UID:
kobvindex_INT0004876
Format:
62 pages :
,
illustrations, plans ;
,
30 x 21 cm.
Content:
MACHINE-GENERATED SUMMARY NOTE:
"People have always been fascinated by science-fiction, time travel, and the exploration of the unknown. With the development of the medium film, the role of set design in the making of a movie increased in importance. It became more of a focal point in order to support the plot of the movie and create a better understanding for the viewer. This thesis aims to compare and contrast the visualization of one or various probable futures through the means of film architecture and production design by looking at the films Metropolis (1927) and Blade Runner (1982) as well as the evolution of technology in set design and special effects (SFX). Hence, my practical part aims towards developing a set design for a 2020 remake of Metropolis. Methodically, the two films will be analysed in regards of their sets and the special effects, which were used. Additionally, a meticulous study of literature, books, academic expositions and internet research will be conducted and summarized. The thesis structure explains the actual essence of set and production design as well as film architecture. To be able to explain the aspects of production design, three key scenes from Metropolis and Blade Runner are chosen and compared with each other. These set analyses follow a detailed investigation of the most important special effects used in both movies. Taking all these findings into consideration, it is the intention of this work to be able to develop a possible set design for a Metropolis remake."
Note:
DISSERTATION NOTE: submitted as bachelor thesis in Interior Design, Berlin International University of Applied Sciences, 2020.
,
MACHINE-GENERATED CONTENTS NOTE:
1 Introduction 5
2 Film Architecture 7
2.1 The relationship between set design/plot and film architecture/message . . . . . . . . . . . . 7
2.2 The importance of film architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
3 Analysis of spatial characteristics 9
3.1 Metropolis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3.1.1 Set 1: Fredersen’s Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3.1.2 Set 2: Maria’s Church . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
3.1.3 Set 3: Rotwang’s Laboratory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
3.2 Blade Runner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
3.2.1 Set 1: Tyrell’s Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
3.2.2 Set 2: Tyrell’s Private Quarters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
3.2.3 Set 3: J.F. Sebastian’s Apartment/Laboratory . . . . . . . . . . . . . . . . . . . . . . 23
3.3 Similarities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
3.4 Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
4 Comparison of visual elements between Blade Runner and Metropolis 27
4.1 The City Scape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
4.2 The "New Tower of Babel" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.3 The Picture Telephone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
4.4 The Artificial Intelligence (Robot vs Android) . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
4.5 The Scientists/Creators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
5 Evolution of special effect technology in Film Set Design – from hand made to CGI 41
5.1 Stop Trick/Stop Motion and Miniature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
5.2 Debris Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
5.3 Schüfftan Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
5.4 Matte Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
5.5 The Picture Telephone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
5.6 Multiple Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
5.7 CGI (Computer Generated Imagery) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
5.8 Retrofitting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
6 Design Proposal 55
6.1 Fredersen’s Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
6.2 Maria’s Church . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
6.3 Rotwang’s Laboratory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
7 Conclusion 59
Bibliography
Language:
English
Keywords:
Academic theses
;
Academic theses
