Here is the mood board I created as a CMS assignment for my first year film. I used materials and images that inspired me as to the overall mood of Tagore from a CMS perspective.For the character board below, I took pictures of the actors in their costumes and did a mock run of the make up. It was also my first time using photoshop. Note to self: Holidays will be spent teaching myself the technicalities of photoshop – it is SO MUCH FUN! Our lexical concept is addiction. The theme deals with how a socially acceptable addiction, like money addiction, has a negative impact on the lives of those affected. The thematic statement deals with the notion that socially acceptable addictions are a reality in society. We claim through our film that socially acceptable addictions have just as many adverse effects on sufferers like the more stigmatised addictions such as drugs and alcohol. This is because the addiction stems from similar self-esteem issues and trauma. The pattern of trying to fill a void, is similar in all forms of addictions.
A few posts ago I posted a newspaper report on The Heels and Heart Killer. This is a project I’ve done for CMS class. I was apprehensive at the start as I don’t consider myself a gorge loving type. Strangely enough the more I just put down the first ideas that came to mind, the deeper I divulged into making a coherent story around my characters. It was interesting to emerge into a different angle of psychology and step out of my own bubble that influences what I spend most of my creative energy on. So here is the second part of my assignment, hope you enjoy the visuals!
Brief: Sean George, also known as the Heels and Heart Killer has been found stabbed to death in his prison cell. This was as a result of a brawl between him and his cellmate. This comes at a bad time because the identity of his fourth and final victim remains a mystery. Sean confessed that he confided the identity and the whereabouts of the body of the fourth victim to someone that he knows. We have compiled a document of evidence containing photo’s and analysis of : 1. Sean George aka The Heels and Heart Killer. 2. Jannes Koen (The builder contracted to do renovations at Sean’s property and his only known friend). 3. Hessie Hendricks (Sean George’s housekeeper and the person that alerted police of the murders). 4. Melissa Snell (Afda News junior reporter and the last person besides police detectives to have spoken to Sean). We have also included evidence containing the three victims photos and analysis of their murders (All photo’s were taken by Sean George on location in his underground garage and killing playroom) : 5. Erwin Gills (The first victim). 6. Ga Rambahmwe (The second victim). 7. Kevin Harris (The third victim). We require an investigation into who could know the identity of the fourth victim between Jannes, Hessie and Samantha. We also need a victim profile to be compiled based on the evidence supplied of Sean George’s victims. We would like to run through a list of missing persons and see who, if any, on the list fits Sean George’s victim profile.
Sean George aka The Heels and Heart Killer
The first photo was taken of Sean at an event held at his house for staff of his real estate businesses on the night of September 21 2013. This was the same night that Sean would later go out to find his third victim, Kelvin Harris at Soho Nightclub in the Pink District of Cape Town.
Sean wears his hair slicked back when he goes out to find his victims. Those that saw him regularly knows that he has a wild mane of curls that he usually leaves unkept. He oils his hair back to appear more sophisticated and desirable to his victims, which is a tactic he uses to gain their admiration. Sean wears his beard long and had not cut it in approximately 3 years, at the time this photo was being taken. Sean had said his beard made him feel cosy. He said the same of his murder weapon, a heart shaped pillow. Sean wears an ill fitted jacket with sleeves that are too short and don’t compliment his frame. However when he went out to bars and clubs he always tried to look like he blended into the crowd. Sean wears a loose fitted denim jeans, with formal shoes. He only tried to tidy himself up for the nights of the murders, and it shows in terms of the mixing of different styles of clothing. Usually Sean is always in shorts and T-shirts with flip flops and wild hair. That look however did not suit what he wanted to project when he went out to lure his victims.
The close up shot shows his hair in more detail, as well as the dark rings under his eyes and dried chapped up lips. Sean was an insomniac that was constantly in a state of worry. His dehydration showed in his cracked lips as Sean did not have the faintest idea of how to take even basic care of himself. Common practice like drinking water were an unknown reality to Sean, for besides his nanny, nobody taught him the basics of life.
This picture was taken of Jannes Koen on location at Sean George’s Hout Bay home in 2012. Jannes wears his trademark blue builders hat and tinted sunglasses. Jannes likes to work in comfortable yet clean and presentable clothing. He saw himself as having a sweet deal working for Sean on all of his apartment blocks. Jannes is an extremely diligent and committed worker and values his wrist watch as much as his builders hat and trademark sunglasses. Jannes frequently looks at his watch as the time ticking past reminds him just how busy he is, and how in demand his services are. Jannes is said to be devastated by the news of Sean’s murders and also of his death. Jannes worked for Sean for six years, they met when Sean moved into his Hout Bay home and needed building work done.
This picture was taken of Hessie in the guest house kitchen on Sean George Hout Bay property in 2014. Hessie usually wears affordable clothing because of her low salary in relation to her large family of 2 children and 3 grandchildren that she solely supports. Hessie is a hard worker and this shows on her hands and face of all the years of putting others before herself. Hessie has worked for Sean for ten years. She spent four years working for him in Sea Point, and six years in Hout Bay. Hessie is past sixty years old at the time when the photo is taken and is starting to feel aches and pains in her body from all the manual labour she has done over the years. In her ten years working for Sean, he has not asked her once about her family or when her birthday is. Hessie is reported to be elated with the R100 000 reward she received from turning Sean in. She has retired and is settling into life as a pensioner.
This picture is the latest Facebook profile picture of AFDA News junior reporter. Melissa Snell painted Sean in quite a sympathetic light in her Todays News report on May 26 2015. A few of us suspect that things may not all be as they seem between the dealings of Sean and Melissa Snell. Melissa has big ambitions to be a top international reporter and is known to go to extreme lengths to get a good story. Melissa is financially struggling at the moment with a minimal starting salary and extravagant spending habits on beauty and clothing items. She was the last person, besides police detectives, to have spoken to Sean George.
Erwin Gills was the first victim of The Heels and Heart Killer. The first photo was taken in the underground garage of Sean George Hout Bay home in the early morning hours on July 16 2011. Erwin had been out clubbing on this cold and wet evening and was picked up by Sean. Erwin was a conservative intellectual that went wild over the weekends. He hid his homosexuality from his friends and family and went to gay clubs on his own. Sean had taken some amphetamines at this point of the evening and was not thinking coherently. His eyes are glassy and his jaw is stiff at the time Sean took this picture, which is upon first arrival at Sean’s home.
The second photo is taken by Sean of Erwin in his killing playroom. It shows Erwin’s contorted arm positioned so that his hand is visible above the white sheet that covers his body. Behind his hand is the heart shaped pillow used by Sean to suffocate his victims. On the bed one can see a used condom as well as the scalpel used to engrave a heart cut out of flesh in Erwin’s skin.
Ga Rambahmwe was the second victim of The Heels and Heart Killer. The first photo was taken by Sean of Ga in the underground garage of his Hout Bay home on the early morning of April 7 2012. Ga had just arrived in Cape Town for a business trip from his native Johannesburg, and had gone out straight after his flight landed. Ga was a marketing executive for a well known media company. Ga enjoyed occasional weekends in Cape Town as he felt more comfortable to explore his sexuality in Cape Town than Johannesburg. Ga enjoyed a drink or two, but was generally a nervous person and very controlling. At the time when Sean took this photo Ga was apprehensive about being there and asked to leave. Sean quickly had to give him some water with GHB in it to make him pass out.
The second picture is taken by Sean of Ga in his killing playroom. It shows Ga after he has been suffocated by Sean. Ga’s lips are dry from dehydration from the GHB as well as lack of oxygen. His eyes are bloodshot and glassy because of the suffocation, and there are dark bruising around his mouth due to the force of the suffocation. In the background on the right is the heart pillow used for suffocation, and on the left is the needle used with the syringe to inject the GHB into Ga’s bloodstream.
Kevin Harris was the third victim of The Heels and Heart Killer. The first photo was taken by Sean of Kevin in the underground garage of his Hout Bay home in the early morning on September 22 2013. Kevin was from Nigeria and was in Cape Town working as a model for Bomb Agency. Kevin had a girlfriend but occasionally enjoyed going to gay bars to have some fun with guys and explore his bisexuality. His girlfriend was not aware of this. Kevin liked to dominate, and put up the strongest fight against Sean. He resisted the invitation to drinks upstairs Sean initially offered and nearly forced Sean to perform oral sex on him in the underground garage. Sean had to inject Kevin with GHB in his underground garage before carrying him upstairs to his killing playroom.
The second photo is taken by Sean of Kevin in his killing playroom. Sean has exposed flesh cut in the shape of a heart. The scalpel used to cut Kevin as well as the gloves Sean wore can be seen in the photo. The feet of the heart pillow can be seen covering Kevin’s face. In the background of the bottom left corner the heels Sean made his victims wear while he raped them can be seen.
Been so much fun assisting Alto De Kock on his 100 years of fashion assignment. Go look at altodk.com at the fabulous looks he created for fashion styles in the eras of 1900’s to 1950’s. The picture of me is in the space he created for the shoots. Can’t wait to work on his second year film. Watch this space…
This is just tooooooo funny.
I never really knew Jana Thorn too well. I had just heard stories and occasionally exchanged glances in the hallways. She was always really weird and mysterious you know? No one wanted to hang around with her, she wasn’t like the rest of us…She was fat, and we aren’t just talking puppy fat here, we’re talking full on too fat for 15 American reality TV show fat.Her parents moved around a lot so I guess it didn’t really give her time to make any real friends, not that she didn’t scare off anyone who happened to even breathe in her direction. But you get people like that, those outcast types that almost choose to live their lives as such. You know, those introvert types. She was one of those typical ‘gamer’ girls who would spend their entire weekends sitting behind their really overboard computer with her triple decker pizza, gaming…
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On a lighter note… I was a character in a classmate’s Reinvention of a Kenyan fairytale. I get rescued by a Kenyan hottie from my wedding…Haha sounds like something that could likely happen to me! Not sure where I found the time to put a black coat on during my great escape, and why am I getting married in an industrial complex? Really now! Btw, doesn’t my rescuer look like a dark haired Tarzan?
We have been assigned a project in production design entitled Reinvention of a Fairytale. For this project we needed to explain the relevance of our chosen fairytale to modern day society. We also needed to take an image that represents this and ensure symbolism from the fairytale is present in the image. Please continue to read my take on Vasalisa the Beautiful and how I found relevance in the modern day societal issue of female liberation.
The fairytale I have chosen to reinvent is called Vasalisa the Beautiful that contains the stoke fairy tale character Vasalisa the Wise. Stories with Vasalisa as the main character are told in Russia, Romania, Poland and throughout the Baltic countries (Estes, 1992: 70). Vasalisa is a story that focus of the rights of passage of a woman. It is the story of the initiation process that women embark upon when they realise that things in life are not always what they seem. The tools that women have to guide them is an inner voice that has been passed down from the wise women who have gone before us yet is always with us. This inner voice is referred to as intuition, and it is the treasure of womanhood. An initiated woman uses her instincts and intuition to guide her when making decisions, and to establish a sense of power from her creativity energy.
Vasalisa the Beautiful begins with the child Vasalisa, her merchant father and dying mother. Her mother gives her a little doll and instructs Vasalisa to feed it and the doll will in turn help her when she is in need. Vasalisa listens to her mother and the doll comforts her when her mother dies. After some time Vasalisa’s father remarries a widow with two stepdaughters. They are very cruel to Vasalisa because they are jealous of her beauty and talents. They order Vasalisa to do all the housework, but she manages to do it easily with the help of her doll who she cares for and feeds regularly. Vasalisa’s father goes away for work and Vasalisa’s stepmother decides to put out all the fire sources. She forces Vasalisa to go and collect fire at the ominous Baba Yaga’s hut in the forest. Vasalisa is frightened in the forest and even more so when she arrives at Baba Yaga’s hut that stands on chicken legs. When Baba Yaga finds her she orders Vasalisa to perform many tasks in exchange for fire, or she will be killed. Vasalisa has to clean the house and do the laundry, separate poppy seeds from grains of soil, separate rotten corn from sound corn, as well as cook for Baba Yaga. Vasalisa is exhausted and in a state of despair. Vasalisa calls upon her doll for help. Her doll tells her to go sleep and that she will take care of the tasks. The tasks are all done by dawn and Baba Yaga allows Vasalisa to ask her a few questions. When Vasalisa probes too deep, her doll quivers in her pocket, warning Vasalisa when to stop. When Baba Yaga finds out that Vasalisa has been blessed by her mother she throws Vasalisa out with a skull filled with burning coals. When Vasalisa returns home she learns that her stepfamily were unable to light any candles or fires in her absence. Vasalisa is feeling triumphant because she survived the dangerous journey and returned with fire. The skull with the burning coals watched the every move of her stepmother and stepsisters, and by morning had burnt all three to cinders (Estes, 1992: 71-76).
The relevance that this fairytale has to modern society lies in the issue of female liberation. What does female liberation mean in modern society? Does female liberation come from external factors such as the equal pay in the work place, revised human resources policies to maternity leave or the eradication of misogyny in the media? I believe that female liberation stems from a deeper place that is a personal journey for each and every female on our planet. It is the journey of developing ones own awareness of danger, interests and societal issues. It starts with letting go of a notion that as a woman one has to always be sweet and kind, even to one’s own detriment. This is symbolised by the death of Vasalisa’s mother. In my image I have depicted this element by putting the juxtaposition of a white dress against the black cloth. The white represent the kindness of the female spirit, but the black on which she stands and to where she is facing represents the shadow side of the female psyche. It represent the moments in life when a female has to fight for her own sense of liberation using darker elements of her personality such as aggression and tactic.
Vasalisa’s stepmother and stepsisters represent the negative shadow qualities such as exploitation and jealousy. It is during this time that Vasalisa becomes a slave to their demands and loses her sense of self. I used the broken eggs to represent a shattered spirit. This is what happens when women allow their lives to be controlled by external factors to liberation. They end up complying to everyone else’s demands and end up broken like a fragile egg. The doll with cleaning utensils and the “welcome to my home” sign is laying flat down representing the lack of pride that goes into hard work when it is not work of a woman’s own creative spirit but a complacent compliance. The mirror represents the acknowledgement that a woman is not perfect and has flaws such as the jealousy and exploitative tactics used by Vasalisa’s stepfamily (all being women). These three elements are all positioned on the black cloth and form part of the shadow side of the woman. Even though they are negative factors to a woman’s life it is part of the initiation process, and leads the woman to recognising the positive uses of her shadow self when she is guided by her intuition.
Vasalisa feeds her doll and the doll guides her through the forest and helps her to complete a multitude of difficult tasks in Baba Yaga’s hut. Her doll warns her of dangerous situations when she asks probing questions to Baba Yaga. When Baba Yaga learns of Vasalisa’s blessing from her mother she throws her out with a skull of burning coals for fire. I chose to represent the food for the doll with wolfberries, a super fruit, and Buchu leaves that is renowned for its medicinal uses. (These are scattered on the floor by the doll with the “welcome to my home” sign). The doll is represented by the tiny doll perched on the windowsill. I dressed the doll in black and added a feather and a skull crown. The feather and skull represent the wild nature of the doll, and hence the wild nature of a woman’s intuition. Wild in this sense meaning an attribute that is natural to the nature of a woman’s spirit. I added the red candle to represent fire. I placed it holding the black cloth up, as a source of energy and motivation that spurs a woman onwards in her initiation journey. It is this fire that lights the way for a woman to rely on her instincts and intuition to guide her through dark and difficult moments in her quest for liberation. The last elements of production design that I added are portraits of my grandmother and mother. They represent the blessing of life force that our ancestors have given us as women. They are the women who have come before us and teach us lessons by observing their mistakes and triumphs.
1. Estes, C.P. 1992. Women who run with the wolves: Contacting the power of the Wild Woman. Croydon: Random House Group Company.
We have an assignment for Production Design titled My Room Madness. It’s basically a look into the design and space of our bedroom, and what it reflects about our life as the occupant and designer (to a large extent) of the decor within the space. My room is both a haven and an abyss. The space is filled with memories, as it has been my bedroom since childhood growing up with my grandmother. I have a pattern of leaving and returning to this room. Many times I have left either to live overseas, or to move into my own flat in Cape Town, or to move into a partners flat. Most of these times things have ended quite traumatically and dramatically, so the room is filled with keepsakes of these memories. The room has been my hide away through times of depression, disappointment, anger, death, love and bliss over the years. I don’t like others coming into my room as I feel as though they can read into my secret thoughts that I want to remain private. My room reflects my spiritual journey through life, and my quest to find my life’s purpose. The space showcases a lot of me but not all of me. The items within the space are filled with furniture from my great-grandparents, grandparents and mother. I prefer having furniture that are older pieces and filled with memories. The colour choices reflect my love of nature and bohemian meets eclectic style. I have ornaments and jewellery from my travels that stand as reminders of my spirit and longing to be free from traps that are self-inflicted. I would love the space to be more eclectic and passionate, which are the same desires I have for my life. However, I am in the space for a reason. I am learning to accept what is important in life and needs to be worked on, but also what needs to be let go of as hinderances to spiritual growth. The room also has traps, I feel trapped by its space as I have too many things in relation to the size of the room. However this is the space that I am in for now, and I’d rather feel cramped and safe, than have a larger space but feel an impersonal energy in my room. If I had more space I would arrange the room differently, but I’m happy with how I have arranged under the circumstances. I have finally gotten my grandmother to allow me to paint the room as the colour of the walls is the one aspect of the room that makes me uncomfortable. I will paint it Soap Bubble (Plascon) as it is a lovely pale blue-grey that is calming, sophisticated and acts as a beautiful canvas for wooden furniture and eclectic pieces. I love decor that has personal reference to my life. All of my art pieces were wither given to me by my family (the portraits) or gifts from friends who draw. I usually don’t actively go out and search for items to fill a space, but rather stumble upon things that either evokes a memory or emotion within me. I like to have a mix and match style to my room because it’s a reflection of how I live my life.
I’ve added a mood board to reflect the emotions I feel when I’m inside my bedroom