Film-Making Venture Details - Assignment Example

Othello Filmmaking as a commercial venture has undergone critical transformation in terms of creating jobs for actors while generating profit to remain relevant. However, this has been fraught with challenges since the ancient times before the advent of electricity until the proliferation of power whereby devices use technology to enhance their functions. Notably, the scenic or lighting design is a testament of the revolutionary journey because of the highs and lows witnessed in the film industry. Alternatively, while technology is instrumental in impacting the visual conceptualization of ideas for scenic designers, the success of the ancient times cannot also be gainsaid (Adler 122). Consequently, this resulted to method acting techniques that were inspired by scholars such as Strasberg, Meisner, and Stanislavski. It enhanced the commercial success of cinematography regardless of the criticisms that followed these ventures. However, Strasberg and Meisner acting styles had certain downfalls that ranged from lack of realistic ground to pure raw emotion that hampered actors’ efforts in within industry. Despite the demerits of scenic design productions that emanated from early times before the commercialization of electricity, the overall triumph of technology in assisting filmmakers is an inevitable triumph that deserves scholarly study. Question 1 Technology has fundamentally defined the success of films especially through lighting design or scenic design. These are features applicable in filmmaking and have enjoyed a significant transformation since the ancient times. It means that creation of a better atmosphere and lighting remains the role of a lighting or scenic designer during production to sustain the viewer’s attention. However, the emergence of electricity, early movies employed weird scenic design techniques worth exploring. For example, unlike the sophisticated designs in scene designs applied to contemporary films such as the use of design sets to evoke elegant sceneries for consumers, in the ancient times only singles scenes existed. This was because power was difficult. A majority of film houses used various methods to generate power such as pneumatic or pressurized air, telodynamic or cable in motion and hydraulic or pressurized fluid transmission (Boleslavksy 109). In other words, with limited power, cinematic techniques such as scene designs could only support single scenes per day and it was called slapstick. Similarly, while today the capabilities of theater equipment are enhanced through technology such as camera movement to help a director’s interpretation of scenic designs easier; in the ancient times it was impossible. Instead, scenic designers relied on flat compositions to boost their sets specifically during major exhibitions. However, in both the new and ancients forms of lighting or scenic designs, dramatic production remained the central objective. This involved the creation of costumes, lighting, sound, scenery and lighting. Overall, stage design flourished during the Italian Renaissance Theater to establish settings that could aid the director in easier interpretation while sticking within the budget of the production. Alternatively, in both contexts, scenic designs had considerations for shape, relationship to the audience, sight lines, and specific size within a chosen playing state or space (Brockett et al 145). In other words, creation of a physical atmosphere was the most fundamental aspect in terms of using theater equipments in filmmaking. Therefore, while in modern times the creation of a suitable visual concept for production could be simulated using computer software, in the ancient times, only sound effects were important. In the same perspective, both productions appealed to masses in spite of speed at which production took place. The use of technology, for instance, ensures that scenic designs are produced at supersonic speeds for burgeoning consumers of mass media. It contrasts before and after the advent of electricity when only a few enjoyed such privileges in their homes. Contrastingly, another major difference defines the scenic design of the modern period with that of the ancient times through the advent of electricity. This is manifested in terms of planning that often includes among others essential basic ground plan and display of stationary scenic elements. In the past, laying a ground plan suffered major difficulties because of the laborious process of assembling scenic elements compounded by specialized systems of generating electricity such as the use of direct current to power cameras with cells. It signifies the challenges that affected designers in terms of integrating hand props effective for communicating a particular message to the audience. This is because most actions were not supported by computer technology unlike the contemporary use of theater equipment. Among a scenic designer’s roles is change of location through the use of behind the curtain, in full view of audience, or black-out (Gloman & Napoli 165). Fortunately, the decisions of set arrangement are similar only that technology, again, is instrumental during communication in the ancient times when people used the telegraph. Ineffective theater equipment equally hindered the production of successful feature films and, instead, only real continuity films managed through successive shots because of the need to charge and recharge cells used in cameras. Overall, this demoralized most scenic designers to progress in stage designs unlike today when the usual of special effects is vital in producing commercially successful movies. Collaboration with other members of the production design team to provide a platform for scale construction drawings, paint elevations, and scenery is another landmark feature of lighting or scene design. It implies that communication should remain a high priority with other production staff who include the theater director, charge scene artist and production manager. However, in the ancient times, this collaboration was impossible most people lacked the mandatory knowledge and skills of manipulating stage designs. Additionally, the advent of electricity brought semi-skilled personnel who could handle cameras and props with other new innovations of theater equipment. The capabilities of technologies supporting scenic design, thus, thrived as computers became multipurpose in the film business to generate income for its employees. Consequently, this generated competent scenic and lighting designers who assisted production managers unlike in the ancient times when limited technology accorded authority to a single person (Stanislavski 79). Similarly, in both ancient and modern times, electricity remained the focal point of theater equipment to satisfy viewers and generate profits. Therefore, any theatrical design had to infuse exquisite scenic painting, set construction, and scenography appealing to a large body of consumers. This possibility existed only through improved and modern electricity generation producing massive voltage to operate hand-held and machine cameras for large-scale film production. It hence facilitates novel way of interpreting theatre production. Questions 2 There are diverse benefits and downfalls between the Meisner and Strasberg acting styles. For example, both Meisner and Strasberg techniques immerse the character into memorization of roles and versions of the person one is portraying. This suggests that one is compelled to forget the self to deliver a brilliant portrayal of another individual. Founded by Sanford Meisner, this method hugely concentrates to reactions of the moment and response to natural instincts. As a result, while imitating the Strasberg method, it provides a platform for a character to live in imaginary circumstances (Adler 128). Additionally, both often inculcate substitution and the use of affective memory to evoke past experiences that are critical in recreating current emotions. This was notable with famous actors and actresses such as Al Pacino, Marilynn Monroe, and Paul Newman. Conversely, both demand strict discipline to attain psychological truthfulness because Meisner and Strasberg methods are more expressive to depict real life. In the same context, while both methods are concerned with arousal of inner temperament, Strasberg unlike Meisner entails total recall of complex circumstances that could be physical, personal or deeply emotional. This means that Meisner is emotionally shallow, less involving and, hence, lack the state of self-hypnosis. Strasberg equally requires sensitive consciousness that should be replayed in every scene without forgetting to compliment the overall stage direction and character development (Boleslavksy 139). On the other hand, Meisner acting style is involves intense and complicated exercises that enable one to develop the ability to improvise before attaining the emotional life. It is an aspect missing in the Strasberg method. Another benefit that is similar for all the acting styles revolves around the behavioral strand that was adopted by Stanislavski. While response to textual work only remains within the confines of Meisner, in Strasberg one utilizes vague intentions in remembering key incidents. Likewise, a combination of psychological motives influencing the actor is essential to achieve personal identification and induce certain sensations. These distinct traits are found in both acting styles especially with the Meisner technique connecting interpersonal exercises to accomplish a measure of spontaneity and in depth understanding. However, the cultures and motives inspiring the styles differ with the Strasberg being an archaic technique while Meisner finding application in contemporary acting. It actors and actresses include Tom Cruise, Sydney Pollack, and Sandra Bullock. Again, while numerous scholars have supported method training that is used in both Meisner and Strasberg; all agree that pure raw emotion in the latter is retrogressive and outdated (Gloman & Napoli 168). Overall, performance and imagination can only be harnessed if emotional memory directed toward clear goals and objectives. However, there are also downfalls that affect both Meisner and Strasberg acting styles. Meisner, for example, lacked the rigor and vitality of immersing a character into personal memories and personal emotions facilitated by a medley of practices and exercises. Additionally, while Meisner is currently applied in modern acting forums, it also suffers the downfalls of Strasberg of affecting the internal abilities. These internal abilities usually encompass psychological, emotional and sensory techniques. The Meisner method, unlike Strasberg distanced itself from affective memory and sensory memory and, instead, encouraged concentration of one’s partner to the story effectively. Unfortunately, this perspective was castigated because it obsessed over given circumstances that included interpersonal exercises and emotional rollercoaster. Meisner equally succumbed to the downfall traits of Strasberg that revolved around pure emotional training without helping actors to learn ways of speaking verse clearly and making lucid enunciation. As a result, both methods were compelled to transform from the memory technique to method of physical actions perspective. Strasberg’s ignored other factors of physicality and cultural makeup of the individual at the expense of enhancing affective memory (Brockett et al 149). It, therefore, demonstrates the weaknesses of Strasberg in terms of bias and favoritism that is related with the Stanislavski System. The two styles also lack a form of sincerity because display of emotions does not reflect the realities of life. Another outstanding downfall that intertwined the two acting styles revolves around the endless exercises that did not match the ordinary existence. Coffee and Gibberish exercise exposed the folly of recreating monologues or scenes that were connected to one’s body language. In retrospect, this echoes the looks and tones that influence circumstances and intentions of the actors during film acting. Sense memory is another demonstration of demerits that interfere with the studies of how traditional theater is a hindrance to the success of Meisner and Strasberg acting styles. It signifies the stifling of creativity that is wholly manifested in both methods during both production and practical usage to especially when actors possess emotional baggage as seen in their body language. Lack of a cathartic advantage in both acting styles is a challenge to the method acting teachers because the emotional issues are not connected to any form of therapy. In spite of relaxation that characterize the mannerisms, energies, and expressions of Strasberg technique, development of bad habits links all the styles making them hard to interpret (Gloman & Napoli 178). On the other hand, observation of the two methods does not replicate the goals and objectives of producing elegant actors and actresses dedicated to stagecraft. It, therefore, is imperative for modern scenic designers to ensure that technology is used for positive benefits to avoid the pitfalls that characterized film production during the ancient times. This begins by highlighting the merits and demerits through integration of computer generated simulation such as the utilization of 3Ds to produce clear pictures and visual images. In other words, filmmakers working with scenic designers are mandated to attract and sustain the expanding consumer base consumer mass culture at a higher level unlike in the past (Brockett et al 140). Additionally, method acting styles such as Meisner and Strasberg deserve improvisation instead of phasing them out because they assist actors and actresses in becoming better artists. Works Cited Adler, Stella. Stella Adler on Ibsen, Strindberg, and Chekhov. Mason, OH: Knopf Doubleday Publishing Group. 2011. Print. Boleslavksy, Richard. Acting: The First Six Lessons. New York, NY: Routledge. 2004. Print. Brockett, Oscar et al. Making the Scene: A History of Stage Design and Technology in Europe and the United States. Mason, OH: Tobin Theater Arts Fund. 2010. Print. Gloman, Chuck & Napoli, Rob. Scenic Design and Lighting Techniques: A Basic Guide for Theatre. New York, NY: Taylor & Francis. 2007. Print. Stanislavski, Constantin. An Actor Prepares. New York, NY: A&C Black. 2013. Print. 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