Monday, 17 October 2011

Extracting Filmic Influences - Bullet Ballet & Branded To Kill

With Yuki-Onna being reminscent of Film Noir's classic 'Femme Fatale', it seemed obvious to look at Japans reaction to the American genre, and try to extract traits that resonate within films in Japanese Cinema, such as story components and visual reference. By doing so, it will help ground my character further into a workable story of hybridized genres, and help draw out some influences, such as lighting and charatcer archetypes.

Here's a map composed of two films under the same genre. Bullet Ballet '1998' & Branded to Kill '1967'

Bullet Ballet:

Bullet Ballet has a stylised, unreal, grainy, heavily-contrasted look redolent of the true classics of 40's film noir, replete with femmes fatales, chisel-jawed heroes and evil yakuza syndicates, with stunning composition, kinetic action interspersed with amazing, pure silence and slowness, and incredible attention to detail in its use of close-ups

Branded To Kill:

A 1967 Japanese Yakuza Film. The number-three-ranked hit-man, a fetish for sniffing boiling rice, fumbles his latest job, which puts him into conflict with a mysterious woman whose death wish inspires her to surround herself with dead butterflies and dead birds. Worse danger comes from his own treacherous wife and finally with the number-one-ranked hit-man, known only as a phantom to those who fear his unseen presence.

I took these particular screen caps from each film because I felt that there were very strong, dark underlying sexual tones, each of the women used as a way to manipulate the men around them, to gain what they sought after, whilst always being in control of a situation. This switches over the traditonal pre-conception of men having control as opposed to the female, however the consequence of this portrays the female as a troubled individual. I found these images vital as reference for Yuki-Onna, in order to encapsulate their female qualities, as well as the lighting and atmosphere typical of Film Noir

No comments:

Post a Comment