Les Rendez-vous d’Anna: Defining Women’s Role in Society (C1839313)

“A road movie about an unresolved interior journey”

Hoberman, 2018

A Self-portrait

Released in 1978, Les Rendez-vous d’Anna (The Meetings of Anna) is a French-Belgian-West German co-produced road film, directed by the Belgian director Chantal Akerman. The whole film simply tells a story about a three days’ travelling of female filmmaker Anna Silver in west Europe. While the typical road film is like Il Sorpasso that set “cars or motorcycles as the centre of narratives about wandering or driven men who are or eventually become buddies” (Corrigan, 1991). The entire film is extremely restrained, calm, and concise to illustrate one person’s journey.

1. Screenshot of Les Rendez-vous d’Anna
2. “Chantal Akerman, de cá” by Universo Produção is licensed under CC BY-NC-ND 2.0

After finding background about the director Chantal Akerman, I suddenly realized that the protagonist Anna in the Les Rendez-vous d’Anna as a portrait of daughter, director, lesbian, which all reflections of Akerman herself.

What Are The Roles That Women Should Play?

Chantal Akerman in Les Rendez-vous d’Anna offers me to make a further examine about women’s gender role identity and social identity. Since 1970s, more and more women were accepted in the labour market, career women are usually being questioned about whether they could balance their marriage and job. There are two scenes that echoed this question in this film.

• Scene 1: Anna’s mother try to persuade her to have children, but the nature of her sexual identification which is she fell in love with an Italian woman lead her into a dilemma.
• Scene 2: The hotel front desk clerk points out Anna’s work as directrice in terms of gender

Image: Screenshot of Les Rendez-vous d’Anna

Two forces from society and family in the film present an internal and external struggle to Anna and Akerman. Both of them are living the same world which lowers their role to “female filmmaker” or “daughter” instead of an artist and a person.

Chantal Akerman

“File:Chantal Akerman – video still.jpg” by Mario De Munck is licensed under CC BY-SA 4.0

In fact, Chantal Akerman is a pioneer of modern feminist filmmaking. Her work Je, Tu, Il, Elle (I, You, He, She) is regarded as a “cinematic Rosetta Stone of female sexuality” by feminist and queer film scholar B. Ruby Rich (Kendal, 2020). Jeanne Dielman as the “first masterpiece of the feminine in the history of the cinema” also shows her position in film industries” (Shoard, 2015).

Particularly, in Jeanne Dielman, inspired by maximalist aesthetic of Andy Warhol, extremeism of Akerman fits the tedious life of a housewife that Ackerman wants to present, and the restraint of extremeism corresponds to Ackerman’s calm feminist attitude.

I Don’t Belong Anywhere, Trailer 1 (2016), via Movieclips Indie, YouTube

From her perspective in the film, I found that the meaning of the gender revolution is not to establish a new order, but to eliminate it. For Ackerman, women are not exceptionally great, nor are they exceptionally humble. At the beginning of all differences, women are supposed to be human beings. They have their emotions, lives and thoughts should not be ignored by the patriarchal society.

The Struggle of Female Director

Theodore Adorno has argued that “…the total effect of the culture industry is one of anti-enlightenment”, because “the progressive technical domination, becomes mass deception and is turned into a means of fettering consciousness” which could impede independent individuals.

Consider about the gender representation in the cultural economy. In particular, a study by the University of Southern California found that 10.6% of directors of the top movies are female in 2019, which has reached the historic highs of female directors in the past ten years. Moreover, only 20% of streaming platform’s directors were women in 2019 . Therefore, we could still see that the majority of behind-the-scenes roles are men.

“A Brief History of Hollywood” by Profound Whatever is licensed under CC BY-NC-SA 2.0

Although the definitions of the cultural economy are known as fuzzy, Markusen, et al. suggested that employment in cultural industries and in cultural occupations can apply here for evaluation. As the core cultural worker in the cultural economy, the low percentage of female director in the whole world deserved to have more attentions to the public.

The film Les Rendez-vous d’Anna released in 1978, but women in nowadays could still feel Chantal Akerman’s struggle in the same way.

Let’s get down to business…and address the lack of appropriate on-screen and off-screen Asian representation in the film industry (C1844595)

When the heroine with jet-black hair and almond shaped eyes appeared on screen, it had ignited an unfamiliar yet comforting feeling in my 5 year old self. Watching Mulan on the big screen, the first Asian Disney princess based on a Chinese folklore, I was amazed to see a reflection of my East Asian features in a strong female protagonist featured in mainstream Western media. It was when I grew older I finally realised how this experience leads into a bigger problem in the film industry – the lack of diversity in racial representation.

Why is this a matter of concern?

On-Screen

According to the Hollywood Diversity Report from the University of California, Los Angeles (UCLA): only 5% of all film roles in 2018-2019 were played by Asians.

Despite the rising strides of diversity in films, the limited on-screen representation frequently fails to accurately depict Asians, showcasing them in inferior or undesirable ways, leading to issues of misleading racist caricatures and lingering stereotypes of minority groups in society.

In particular, some films suffer from tokenism. Tokenism is NOT diversity. It’s a strategic move of hiring a minority solely for the sake of claiming inclusion and avoiding any criticisms or claims of discrimination.

One trope from this phenomenon is the “token ethnic friend”, which is a character most often played by a POC existing solely to uplift the White protagonist. Often being overshadowed and misjudged, these roles normalise reductive stereotypes, negatively shaping how viewers perceive certain demographics.

Image 1: Joy Li (2016), via behance.net

This further opens up another can of worms – how Asian stereotypes are reinforced in written characters. Through spreading such misrepresentative content to large multinational audiences, minority communities are forcibly put into boxes of stereotypical personas, potentially brewing into internal conflicts of personal identities.

Tied down by stereotypes and character tropes, such poor representation in the film industry limits minority actors and actresses to break out of from their typical one-dimensional roles and branch out into different genres or cinematic styles. Bound by the aftermath of such misrepresentations, Asian film, television and theatre actor Lee Shorten laments his struggles of breaking down the highly constructed barrier.

“It’s also rare for us to play a character or tell a story where being Asian isn’t the sole or dominant /defining part of that character/story. (…) The burden of representation is still heavy, we’re rarely allowed to just play people, you know?“

Off-Screen

When a live action Mulan was announced in 2020, the kid inside me jumped in joy in hopes of reliving my childhood bliss – finding a reflection of myself in mainstream Western media. Instead, my dreams came crashing down as I found the film had a predominantly White crew – to top it off, a White director.

Disney hired:
• A white director
• A white costume designer
• Four white screenwriters
• A white composer
• A white cinematographer
• A white film editor
• A white casting director

All to “authentically” tell the story of legendary Chinese warrior Hua Mulan. https://t.co/mRo1lsBJkF

— Off Colour (@OffColourOrg) March 10, 2020

Image 2: Off Colour (2020), via Twitter

As described by Christina Chong, the majority of successful on-screen ventures featuring Asian stories and actors were supported by Asians off-screen. So unsurprisingly, the film was met with immense backlash with its cultural inauthenticity and inability to accurately present the Chinese tale.

With the media’s major role in influencing the masses, accurate representation would help the audience have a more positive outlook on minority communities. After all, how can one write a script about different races, religions etc, without being in their skin to experience what they’ve been through?

What could be done to change the situation?

• Prevent tokenism by writing Asian stories and characters that defy stereotypes
• Adopt colour-conscious casting, similar to the musical Hamilton which casted historical figures as all minorities to show how influential they are throughout the country
• Incorporate Asian culture into storytelling without framing it in a dominant aspect
• Employ more Asian off-screen crew members

Although there are more positive depictions of appropriate on-screen and off-screen representation in recent years, diversity in racial representation still has a long way to go for the industry. One day, I’d like to see my reflection on both sides of the sector.

Premiering in a living room near you? Covid-19’s prolific effect on the Film industry. (C1817004)

Featured image: Felix Mooneeram via Unsplash

Surely not? Would this have been the response if a film presented the devastation of Covid-19? Yet since early 2020, this global pandemic has rocked every aspect of the film industry. This thriving sector of the creative industry saw production cancelled or halted. Social distancing, borders restrictions and cinema closures reshaped distribution methods. So, can we look at this as a turning point that will propel the ever-ingenious creatives to bigger and better opportunities?

Bectu (Broadcasting, Entertainment, Communications and Theatre Union) survey of 5,600 freelancers revealed 71% predicted financial struggles stemming from Covid-19 constraints. Blair Barnette, speaking to The Guardian, represented many who face being overwhelmed by debt. Blair lost £28,000 instantly and feared having to pursue another profession. The pandemic has hit the industry’s core, destabilising the people whose talents had previously engrossed, enlightened and entertained millions.

Box Office success will require public confidence and exciting productions. The anticipated James Bond: No Time to Die suffered major setbacks. Will the pre-Covid-19 momentum for the franchise remain? Have the many re-runs on television saturated fans or added a new fanbase so heightening interest?

Video: No Time to Die Trailer – In Cinemas October 2021, via YouTube

There is certainly support for Britain’s culture, arts and heritage organisations. The UK Government’s unprecedented £1.57 billion Culture Recovery fund includes independent cinemas. Odeon’s managing director hopes to rekindle “the magic that the cinema brings.” Odeon will screen Oscar Winning Films such as Sound of Metal, which has been offered to Amazon Prime members, alongside new releases. Nevertheless, with monthly streaming services typically costing less than one cinema ticket, only time will tell if audiences will vote with their feet by returning to cinemas.

Undoubtedly film has remained popular. Burroughs discusses the “shifting cultural terrain” with the surge in popularity of digital streaming platforms. Research on the Culture and Creative sectors in post-Covid-19 noted the pandemic accelerated a sort of “Netflixisation.” Netflix’s revenue increased to $5.76billion skyrocketing 27% compared to the same period in 2019, with its subscription sign-up doubling.

Image: Souvik Banerjee via Unsplash

Tryon notes catering to an “on-demand culture,” distribution may continue to skip theatrical releases with consumers viewing their favourites at home. Disney+ favoured this approach with Pixar’s Soul and its Mulan adaption. Ralph Finneas, suggested executives are “probably considering” premiering the new Bond film digitally. The future of film must now incorporate streaming services, many commissioning or owning material. 

So, will streaming exacerbate a divide in access to cultural industries? Hopefully the increased growth of free content available on digital platforms will continue. Amazon Prime Video offered some free content to enhance family life in lockdown. Such responses may reap rewards among future generations already switched-on to digital.

Covid-19 has seen a rise in creativity, with users utilising monitezable platforms including YouTube, showcasing their talents. Virtual production technologies have proved vital, beneficially connecting film-makers and actors. The Future of Film Report 2021 contains a vision that is “inclusive, sustainable and rewards innovation and creativity.” A post-production technique where dialogue can be dubbed over live action footage known as “automatic dialogue replacement” eliminates geographic barriers and encourages collaboration.

Video: Numb – a short film – liv mcneil via YouTube

To use an analogy, the bright lights of the film industry seem only to have shifted in colour, but are still shining. This creative industry deserves its esteem having emerged from Covid-19.

Images are licensed free to use via Unsplash

“I Like My Money Where I Can See It”: Is Crowdfunding Driving A Takeover From Box-Office To Independents? [C1729500]

As Sex and The City protagonist, Carrie Bradshaw has been famously quoted; “I like my money where I can see it”. Yes, she may have been referring to her wardrobe… but the apple doesn’t fall far from the tree regarding the film industry. And when talking about crowdfunding, the patrons like their money where they can – literally – see it, on screen.

This year, thanks to COVID-19, we’ve been at home more than ever. And talking from personal experience, I think I’ve watched more films in the past year than ever before (Thank you, Netflix). However, the box office tells a different story.

ComScore senior media analyst Paul Dergarabedian expressed that, ““This was a truly confounding year with so many norms and traditions downright obliterated by an unimaginable enemy of the pandemic”.

One obvious massive hit to the box office has been the closure of cinemas. 2021 was set to be a year of recovery for the film industry. Yet, Welsh governments have ruled cinema ‘impractical and unnecessary’.

Chapter Arts Centre in Cardiff. Source: https://www.chapter.org/

Chairwoman of the Chapter Arts Centre in Cardiff, Elin Wyn, told BBC Radio Cymru’s Dros Frecwast programme it will be reopening its cinema at about 30% capacity on 17th May 2021.

Could independent cinemas be the light at the end of the tunnel?

Multiplexes can close their doors or reduce their hours, but in the world of cinema it’s not all doom and gloom. Box offices in many independent cinemas report strong audience numbers, urging blockbuster fans to try independently produced films.

Jason Wood, creative director of film and culture at HOME, said: “We feel huge sympathy for people who lose their jobs. But it’s an exciting time for independent cinema. It is really important to recognize that there is an industry beyond mainstream blockbuster film culture.”

So where does crowdfunding come into this? And who is it benefiting?

Crowdfunding is a funding model which enables businesses and individuals (like independent film producers) to draw on relatively small contributions from relatively diverse parties using the internet, without standard financial intermediaries’ (Mollick, 2012:02).

Without budgets from the Hollywood conglomerate, independent film companies can excel in using this funding model. It removes the need for government interference or debate. The public invests simply because they believe in the cause. ‘Donors have a social or personal motivation for putting their money in and expect nothing back, except perhaps to feel good about helping the project’ (UKCFA, 2021).

Transgressing: A success story

Short film ‘Transgressing’ is set to be released in 2022. Produced by Red Films, an independent film company, has been partly funded through crowdfunding to enable production to go ahead. Between March 23^rd – May 5^th, Red Films were able to raise £5,695 in donations.

Before digitization, money and specialised professionals were required for even basic productions; “Traditional independent production was an ad hoc system with inherent limitations” (ibid., p. 454). Consequently, a rise in a creative class has emerged.

Since the rise of the creative user, two new coined terms have been developed: “produser” and “prosumer.” Produser, a term coined by media scientist Axel Bruns, combines “producer” + “user” to refer to an individual (or a group of individuals) who engage in the culture of peer production (Bruns, 2008).

Prosumer, alternatively, refers to the combination of “producer” and “consumer,” and this sentence accurately describes the increase in user creativity since the rise of digitization (Toffler, 1980).

It has become obvious that the combination of new funding models, like crowdfunding, working in unison with the emerging creative class is what is revolutionising the film industry. This is driving the movement from blockbuster conglomerates towards smaller, independent film production.

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Disclaimer: The images in this blog are used under fair usage and teaching act

Crisis or opportunity? The self-salvation of the Chinese film industry (C1812349)

The sudden outbreak of the pandemic has plunged the global film industry into darkness. According to estimates on Statista, by May 2020, the coronavirus pandemic will have caused a revenue loss of about 10 billion dollars worldwide. The film industry faces an unprecedented challenge as cinemas are forced to close and a large number of movies are backlogged and delayed.

Image: Pexels

The butterfly effect causing a streaming inflection point?

At the start of last year’s outbreak, the film Lost in Russia (2020) sent shockwaves through the Chinese film industry when it was released free of charge on online platforms such as TikTok and Xigua Video after being removed from cinemas. This business model seems to copy the development path of Netflix, which has rewritten the relatively rigid operating model of Chinese cinema chains. This pioneering behaviour has aroused heated controversy in the industry, as streaming media’s diversion of audience reception will inevitably deepen the tension between streaming media and traditional modes of distribution and exhibition, and even for what the ‘feature film’ means to audiences, given Netflix and similar platforms have further encouraged the viewing of high-quality drama series as much or even more so than tentpole movie releases. Once the pandemic has disappeared this structural change in the entire production chain may irreversibly alter the future direction of the film industry.

Aside from the enforced disruption of the pandemic on distribution and exhibition compared with the traditional cinema experience, streaming media platforms can interact more actively with audiences and can instantly analyse user data to cater to user preferences, so as to maintain audience engagement and even fundamentally affect their consumption habits. Of course, that does not mean cinemas will lie stagnant or demand will not return once the crisis has fully passed. An investigation by Maoyan shows that the expectation of Chinese cinema lovers to return to the cinema rose from 54% in February 2020 to 88% in May 2020, indicating the irreplaceability of cinema viewing among audiences. It can be said that streaming media has indeed helped the industry during the pandemic to a certain extent, but it still cannot completely make up for the gap caused by the absence of new films screened in cinemas. The future trend of the film industry may expectedly be that cinema chains and streaming build a community of interest and mutual improvement, so as to optimise the upstream and downstream of the industry and promote the film market to be more diversified.

Image: Pexels

Virtual production as a new outlet?

In addition to changing patterns of film consumption, the global isolation caused by COVID-19 threw the production link in the chain into major crisis, for a long time rendering shooting impossible due to lockdown and social distancing. In this context, virtual production became a potential saviour. According to Ben Smith, the head of film, TV and publishing of Rebellion, “with virtual production, new skills are creating new opportunities”. It is not difficult to understand that virtual production can not only meet the miniaturised and remote working mode of crews in the circumstance of COVID-19, but also give more possibilities to the visual presentation, and thus become a providential way for filmmaking under the constraints of the pandemic and beyond. In other words, the coronavirus crisis may be the perfect time to reinvent the filmmaking process.

Image: Pexels

However, it is essential to note that technological innovation cannot ignore the importance of content. As a loyal moviegoer, I would like to say that no matter how the carrier of communication changes, telling attractive stories is an eternal need and technology must always be bent to that primary purpose beyond mere spectacle. In an era of rapid change, media will be constantly updated and capital will continue to pursue new industry trends. What needs to be valued is the cultural expression of products, which is the most significant spiritual core of the film industry, and also of the cultural and creative industries.

“Show me the money!”: How the Film Industry is prevailing during Covid (1824321)

“File: Milad Tower drive-in cinema 3439822.jpg” by Mohammad Khodabakhsh is licensed under CC BY 4.0

2020 saw one of the greatest challenges faced by the world – the Covid 19 pandemic. Whilst there now seems to be some light at the end of the tunnel, there is no doubt the pandemic has had, and continues to have, detrimental effects on our lives. The economy has also been hit hard, with the creative industries taking one of the hardest knocks. The film industry taking what would be a knock out in the world of Rocky. Where this industry, in Britain, once contributed “around £60 million each day to the UK economy”, the pandemic has effected these figures. This is noticeable worldwide, with social distancing restrictions bringing film production and distribution to a stand-still. I know, I know, not looking good. Though, it’s not actually all doom and gloom for this industry. Where a digital disruption was already being seen, and user-creativity was coming to the forefront, the film industry could be said to have, like Rocky, got back up from the punch of the pandemic.

Something we can all likely share during this pandemic, is this reliance on streaming services such as Netflix and Amazon Prime Video for our films. It’s no surprise that this is the case, as “Streaming services were on the rise even before 2020 with Netflix becoming a $125 billion company […], making 6.14 billion dollars in the second quarter of 2020 alone.” Whilst many film industry players worry it’s “[…] more difficult to reach target audiences due to the disruption caused by the emergence of on demand distribution.”, it’s undeniable that these services are creating revenue and that this digital disruption might be better off considered a digital advantage. In a digital space now known as Web 2.0, where collaboration is at the heart, users create their own content and share this by their own means.

Chart showing streaming services internet traffic
·         “PlayStation下載流量佔全球2.7% Netflix佔15%第一” by steamXO is marked with CC PDM 1.0

Known as ‘user-creativity’, the pandemic could be said to have generated more of this, with individuals using the dip in film industry distribution as an opportunity to showcase their own work. Vickery, G. et al (2007: pp. 35) share how “[…] video content may be hosted on a user’s website, […] private web pages or hosted by video sharing platforms such as YouTube.” Here, what is known as the ‘prosumer’ can be recognised – where someone who would once have passively consumed content, creates and shares their own content as a producer would. An example of an original piece created during Covid can be watched here: COVID ‘19’ short film – YouTube. The film industry has also fought back, chasing their thought-to-be declining revenue with drive-in cinemas. With cinemas closing when restrictions set in at the start of 2020, some cities re-introduced the 1960s drive-in cinema experience to fill this gap. Some industry figures suggest “[…] drive-in will be the gateway back to the cinema, allowing people to enjoy entertainment out of the home for the first time since lockdown […].” You can watch a drive-in cinema experience here: Lockdown 2020 Drive In Cinema Experience – Luna Cinema – London – YouTube.

A Drive In cinema at night
“Drive-in cinema” by Picturepest is licensed under CC BY 2.0

You don’t have to be a genius to see that the surge of the internet and digital platforms doesn’t seem to be slowing and that, for creative industries like the film industry, it seems the only option is to accept this fate and roll with it (and the possible punches that might come with this…). Increasingly, this necessity to embrace digital disruption and the user-creativity that comes with this, is becoming apparent. As Adejobi (2020) points out, there’s opportunities to be had and embraced, which ‘[…] requires adapting in an era where the promise of a virtual, global audience provides infinitely greater opportunities for recognition especially for indie filmmakers.”. Predictions suggest a future where “[…] studios and the platforms are likely to coexist and thrive […]”, which sounds great, as then we can all have the much-needed update of Netflix options!

C1824321

Covid-19: A New Creative Industry For Film?

Credit: Pexels

One of the most monumental events in current history, Covid-19 has left the creative economy at a standstill. One of the most notable industries hit is the film economy. Leaving a whirlwind of insecurities for all working in the film sector.  

As an avid cinema devotee, myself. It is sad upcoming blockbusters, including my most anticipated- A quiet place two and Marvel franchise prequel Black Widow- move to a halt. 

It seems hopes of a tango ice blast and popcorn will have to wait. 

Credit: GIPHY

From jobs in production to distribution. All areas of the film industry will be vastly effected until the near-future. The recent crisis for the film creative industries have promoted issue letters to be written to the government in a call to protect the creative industries: 

“We cannot allow the UK to lose half of its creative businesses and become a cultural wasteland’

Funding Issues for those on the sector has been the biggest constraint covid-19 has brought to film since the introduction of the internet.   As a public good, funding film creative hubs is essential for production success. Funders like the British film commission, have furloughed their staff; including all areas of operation. Without the funds, people to create, act and function the set, the film industry is left at stall for now.

Image: Pexels

It’s not all bad news though…

During the coronavirus pandemic, lockdown activities have boosted the amount of time consumers spend watching film and TV. A Rakuten survey found: 38% of people in the UK are spending more than three hours a day watching video on demand alone.

With streaming platforms like YouTube, Netflix and recent contender Disney Plus are experiencing a flux in costumers. We can all enjoy a taste of back catalogues and new releases.

Blockbusters due to be released in cinemas around the time of lockdown have been shown on paid streaming services. The family-friendly animation Trolls World Tour destined for April release premiered on streaming platform. Achieving £80 million sales in three weeks.

Trolls Word Tour Trailer- Credit You Tube

If you are sold by the trailer here is a link to the family fun

Is Streaming the new answer? 

During the lockdown period, creative interest has ignited. Sparking innovations in the film industry. The digital has come to play a significant part in the success of the industry in the new ecosystem. 

I have enjoyed casually watching the revival of the YouTube prosumer. Inventing the enhanced remix culture for amateur film creators. Independent film Exposed, produced a short film during lockdown that enabled fans to watch part two in an innovative style.

Exposed Part Two: Credit You Tube

However, does this ultimately mean the film industry business model will change?

UK Lionsgate executive Zigy Kamsa says: ‘I don’t think that [cinema] will ever go away but it will change… It may be that more films go straight to streaming and you just rent it…It would be a shame if cinemas suffer because of home entertainment, they should be able to sit side by side.”

We Can Help!

Despite the halt of motion picture cinema releases and funding in the creative sector. Lockdown has opened opportunities for the film industry to innovate.

 ‘We Are One: A Global Film Festival’ streaming on YouTube from May 29^th for ten days. Marks a transformation for the independent film industry. The festival involves feature motion pictures from global festivals including: The Sundance Film Festival and Animation Film Festival. 

Not only can we keep connected through cinematic experience at home. The film festival donations will be aided toward WHO.

We Are One Film Festival: Credit You Tube

I know myself as a fan of independent films will be joining.

Entering lockdown, I was apprehensive of how the film industry would cope. Due to my love of the social experience of cinema, I appreciate how much effort is put into motion pictures. However, despite the lack of popcorn and friends I’ve found myself enjoying the creative alternatives the industry is manufacturing.

In a time of uncertainty, it is scary and exciting to see what changes the pandemic will bring about to cinema. As an industry that hasn’t had too many disruptions, this time will certainly impact the film economy for years to come.  

Falling Back in Love with Old Disney Classics

Photo by Benjamin Suter from Pexels

Did you know that the first Disney film was released in 1937!

Disney returns to our screens with remakes of old movie classics. What a decade to be alive! From Alice in Wonderland (2010) to The Lion King (2019), technological advancements have shifted Disney from hand-drawn cartoons to live-action animation movies.

Visual and graphic designers have enabled characters to become life-like, and environmental conditions to appear as though we are in the midst of a snowstorm or a windy rain shower. The cleverly crafted trailers have promoted the films to entice us, the audience, to the cinema or the newly-launched Disney Plus, to revisit the much-loved films and characters from our childhoods.

The technology used in the remakes creates such a level of realism. You feel like you know the characters personally, without feeling as though you have lost the original hand-drawn characters, as they are integrated into these ‘upgraded’ versions.

The technology used in the remakes include…

• ‘Hyperion Renderer’: creating more life-like images from the way the life bounces off objects and characters.

• ‘Matterhorn’: enabling the existence of realistic virtual environments, like The Lion King’s African savanna.

• ‘Meander Animation Tool’: creating 3D imaging to add a sense of realism- a big job!

• ‘Iteration Upcycling’: taking what has been successful in the past, and ‘upcycling’ this to become an even better version. Taking a previously successful element of a film almost guarantees a higher probability of the desired emotional response from the audience.

• ‘Motion Capture’: creating movements for the animated characters through duplicating a dance routine from a human actor.

Photo by Donald Tong from Pexels

Take ‘The Lion King’ (2019) for example…

Watching the remake could make you feel as though you are reliving your childhood in a modern-day world, with the famous elements of the original film included, such as the famous Circle of Life introduction. The animals have become more realistic because of CGI animation work from the visual effect masters. The 2019 production is a shot-for-shot remake of the original, yet it reaches out to a new audience, one that’s intrigued by the graphic production, and, a completely new generation.

The visual effects masters created life-like animals that moved, breathed and talked. Working right down to the skin, muscles and bones, there was 600 million pieces of hair put together to feature throughout the film. They even took gusts of wind into consideration when deciding how these hairs would move!

Photo by David Ehrlich from Indiewire

Did you know that it would have taken 8,790 years to complete The Lion King (2019) if it had been undertaken on just one computer?!

The original fun-loving nature of the film’s remake has not been lost, despite the modernisation of the characters. The audience can still feel like they were visiting old friends from the past again. Retelling these old stories with a reconstructed photorealism, engineers a sense of nostalgia in audiences.

The remakes also use similar storylines with a slight diversion of the plot and characters, creating an innovated and unique viewing experience from the original film. For example, Snow White and the Huntsman (2012) made Snow White a female warrior rather than a pretty princess who does house chores.

However, …

Despite the financial success of these remakes, critics such as Andrew Yang (2019)  suggest that they are unoriginal and disappointing, as he tweeted:

• 

Photo from Andrew Yang’s Twitter feed

So, has Disney’s originality gone?

We are lucky to live in this era of Disney. Past and present audiences are experiencing falling in love with old Disney classics and its beloved characters for the first time, or all over again, thanks to the technological advancements developed.

Comment your opinion of the Disney remakes!