Special EffectsSpecial Effects

The magic and science of special effectsKing Kong (1933)

comm12023 screen studiesmodule nine

copyright © 2002 Errol Vieth

References (book)References (book)

Vieth, Errol Screening Science Lanham, Md: Scarecrow Press, 2001. p33—43, 125—31

Sobchack, Vivian Screening space : the American science fiction film 2nd, enl. ed. New Brunswick, N.J. : Rutgers University Press, [1997], c1987.

De Leeuw, Ben. Digital cinematography Boston : AP Professional, c1997.

References (digital)References (digital) http://movie-reviews.colossus.net/movies/k/kong_33.html

This is a review of the film. http://www.filmsite.org/kingk.html

review, graphics http://www.aboyd.com/kong/index2.html

film site http://www.wsu.edu/~delahoyd/stopmo.html

stop motion animation http://www.geocities.com/Hollywood/Makeup/9472/sfx.htm

The art and science of movie sfx

Change and science fictionChange and science fiction

Science fiction is the genre of change Change what? change as an element of the genre

What it has taken me so long to understand is that my interest in sf film was always an interest in the larger issues of science fiction rather than an interest in a film genre or in individual films…(cont)

Change: the illusionChange: the illusion

Technology is change; special effects is the technology of change

Whatever critics may argue about the nature or definition of sf, we can surely agree that it has to do with change, and in this sense sf is endlessly transitional, its own forms of presentation and focus changing just as surely as do the worlds it creates. (Brooks 1992)

Special Effects (SFX)Special Effects (SFX)

essential to the genre…the introduction of sound is displayed as and through the musical; widescreen is introduced and displayed as and through the epic; more recently, a sophisticated technology of special effects and sound are introduced and displayed as and through a genre: science fiction. (Neale 1980)

TransmogrifyingTransmogrifying transmogrification (nothing to do with transgendering

the cat)magically transforming the unreal into the realThe sight of the rocketship taking off, the jettisoning of its booster equipment to the near doom of the ship; the flight of meteors that endanger the adventurers; the use of colour for the Martian sequences…are among the calculated means used to thrill. (Variety film review 1950 of Rocketship XM)

Stars (not celestial) and sfStars (not celestial) and sf

stars and science fictiontransmogrifying and starringStars of ‘Moon’ are the technicians, and the array of devices should delight the gadgeteer. The ship itself, the technically perfect models of earth, moon and the heavens, and the space suits and equipment used by the cast all contribute to the flavor of authenticity. (VFR 1950 Destination Moon)

Who needs stars?Who needs stars?

The film wisely uses no established marquee names to detract from the feeling that what is being seen is real. Instead, what starring honors [sic] there are go strictly to the special effects, which create an atmosphere of soul-chilling apprehension so effectively audiences will actually take alarm at the danger posed in the picture. (VFR 1953 War of the worlds)

SFX drives science fiction filmSFX drives science fiction film

When special effects do not transmogrify, the film is not successful as a film

Prehistoric animals look like the mechanical creatures they are. (VFR 1951 Lost continent)

If special effects drives sf film, what is important in sf in print?

Film and technologyFilm and technology

The subject of science fiction films: the application of scientific knowledge as, in part, technology. Film becomes the showcase for this technological change and development.

Special effects create awe for the audience, which is an awe of science and its technology with technology being both the subject of the film and the creator of the awe.

The medium is the message

The medium is the message

Since the films are often about new or imagined future technologies, this must be the perfect example of the medium fitting, if not exactly being, the message. (Kuhn 1990)

awesomeSFX do not necessarily exist to represent future technology, but the current developments in the art of film technology. SFX are now examples of what is technically possible, not what is technically impossible. (Brooks 1992)

So what is real, what is robotSo what is real, what is robot What does this mean? Who cares if special effects creates reality or

fantasy? What does it mean to say the special effects is

more important than the narrative? In this transmogrification, what happens to

people? What do people become?

King Kong loved Fay WrayKing Kong loved Fay Wray

Kong never existed600mm models used extensively against miniature backgrounds.8 metres head and mechanical hand for the munching scenes. compare with Godzilla films of the time: people wearing suits.

Willis O’Brien techniquesWillis O’Brien techniques

metal armatures or skeletons with ball and socket joints covered with rubber muscles and skin of rabbit fur.

stop-motion photography24 frames a second, 24 movements for each second of filming.

rear-projection