Hair as character?
To overcome obstacles surrounding lockdown regarding models, an obvious way around is to focus the hair on objects rather than people.
This thought process led me to an article discussing the house in Hereditary (2018). Ari Aster, director of Hereditary (2018), wanted to 'achieve a dollhouse aesthetic' within the film (Topel 2018). The set was built from scratch, enabling the crew to remove walls and create wide shots looking into each room of the house (Topel 2018). This creates an unsettled feeling for the viewer, as it makes the characters seem helpless to their fate, like dolls in a dollhouse.
'Jung had a famous dream in 1908 that he included in his autobiographical book, “Memories, Dreams, Reflections”. “I was in a house I did not know, which had two storeys. It was ‘my house’. I found myself in the upper storey, where there was a kind of salon furnished with fine old pieces in Rococo style. On the walls hung a number of precious old paintings. I wondered that this should be my house and thought ‘not bad’. But then it occurred to me that I did not know what the lower floor looked like. Descending the stairs, I reached the ground floor. There everything was much older. I realised that this part of the house must date from about the fifteenth or sixteenth century. The furnishings were mediaeval, the floors were of red brick. Everywhere it was rather dark. I went from one room to another thinking ‘now I really must explore the whole house.’ I came upon a heavy door and opened it. Beyond it, I discovered a stone stairway that led down into a cellar. Descending again, I found myself in a beautifully vaulted room which looked exceedingly ancient. Examining the walls, I discovered layers of brick among the ordinary stone blocks, and chips of brick in the mortar. As soon as I saw this, I knew that the walls dated from Roman times. My interest by now was intense. I looked more closely at the floor. It was of stone slabs and in one of these I discovered a ring. When I pulled it, the stone slab lifted and again I saw a stairway of narrow stone steps leading down to the depths. These, too, I descended and entered a low cave cut into rock. Thick dust lay on the floor and in the dust were scattered bones and broken pottery, like remains of a primitive culture. I discovered two human skulls, obviously very old, and half disintegrated. Then I awoke.” (Jung, 1962)' (Perkins 2018)
'Coordinating the house’s layout with the characters’ personal interior, Ari Aster has created a setting in which deep psychological trauma can be exhumed with convenience.' (Perkins 2018)
Perkins, J., 2018. A House Within a House: Hereditary's Terrifying Jungian Roots. James Perkins Medium. 21 June. Viewed 17/02/2021. Available at: https://j-s-perkins.medium.com/a-house-within-a-house-hereditarys-terrifying-jungian-roots-1a7443e2912
Topel, F., 2018. Director Ari Aster Explains How the 'Hereditary' House is Also a Character. Blood Disgusting. 7 June. Viewed 17/02/2021. Available at: https://bloody-disgusting.com/interviews/3502862/house-also-character-hereditary/
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