Museum Trip, Demonstrations, and Images

Museum Trip, Demonstrations, and Images by Hasnah Farraj

 At the Museum of the Moving Image, there were many interesting masks, props and models, that I recognized from movies I have seen (Museum of Moving Image 3/26). One example is the Chewbacca mask from Star Wars and the prosthetic legs of Natalie Portman’s character in the Black Swan when she was growing feathers on her feet (Museum of Moving Image 3/26, Black Swan Prosthetic Legs Johnson & Fisher, Star Wars Chewbacca Mask, Freeborn). I found the set model of movies that production members work on to block out the actors’ movements (Museum of Moving Image 3/26, The Muppets Set Model, Hendrickson). I looked at and participated in many demonstrations and found them to be very enjoyable (Museum of Moving Image 3/26).

 One demonstration that I had experienced in the museum is the Feral Fount (MOMI 3/26, Barsamian). I noticed that it seemed as if small cartoon like “bombs” are being dropped while they slip through someones hands and turn into paper (MOMI 3/26, Barsamian). Clearly this was not happening in real life but it was so life like that it gave that illusion (MOMI 3/26, Barsamian). Our instructor explained that when each part of the sculpture has another part doing the next action there will be an illusion of the image moving repeatedly and that when the lights are turned off and light is added to a fast moving sculpture, it adds to the effect of it being realistic (MOMI 3/26, Barsamian). Our instructor explained how this process is similar to animation because part of animation is making an image move and that in order too have this occur the illustrator would draw the next action the character(s) were meant to do and then when these multiple images are given motion, it allows the images to look as if they are moving (MOMI 3/26, Barsamian). This concept was indeed transferable to the sculpture (MOMI 3/26, Barsamian). However in animation one needs to draw multiple characters repeatedly (MOMI 3/26, Barsamian). This process was similar in that you are making an inanimate object move in order too do something (MOMI 3/26, Barsamian). This sculpture showed that making objects move can have a realistic effect (MOMI 3/26, Barsamian).

 From looking at this demonstration I learned that making an image look realistic does not have to be in an animation on paper, but can indeed be applied to larger 3D images (MOMI 3/26, Barsamian). I did not know that making images move can be applied to 3D applications like this and that the result would look very realistic (MOMI 3/26, Barsamian).

 The changes in moving image technology have changed in a manner where the motions of viewing what is appearing on screen can be seen in a fluid manner and will seem very natural (MOMI 3/26).

The changes in the moving image technology have change the way that moving images are created in that anything can come to life, be clearer and seem very real (MOMI 3/26). The Feral Fount is one example of how anything can seem very real and three dimensional (MOMI 3/26, Barsamian). The changes in the moving image technology also have had the effect in that most cameras are now digital and not film cameras and therefore the image would not be as grainy, uncolorful and one would not need to be as sensitive in post production to the natural elements (MOMI 3/26, Pathe 35 mm Projector 1905). Our instructor mentioned how in early films, one would need to make sure that the actual film did not stay very long in the sun otherwise it would be damaged (MOMI 3/26, Pathe 35 mm Projector 1905). Having technology that is not as sensitive to environmental factors or being able to work around environmental factors is indeed a beneficial aspect because it will not affect the quality of the image or the viewers experience, which is why digital cameras are so beneficial (MOMI 3/26, Pathe 35 mm Projector 1905). Technology has also changed in that one can create a wild animal using robotic technology such as in the movie Wolfen (MOMI 3/26, Wolfen, Hitzig, King & Sprott). I learned that robotic and other advanced technology has allowed for the ability for film makers to make it seem as if the main characters are in contact with real live animals when they in fact are not (MOMI 3/26,Wolfen, Hitzig, King & Sprott). I think that this adds to the effect of authenticity that the viewer sees and assumes that what is happening on screen is real and indeed adds to the idea that the events are actually happening and increases the enjoyment process (MOMI 3/26, Wolfen, Hitzig, King & Sprott). While the audience knows that this is fiction, I believe that they can briefly forget that what they are watching is false (MOMI 3/26, Wolfen, Hitzig, King & Sprott). Also, referring back to the Wolfen movie, while I knew that technology existed that made it seem that the actors were interacting with wild animals, I did not know the specific method to make this appear as if this was happening (MOMI 3/26, Wolfen, Hitzig, King & Sprott).













Works Cited
 Barsamian, Gregory. The Feral Fount 1996. 1996. When this sculpture moves it looks as if the images are real and the action is real as well. Museum of the Moving Image, 36-01 35th Ave, New York, NY 11106, Astoria, Queens New York.

 The Black Swan. Dir. Darren Aronofsky. Art Directors Miriam Johnson, and Daniel Fisher Perf. Natalie Portman, Mila Kunis, &Winona Ryder. Twentieth Century Fox Film Corporation (2010), 2010. Film.

 "Class Trip to Museum of Moving Image." Class Trip to Museum of Moving Image. New York, Astoria, Queens. 26 Mar. 2014. Lecture.

 Freeborn, Stuart. "Resin Mold For Chewbacca Costume Head " "Costume Head Worn by Peter Mayhew as Chewbacca in StarWars Episode IV:ANew Hope (1977) " 1977. The is a Chewbacca Mask. According to the Museum this was a gift from the designer and maker Stuart Freeborn. Museum of the Moving Image, 36-01 35th Ave, New York, NY 11106, Astoria, Queens New York.

Freres, Pathe. Pathe 35 Mm Projector 1905 "Gift of Jack Pill" 1905. Here is an early projector. Museum of the Moving Image, 36-01 35th Ave, New York, NY 11106, Astoria, Queens New York. 

Hendrickson, Stephan. Set Model for The Muppets Take Manhattan (1984). 1984. This is a set model for the producers to coordinate the movements that their actors would make with the puppets. According to the museum it was a gift from the creator and production designer Stephan Hendrickson. Museum of the Moving Image, 36-01 35th Ave, New York, NY 11106, Astoria, Queens New York. 

Johnson, Miriam, and Daniel Fisher. Prosthetic Legs From Black Swan. N.d. These are the Prosthetic legs that Natalie Portman and Winona Ryder wore in the movie Black Swan when their characters were growing feathers on her feet and legs. Museum of the Moving Image, 36-01 35th Ave, New York, NY 11106, Astoria, Queens New York.

 King, Alan, Eoin Sprott, and Rupert Hitzig. "Mechanical Wolf Puppets, Wolfen (1981)" 1981. "These puppets made it seem as if the actors were really interacting with real wolves. According to the museum this was a gift from Eoin Sprott who is the designer and maker. It was also a gift from Rupert Hitzig and Alan King who also worked on this item." Museum of the Moving Image, 36-01 35th Ave, New York, NY 11106, Astoria, Queens New York.

 The Muppets Take Manhattan. Dir. Frank Oz and Frank Oz. By Tom Patchett and Jay Tarses. Adapt. Stephan Hendrickson. Production designer of set model Stephan Hendrickson. Perf. Jim Henson & Frank Oz. Columbia TriStar Home Video (2001) (USA), 1984. DVD.

 Star Wars Episode IV A New Hope. Dir. George Lucas and George Lucas. Designer and maker of Chewbacca mask Stuart Freeborn. Perf. Mark Hamill, Harrison Ford &Peter Mayhew. Fox Video (USA), 1977. Laser disc.

 Wolfen. Dir. Michael Wadleigh. By Whitley Strieber. Screenplay by David Eyre. Perf. Albert Finney, Diane Venora, & Edward James Olmos. Designer and maker of mechanical wolves Eoin Sprott. Other designers Alan King and Rupert Hitzig. Warner Home Video (2007), 1981. DVD.