The Four Feathers (2002) – Harmony, Conflict & Transformation




The main plot of the movie of which Shekhar Kapur directed, is based on Henry, his fears and cowardness and latter transforms him into a heroic man. The story begins as the British army is signed a mission to protect the queens land in Sudan. Henry, being scared and doubted about his role resigns from his unit, leaving his friends behind. As his friends realise that they where betrayed, four white feathers are sent to the protagonist representing his betray to them. This act costs the protagonist to loos not only his closest friends but also the woman he loves causing him fears and regrets. He later on decides to face his fear by going to Sudan and help his friends out in the best possible way. Henry ends up in the hand of the Arabs, acting in disguise. Although the mission fails he makes sure to return every single feather that was given to him, going to sever extents to rescue his beloved friends. 

The movie commences with conflict as Shekhar Kapur the director captures the British army playing a violent rugby game. One immediately realizes the colours, the sound and the shot sizes which are contrasting with the team of the movie. This is so, as the colours in the pictures are blurry at the beginning, making use of hints of bright reds. Also the Arabic music in the background indicates what’s about to happen in the near future though it is also creating conflict with the image being captured in England. It is also acting as an indication on what is about to occur in the near future, regards of transformation.


The British army playing rugby in a white and red gear, contrasting with the whole scenery. 

Conflict continues to develop within the movie as the main actor disagrees to be deployed  to Sudan, abandoning them as his fears take over him causing him to loos his friends and his love. After receiving four white feathers and loosing the woman he loves he commences to regrets his decision and decides to face his fears, transforming himself in a courage’s man, wanting to help his friends in Sudan. 

The main actor goes though extents to save most of his friends, ending up in the hands of the enemy acting in disguise to return the feathers, proving to his fellows the man he has transformed and become. 


Henry is transformed into an Arabic man.

Throughout the movie multiple bright colours where used such as; when the soldiers were playing rugby and soldiers uniform, being red which possibly represents, blood and death. Such colour might also indicates that transformation is going to occur, that is violence within the movie. 


Henry dancing with Ethne wearing the bright red uniform

A particular conflict which was continuously going on during the movie was also Jack’s and Henry’s relationship together. Both of which wanted to same girl. Henry and Ethne where both in love, Jack although acting as being Henry’s friend always despised Henry, showing continues jealousy, wanting Ethne to be his love.


Henry and Jack

After the huge conflict which had occurred in Sudan between the British soldiers and the Arabs, saving his fellow mate from the deathly prison, Henry returns back home, facing the woman he loves in a heroic way managing to lure her back from Jake’s hands. 


A harmonic scenery of Ethne and Jake in London

In the harmonic last scenery of the movie Henry and Ethne were captured both still in love with one another with calming and organic scenery, Arabic music in the background with  some footage of the desert, taking us back to the whole journey and the sacrifices and heroic actions he had undertaken. 




Bibliography




Anon., n.d. The Four Feather - Heath Ledger, Wes Bently,Ket Hudsin, Shekhar Kapur. [Online]
Available at: http://thecia.com.au/reviews/f/four-feathers/
[Accessed 17 November 2012].

Lesya, 2011. Eternity of Dream aka Eternity of film. [Online]
Available at: http://eternityofdream.blogspot.com/2011/07/review-four-feathers-2002.html
[Accessed 17 November 2012].





Henri Matisse 'The Young Sailor I & II - Transformation

Henri Matisse, 1906

Oil on canvas 100 x 82 cm

The Young Sailor 1 & 2


Matisse had originally painted the first young sailor inspired by an eighteen year old fisherman in 1906. Comparing both paintings one can realise that the first painting Matisse produced contains rough brush strokes, a wider variation of colours, attempting to blend in the colours into each other. He also went into further details, identifying the lighted areas of the sailor, creating different tones and shades. Matisse also drew the young sailor in a realistic form and more detailed compared to the second sailor.

Matisse then later transformed his first young sailor, creating a second one by using brighter colours, making use of brighter tones such as; pink in his background and darker tones of blues and green in the sailors clothing. The second sailor Matisse produced and transformed compared to the first one also implies sharper defined lines, taking his blending technique even further in the young sailors clothing. Doing so, the painting Matisse produced concluded in being more flat then the first one and unrealistic in the young sailors shape and form.



Bibliography


Anon., 2012. The Young Sailor. [Online]
Available at: http://www.metmuseum.org/toah/works-of-art/1999.363.41
[Accessed 16 November 2012].

Anon., n.d. The young Sailor I. [Online]
Available at: http://www.wikipaintings.org/en/henri-matisse/the-young-sailor-i-1906
[Accessed 16 November 2012].

Anon., n.d. The Young Sailor II. [Online]
Available at: http://www.wikipaintings.org/en/henri-matisse/the-young-sailor-ii-1906
[Accessed 16 November 2012].


Stiletto 'Consumer's Rest' – Transformation



Design: 1983

Production: since 1984

Manufacturer: Stiletto Studios, Berlin

Size; 94 x 73.5 x 76; seat height 45 cms

Material: Varnished steel, plastic

Stiletto, inspired by every day's merchandise managed to transformed the above object, reinterpreting it into a functional chair, serving as a new purpose. 

Stiletto, a designer was previously involved in other new designs and other vast arts since 1981, coating himself: "They are to have a lucid structure, fulfill their intended function in terms of length by width by height, be industrially sound, stable, and solid, serially produced. I can meet these conditions most easily when I use containers taken from the everyday consumer cycle as my starting material..... Redesign here has less to do with recycling and more with rebirth. The design is about soul and character, not 'packaging design'."

Making use of simple and available materials found in different departments such as; supermarkets and junk yards enabled Stiletto to experiment and transform the object into an original art work, allowing him to implement his idea in a 3D form. 

Reshaping a shopping cart allowed Stiletto also to test vast materials in various ways by, spraying the cart using different tones of colour. He also made use of soft and thick foil. 


Bibliography



Anon., n.d. Consumer's RestStiletto. [Online]
Available at: http://www.design-museum.de/en/collection/100-masterpieces/detailseiten/consumers-rest-stiletto.html
[Accessed 14 November 2012].



Alessandro Mendini Wassily chair – Transformation



Alessandro Mendini

Wassily Chair

Studio Alchimia

Italy, 1978

Chrome - plated steel, leather

34 w by 25.5 d and 33 h

Mendini's works originated from redesigning renowned furniture pieces by former designers by including various ornamental details such as; different colours and textures, managing to accomplish vast decorative aspects. Alessandro Mendini wanted to redecorate the modern Wassily chair for Studio Alchimia, of which Marcel Breuer had originally created. He accomplished such a task by transforming it an innovative way by  using leader, creating a smug effect and implementing the military pattern into the piece of furniture. Doing so, Mendini managed to create an innovative design, modernising the era of the 1970's in Italy. 


Bibliography



Designophy, 2001-2010. Alessandro Mendini. [Online] 

Available at: http://www.designophy.com/designpedia/design-designer-1000000016-alessandro-mendini.htm
[Accessed 14 November 2012].


Wassily Kandisky - Conflict & Harmony



Abstract painting, 1923

Wassily Kandisky

Oil on canvas 

Whilst research regarding Bauhaus I came across multiple works of art, one in particular is Kandisky’s above abstract painting.  Research I conducted concerning the above painting shows that Kandisky made use of black, whites and colour to outline the importance of shape and the sharp edges. The colour black was depicted to portray the immobility of death, signifying non-existence. In the painting the black cuts from side to side creating conflict in the peace of art work. Kandisky also made use of the primary colours which are also creating conflict as they are contrasting one another. Though to some extent harmony is also present as the colours and shapes themselves are illuminating and reuniting the composition together. 




Bibliography



Anon., n.d. On White II. [Online]
Available at: http://www.wikipaintings.org/en/wassily-kandinsky/on-white-ii-1923
[Accessed 4 November 2012].




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