injury • speed limit • speeding • stop moving and consider the consequencessuffering and inevitable deaththreshold spacetime manipulationtime slowed downtransport safetyTVC • what might have been

CONTRIBUTOR

Simon Perkins
29 DECEMBER 2013

Voice Over: a short film about what is to become

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CONTRIBUTOR

Simon Perkins
12 MARCH 2012

What Dreams May Come: imagining a painted world through vfx

"Ward's 'What Dreams May Come,' starring Robin Williams was nominated for production design in addition to winning an Academy Award for Best Visual Effects. The film, tells an epic love story of soul mates separated by death. The story would inspire Ward to envision the afterlife as a painted world, incorporating state–of–the–art, adapted, and entirely new visual effects technologies in an original, fully articulated, filmic view of imagined realms that may await us after death."

(Saville Productions)

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1998after deathafterlifeallegory • Annabella Sciorra • Aotearoa New Zealandboundary-crossingcontemplating mortality • Cuba Gooding Jr. • deathdreamemotion • eternity • Eurydiceexpressionexpressionisticexternalisationfantasyfantasy about deathfictional worldfilmflowerflowersheavenhellin the mindin transitin-limbointernal quest • Joel Hynek • Josh Rosen • LIDARlifelove storymemorymilestonemortalitymoving paintingNew Zealand filmmaker • Nick Brooks • oozingOrpheusOscarpaintpaint our own surroundingspainted worldpainting • Pierre Jasmin • psychologyremembrance • representing emotions • Richard Matheson • Robin Williams • romantic love • Ronald Bass • Scott Huntsman • self-realisationSFXsoulmatesspecial effectssurrealisticthemethreshold spaceunderworldVFXVincent Wardvisceral experiencevisual effectsvisual metaphorvisual spectacle • What Dreams May Come (1998) • wifeworld of the story

CONTRIBUTOR

Simon Perkins
18 JANUARY 2011

8 1/2 film intro shows protagonist in arrested moment

"Opening the film is a title card introducing the producer, the title of the film, and the film's director. That cuts to a tracking shot of a car in traffic, and then another cut to a shot from above the cars to show the congestion (this shot tracks them from right to left). At the end of that shot, there is a cut to the back of the main character, Guido's, head. The camera then moves to the left and shows the two people in the car sitting next to him. The camera comes back to Guido in his own car as he begins wiping the inside of his windshield. Smoke begins to fill the car. Guido plays with the buttons in the car and desperately tries to escape. There is another cut to a shot of people hanging out of a bus and people stuck in their cars. They seem to be frozen in time. The film then cuts to another shot, this time from outside the car, of Guido trying to get out. The camera pans to a man who is staring at Guido from another car. After we see Guido pounding at the window, the shot cuts to a man touching a woman's arm in another car. The camera then pans to more cars waiting in traffic and then finally comes back upon Guido's smoke–filled car. The shot then cuts to Guido finally making it out of the car through the window. He climbs atop the car. Then the shot cuts to another shot of a man in a different car watching him intently. The camera zooms out and we see the bus and then Guido somehow floating atop the cars, out of the traffic. The shot then cuts to his legs and tilts upwards to show his entire backside, his coat waving the wind, and him slowly raising his arms towards the sky. Then there is a cut (fade–in) to Guido flying through the sky, then another to just the clouds. As the camera glides through the clouds, it is ambiguous of whether there is another cut or if the camera just happens upon a structure of some sort. Then there is a solid cut to a man atop a horse that is galloping on a beach. We see a man in a white shirt tugging a rope. The shot then cuts to another shot of a leg with a rope wrapped around it, and we can see the man in the white shirt and the man on the horse on the ground in the background. The scene then cuts again to the man in the white shirt running around the beach tugging on the rope, and then again to the foot with the rope (which the man is trying to get off). The sequence then cuts again to the man who was on the horse holding papers, then to the body of the man whose foot was tied to the rope being tugged down and falling into the ocean."

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TAGS

1963 • 8 1/2 • arresting momentsarresting time • beginning sequence • black and whitebuscarclaustrophobic spacesdream sequencedrivingfamous sceneFederico Fellinifrozen in the momentfrozen in timefrozen momentgassing • Gianni Di Venanzo • in media resinfluential works • intro sequence • introduction • introductory sequence • Italian cinema • Marcello Mastroianni • motorway • opening sequence • Otto e mezzo • threshold spacetime slowed downtraffic congestion • traffic jam • trapped

CONTRIBUTOR

Simon Perkins
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