The Infinite Mix – “You Return” by Martin Creed

I will be talking about  the chosen piece of “You return”  published by Martin Creed at the Infinite mix and what the meaning was behind it.

We begin with With a really young girl who begins to walk across the street from one side of the road to the other using a standard american pedestrian crossing.

She isn’t walking exactly how you would perceive a young girl to walk and seems to have a medical condition whether it be with one of her legs or hips. Once she crossed the road it moves onto an older woman with a clear medical problem and walks back across the road the opposite end from where the previous girl exited frame. So there was a constant continuation of walks back and fourth till it moved onto an older man hopping from one side to the next and this one made me connect with it more since he was injured and at some point in our lives we have had to hop around but couldn’t help myself with the urge to want him to move along quicker.

The whole way through this piece there is a constant upbeat soundtrack of a band which kinda of makes you feel happier and enjoy what you are watching. Martin Creed talks about the soundtrack further in an interview discussing that; “Sound can be a part of a thought process and give the image rhythm”. From the walks we are shown in You Return you get that rhythm but some of the walks visually bring down the tempo with the music still playing at the same beat which can be a little confusing and kinda break you away from that rhythm and process.

By the end of the piece we are left off with a man in his early 50’s using his arms to carry him across the road as he cant move his legs. This ended off the scene and sympathised with it the most. Maybe Martin Creed done this intentionally to make us feel grateful for our legs and how someone who cant still presses on with the world.

I feel Martin played with our perceptions using something you wouldn’t really pay attention to with a bombardment of them topped off with happy up beat music as a way to look at how he wants you to interpret which is to be taken on a journey through the different lives of others just through a walk. The music only enhanced majority of this piece but it enhanced it never the less.

Bibliography:PRO, gavinbrown (2016) Martin creed: You return. Available at: (Accessed: 6 December 2016).

SHOWstudio (2014) In your face: Interview: Martin creed. Available at: (Accessed: 6 December 2016).


Cinema as a brain – Inception

This is a film analysis blog post on “Cinema as a Brain”. I will be diving into what I interpret the idea of cinema to mean and how it interacts with us as we view cinema.

From what I gathered in the lecture on Cinema as a brain, we see cinema as a way of thinking, it tells us a story through its imagery and sound, in doing so, alters and in prints a way for us to evaluate what we see, and question its purpose, if any. Whether we choose to accept it or not, once we view cinema, it inevitably becomes a part of us, within our own mind, even for a second.

I chose the film Inception, which is done by a director who likes to raise questions about this topic, the idea of what we see being a reality. The film being about using dreams to manipulate and distort memories, ideas, messages to convey a new way of the dreamer’s ideology and understanding to change his mind on a view of a family issue. It does this by adding multiple layers of memories within dreams to trick the dreamer, each layer goes deeper within its consciousness. These events like cinema itself, is an extension of the mind, and in doing so substitutes it with the dreamers.

As baffling as the context is, the irony in this process is like how we see films, it playing with our own mind, adding layers of thoughts, playing with the audience’s emotions, and questioning our own sense of reality.

If we see cinema as a way of thinking, then this film encourages that notion, by its visual interpretation of what cinema is, and how it effects our own mind, through viewing we see the brain, and on the screen, we see what it truly thinks in conjunction from inside and out, as a reality and dream.

Cinema as an Eye – The Walking Dead

Cinema has always been a way to get away from reality and dive into another world becoming immersed in someone else story. This can sometimes push people out of their comfort zone and enrich their perspective on life depending on what they have witnessed. In cinema we become the fly on the wall allowing us to not miss a single detail but it some cases we can also feel as if we are being watched depending on the shot if it’s a point of view.

Cinema is much like a Panopticon which is an architectural prison building which allows the watchmen to observe the occupants within the cells without them even knowing and this can be used as a metaphor for cinema where we are the watchman and the characters within the story are the occupants forever unaware of our existence.

“I am an eye. I am a mechanical eye. I, a machine, I am showing you a world, the likes of which only I can see” This quote is from Dziga Vertov a famous director from Russia who was associated for his pioneer work in documentary films. This quote has so much more to it than meets the eye…. Get it? Cinema as an Eye…. Okay that was bad anyway moving on. To me this quote means a lot although we watch films from a projector or screen what we are shown is a person’s vision/ world which we know nothing about but it’s also a perspective or a light shining on who they are or what they represent.

I will be discussing more about the look and gaze covering one of my favourite shows The Walking Dead.

The Walking Dead is an American horror drama television series whose main character sheriff’s deputy Rick Grimes, who awakens from a coma discovering a world overrun by zombies, commonly referred to as “walkers”. Grimes reunites with his family and becomes the leader of a group he forms with other survivors. Together they struggle to survive and adapt in a post-apocalyptic world filled with walkers and opposing groups of survivors, who are often more dangerous than the walkers themselves.

Looking at The Walking Dead which is a Sci-fi is harder to encapsulate since it is not real but the group of peoples emotional beats that happen within these series are. They have their own culture within the group and have started from scratch developing a hierarchy within the group. Nominating the main character as their leader and over time make choices that may have no affect or a major effect which could mean life or death. This is a subtle ethnographic observation because we can get a sense of how people could act if this were to be true. Growing up we have all seen our fair share of zombies and apocalypse and developed a library of research or sources which provide a better understanding whether it being mere observation or symbols for example the Bio hazard symbol. This symbol immediately tells us of an imminent threat to the health or living organisms primarily that of humans this threat is usually associated with viruses or toxins.

In this scene we have the main character of The Walking dead Rick Grimes stranded under a bed due to trespassers entering the abandoned home he is occupying. He is on his own and the trespassers are extremely dangerous and would more than likely kill him so instead of engaging he decided to wait it out waiting for the opportune moment to escape.

Rick waits for a while for one of the trespassers to fall asleep who is on the bed above him to escape but the trespasser is rudely awaken by one of the other trespassers who demands a rest and tries to claim the bed. Both trespassers duke it out until one of them gives up or passes out.

This is the last thing Rick wants because this could spell disaster for him and his chance of escaping. As Rick predicts one of them is knocked to the floor and Rick is immediately stuck only to watch and hope that the trespasser on the floor does not see him.

The fight continues and the trespasser is punched into the direction of Rick Grimes which instantly makes them lock eyes with both in fear and uncertainty.


After this instant look the trespasser is put into a sleeper hold so he is unable to tell the other trespasser of Rick’s presence.


Rick can only watch with intensity hoping and praying that he passes out but during this moment of a brief 10 seconds we are shown a gaze between both Rick and the trespasser then constantly shifts back and forth between them increasing intensity with only the eyes stillness.

Even though this was brief it felt like it lasted way longer because there was no dialogue or major action to make us feel a sense of movement we are only being relied upon the intradiegetic looks.

(No Date) Available at: (Accessed: 6 December 2016).

Cinema as a Door – Pulp Fiction

This is a film analysis blog post on “Cinema as a Door ”. I will be diving into greater detail of a frame or frames using media context.

I have chosen the Popular Quentin Tarantino film Pulp Fiction. Pulp Fiction’s narrative is told out of order, and shows three main character stories: Hitman Vincent Vega is the protagonist of the first story, Boxer Butch Coolidge is the protagonist of the second, and Hitman Vincent’s partner Jules Winnfield is the third.

The scene I am analysing the introduction of both Hitman Vincent and Jules heading to their aquired target while discussing domestics between their boss and the boss’s wife.

We enter the scene as an immobile and impartial  audience looking over the shoulder of both hit man standing at a door waiting. from this alone we are being manipulated to believe that the door will open at some point by either them or the opposing force on the other side. But they don’t enter straight away, instead they wait and finish their discussion. we as the audience are trying to understand the situation to the best of our ability relying on their suits and discussion of their boss so we have already established that they are people not to be reckoned with. This isn’t the main analysis of first frame other than what we have before this frame occurs.

We as the audience are signalled to the direction they are facing which is the door, it is only until one of the hitman checks the time that they realise they are early and deviate from the door that we was so inclined to go through. We wait for both characters to transition off camera (screen right) with the door still frame only then to be manipulated and rotated away from that door following the two characters this is a good use of digest space as we are deviated from the main narrative of the scene which was to enter the door established at the start of the shot. We do not translate in terms of camera motion other than a rotation maintaining a connection as if we are still waiting at the door for them to enter with them.


We are then released from the camera manipulation to another immobile position facing both characters in a well lit hallway defining them even more which complements their silhouettes giving us clear imagery. We see both characters go through another door  leading to a hallway and stopping in position finishing off their discussion. As the audience we are not completely drawn into both characters since we do not follow them every step of the way instead we are left idly by the other door which tells us that these characters are coming back towards us since we already established from the start of the shot where their start and finishing point is. This long shot has no cuts which benefits us a lot because if there were cuts that would break our connection and attention to these characters along with the establishment of where we are in the scene while also not breaking the 180* degree rule. As I said before we are fully aware of the entry and transitions due to the doors we have spotted within this shot giving us the anticipation of where the characters will move next.

After the discussion they break back into character of the hitman they are suppose to be and deviate yet again from their position coming back towards us only to pass us by yet again leaving us with the door looking into the lit hallway making us immobile once again not being able to follow them through every step of they way giving us an outside relation to this whole scene. Even though they are in the same building it still feels like they went from an interior world to an exterior world back to an interior one.

Quentin does a really good job at using liminal space in this scene with this little moment between these two characters as both protagonists are in a period of waiting and one of them in particular Jules has a subtle change of belief when the discussion ends agreeing with Vincent where as at the start of the shot Jules’s beliefs were the opposite. No editing is required to push the story further, this one take, along with the rotation was enough to make us fully aware of the transition and direction these characters will take due to the two doors shown in this scene.

Canceriansoul (2011) Pulp fiction – ‘foot massage’. Available at: (Accessed: 6 December 2016).

Cinema as Window and Frame – Game of Thrones

This is a film analysis or should I say Television show analysis blog post on “Cinema as a window – Cinema as a frame”. I will be diving into greater detail of a frame or frames using media context.

I have chosen the HBO fantasy sci-fi television show Game of thrones. Game of thrones has been a really controversial series in my eyes that tells a great compelling story of seven royal houses that are constantly shifting in power to be ruler of the seven kingdoms. This all takes place on a fictional continent of Westeros at the end of a decade-long summer 12,000 years ago. The series is able to perfectly tell several plot lines, however, it can be broken down to 3 simple stages; The first one being several great royal houses that are in war for the Iron throne. The next stage is the threat of the impending winter upon them after a decade long summer with the mythical creatures that intend to wipe out humanity as they know it. And lastly a point of view of the exiled deposed dynasty family that use to be the rulers of the seven kingdoms attempts at reclaiming the throne.




So we start off with the opening frame from the Pilot episode which basically shows us three individuals on horsebacks. That’s the basic analysis of this frame but we want to go way deeper. When the show begins we the audience are show a medium (locked) camera shot of three men but from behind a gate so even though we can see these men we can’t exactly get the full connection with them since there is an obstacle blocking our view which gives us a sense of curiosity to where these individuals are going. The composition within the frame itself is very nicely put to use with all three heads in eye line view as well as complemented by the background itself along with the gate to guide us to what we actually need to be looking at. There is no motion from this shot other than the fence rising blocking off more of our three characters giving us that feeling to try and look over or under to get the full effect of what we are getting visually.


The lighting itself is very dim and only with only the snowy weather and two torches being held which definitely give off a cold vibe feel that they are making us gravitate towards the center character who doesn’t appear to be holding a torch and feels warmest physically as well as show a more importance to this character than the other two. The same goes for the colour pallet used within the frame its very limited displaying gloomy colours with majority of the frame filled with dark/ blackened areas. You get a heavy sense of unfriendliness or gloomy vibe like these characters have been through a lot.




This shot has minimal acting and expression to emphasize the character’s attitudes even more demonstrating how they are more emotionless due to their past or current situation whether it be because of the direction they are going or coming from but also to show the effect of the weather which forces then to conserve energy. Looking at this frame with the gate blocking them off makes us focus on certain parts of the face to distinguish what they are thinking and with any expression, we as humans look towards the eyes first. We get a sense that the two outside seem to be less aware and reliant on the middle character who gives off a very determined look of someone who knows what they are doing.


Since we have already established that these character are in a very cold and dim place it would only be natural to expect that they would have to keep warm and so we are displayed with these costumes and props which not just tell us that they are in a cold location but the setting of the world they live in too. We discover just from the costumes and props alone that they are from a medieval dating back thousands and thousands of years to a world far more primitive than our own. As we are processing all of this information in we are also inducted into the scene with the sound effects of the what we are getting visually. There is no music only the sound of the gate rising in a very old and rusty tone along with the harsh blizzard winds which really conveys the scenes location and mood that much more.




Best Scenes of All SITCOMS (2014) Night’s Watchmans and the white walkers – game of thrones. Available at: (Accessed: 6 December 2016).

Week 11, 12, Xmas, New Years & Next Term.

Sooooo this month has been hella hectic 😛 had to finish up the Cautious walk along with another pose demonstrating balance. For Our final week I was told to create a progress reel of all the animations I have done at AM so far which I have attached below 🙂 The Cautious walk on the progress and the one I have attached on its own are a little different as I had more time to work on it after the progress reel.

Cautious Walk (Revised)

Progress Reel

So my first term has passed at AM and I haven’t regretted any of it 😀 it has been truly insightful but I still have a very long way to go! I have Dimos Vrysellas for Body Mechanics next term which is going to be awesome can’t wait !!

Yeah as I mentioned before this month was pretty hectic I am now mentoring at my previous college helping other students who are on the same course as I was. It’s really fun being there, it has its perks & they all seem to like me 🙂 (Hope so anyway :P)

Xmas was somewhat satisfying, I had WAYY too much to eat and the hangover after tonight wont be pretty 😛

I wish everyone a happy new year and hope 2015 is a lot more prospering for all of us 🙂

I guess I wont be posting till next year ;D I’ll try and post more but the way the work load is looking we’ll just have to see and until then take care and have a wonderful new year 🙂

AM Week 9 & 10 Vanilla Walk and Character Walk

So this has probably been the hardest part so far during this term but it was fun exploring the hips a lot more going in depth about exaggeration and it has been very insightful. We also had to sketch and pose out a Concerned pose.

Concerned Sketches

Concerned Pose

Vanilla Walk Splined 

As for Posing I felt it went well but that only happens 10% of the time lol. I feel I really need to get posing down more than anything and it shows most of time but I am definitely getting better every time learning more and more, what to look/not look for in a pose and capturing the essence of it. For week 10 the next pose was Exhaustion which can get confusing for tired but I decided to pick a standing exhausted.

Exhaustion Sketches

Exhaustion Pose

Character Walk (Cautious)

P.S The Cautious walk does not feel cautious enough, because I had a really tough time trying to convey that personality on top of the mechanics, honestly it was a challenge but after receiving notes from my mentor and friends I have pushed it way beyond this blocking stage which I will show you next week so keep an eye out 🙂

AM Week 7 & 8 Revision And Vanilla Walk (Blocking)

Sooo been really busy with family but it should settle down a little from now so that’s good.  AM is going really well, I can’t stress enough how good it has been and how much I have learned. For weeks 7 and 8 I had to finish off the overlap assignment along with starting blocking to a vanilla walk and a pose of Physical Strength.

Overlap *Final* 

Vanilla Walk Blocking


I have also been looking at critiques by my next mentor to see how they teach and interact with us and I am really happy with my choice of mentor for both this term and the next term to come 🙂 At the moment I am currently being Mentored by Raymond Ross for the Basics and next term I will mentored by Dimos Vrysellas for Body Mechanics.

AM Week 6 Overlap/Tailor/Pendulum Revision

So since I started AM I have been posting the weeks as they go by but I have been updating you guys a week later so you get to see the W.I.P’s and finished versions of my work but I want to fast forward right now and post week 6 already since I wont be able to this weekend due to family coming over so I wont have that much time. I might even update you guys on the current week ill be on next week 🙂 So you might get to updates in one week next week. Like I said I don’t know when I have time so I will upload weekly as usual but even I wont know what days 😛

Last week we had to plan an animate a ball with tail demonstrating overlapping action within the tail as well as going over the pendulum and devastation pose for revision.

Tailor – Ball with Tail


Pendulum Revision 

Devastation pose revised

AM Week 5 Pendulum

Toning down the amount of words in my posts since I rarely have enough time with AM and family so I might just post videos and links of my work with little or no description. I might decide to write an essay, it all depends on the best time. so for now here is week 5’s work involving the pendulum assignment, Heavy & light ball revision and a devastation pose/ Sketches.