Presentation of Ideas

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Technical File – Sci Fi Makeup (Mad Max)

Health and Safety:

– If using a model place apron around the neck to protect clothing.

– Always ensure to run a client consultation to check for any infections, allergies or contraindications.

– Wash hands thoroughly before touching the clients face/scalp/hair

Products Used:
– Supracolour Palette Kryolan

– Flash Palette

– Fine Paintbrushes

– Flat Shadow Brushes
– Aquacolour Palette

– Masking Tape

– Sponges

– Waterspray

Look 1: Process of Creation (Mad Max – Basic)

1. Place a strip of masking tape over the forehead ensuring the edge is flush against the skin. This will create a mask line for the makeup.

2. Using a black Aquacolour and a damp sponge work black supra colour into the masking tape line to create a barrier for the mask shape.

3. Taking black Supracolour and another sponge bring the black makeup down the forehead more and intensify the dried Aquacolour.

4. Getting the model to screw up their facial features into a scowling expression then take a darker blue tone on a flat brush and begin flicking the colour in different angles from the inside of the face outwards. By screwing up the face the makeup will appear worn and gritty as it settles into the creases of the skin.

5. Using fine paintbrushes add detailed flicks and marks across the eye area in different tones of blue and metallics. This will build a mask like effect.

6. With clean hands darker tones can then be worked back into the eye area to deepen and muddy the makeup.

Look 2: Process of Creation (Mad Max – Developed)

This look followed the same process just with more colourful tones applied including metallic golds, also the lips were enhanced with colour.

Evaluation:
I found this class in particular really enjoyable predominantly due to its highly creative nature as we were essentially able to create whatever we wanted. The reason I chose to do a Mad Max take for my makeup look was due to the dystopian/futuristic nature of the film whereby the makeup was allowed to be very expressive. Within the class I was able to produce two looks based on the same theme with one being more elaborate than the other in terms of decorative nature. What really stood out to me was just how easy it is to create an abstract makeup look and I really surprised myself in regards to my creative ability and thinking of an idea on the spot. The first look is much more muddy looking and could fit in nicely with the aesthetic of the film, the second look is more elaborate and could be used within an artistic interpretation of the films theme. Which to a large extent was the whole point of the class.

Inspiration – ‘Black’ Alexander McQueen 2015

Knight, N/ McQueen, A. (2015). Black

In regards to visual inspiration Nick Knight’s embodiment of the late Alexander McQueen is a key figure for developing a creative outlook on fashion film. The 2015 fashion film ‘Black’ is a highly abstract take on still image film production that features a body of work taken from the ‘Savage Beauty’ collection. The garments are heavy in dark fabric, ornate decoration and structure, this in combination with the fine silk fabrics embodies McQueens passion for the modern Victorian gothic/regal aesthetic. Despite having no motion recording work within the 2 and a half minute production the use of styling and heavy editing of still photographic work demonstrates a new outlook on creating film. The use of editing and atmosphere within this film is of particular inspiration as the combination of the two with that of the styling of the clothes themselves create a beatifically yet rather unsettling feeling. The film in general seems to be placed within a singular location, predominantly a cinematic studio setting. The scene is dark with harsh but minimal lighting which creates a dramatic feeling but also enhances the twisted theme that becomes more emphasised as the film goes on. The film itself is mostly cuts of granulated old photography of audiences and McQueen’s own collections, as well as a manipulated photograph of his own portrait. The use of the cinematic connection within the mies-en-scene is interesting for a number of reasons, the main being that of the very purpose of cinema. Motion picture records actions and events of the past, allowing them to be replayed and appreciated in the future. At the time of this films creation McQueen had already passed away, therefore by placing his work (and in many aspects himself) into a cinematic environment it creates the effect of the audience witnessing what could be described as a memorial fashion film.
In combination with the location of the film is that of the use of music which arguably is what creates the very mood of the film. The choice of sound within this is heavy in audio effects and a combination of different musical references. For example the first audio heard is that of an old Victorian brass ensemble which is cut and distorted alongside modern static radio signals. The combination of the two creates an classic horror movie soundtrack whereby the audience immediately feels the sense of discomfort that is felt when watching parnormal films that use music to create a similar effect. The combination of old and new sounds, plus the sense of disturbia created through the music enhances the visually moody and dark imagery created within the mise-en-scene.
The use of editing within this film is the most heavily used feature of the whole film. To an extent the film would be visually very dull without the use of editing as all the featured scenes within it are created through a variety of still images. Throughout there are a number of jump cuts and “glitches” which disrupt the flow of the footage, this is done in time to the static radio sound effects to create a sense of discomfort for the viewer. In addition to this is the fact that by breaking up the flow of the film is this manner keeps the footage more visually engaging but also enhances that paranormal element of the film. We feel as though the projections on screen are haunted by some kind of connection to McQueen himself. As if we personally are affected. To make the still images more interesting a number of visual effects are applied to create the illusion of movement. These include the liquidation of faces and limbs, collidascope effects, white flashes and clip rotations. The first and most dramatic visual effect of the film is the distortion of McQueen’s face which has been blackened out and distorted. This is visually very disturbing however it advocates the fact that the designer is no longer present within the fashion industry today. The images themselves were taken from an old archive of photography dating back to 2004 which were unused for years following the fashion show in Paris within that same year. The use of the collidascope effect and rotary box reinforces this photographic connection by creating an effect of looking through an archive of visual work. Enforcing the illusion of page turning. Even the white flashes, which despite adding to the dark mood of the film also connote the camera flashes that were used within the process of recording the initial photographic work.
This style of editing is of particular inspiration for my own film as it demonstrates how even the most simple of effects can create a highly dramatic final piece of film. The whole production is based from stills taken over 10 years previous to the films actual construction and yet though the use of the combination of editing, mise-en-scene, music and styling a real sense of paranormal fascination is created. The still images which demonstrate the beauty of the modern gothic are brought to life and placed within a dark atmosphere to enhance their relation to the couture of macabre. The whole film is a twisted memorium to one of the greatest designers within modern British fashion.

Black Water Baptism – Practice

Due to the complexity of having to create the footage for my “Black Water Baptism” scene it was important to practice. This was needed so that both my model could get used to the sensation of going under water without reacting to it, but also to see how the makeup reacted to the water. Although I used a grease/oil based white makeup I made the mistake here of not powdering the face thinking that the water would move more effortlessly around my models facial features. This was not the case, instead it made the white base more delicate and as you can see it has come off from around my models nose due to him accidentally touching his face. This can be corrected just through powdering the makeup around these areas. In addition to this is the opacity of the makeup, although in my previous post the images make the application appear even in colour, when placed in the black water this was obviously not the case. In fact the white is visually patchy around the forehead, nose and cheeks therefore it is essential that I reapply multiple layers of the white makeup to ensure that the application is even and statuesque. Upon further reflection I also think that I will add white to the hair, beard and neck/chest of my model so that the overall look is far more polished. The fact that these areas are uncovered by the makeup does very little justice for the purpose of my character being a visual metaphor, therefore in future I will look to use a white spray and more supra colour to fill in the areas that are currently visibly without colour. In addition to this is the camera angle, for the test footage I filmed this scene vertically, however within my final film the angle will be horizontal therefore the face will fill more of the frame and the final footage will look far more professional.
In addition to the adjustments in the makeup and camera angle is the reaction of my model, within this clip my model is visibly uncomfortable due to the screwed up facial expression which defeats the purpose of him being a human statue when he is visibly alive… In addition to this I need to add more black dye to the water so that the density is thicker as around the edges of the makeup there is to much of a grey tone gradient for my personal taste. The final look should be much crisper so that the features of the face are more carved out as my model depends into the water. Despite these changes I am pleased with the overall look of this test clip and feel that the concept of my black water baptism will work well and the metaphor is visible.

 

Character Design – Face of God: Exodus 34:13-14

Within my film there are two “character” types, the first is that of my model which is more of a conventional studio model type than an actual constructed character. The second however is that of my visual representation of the face of god, this character is heavily influenced by religious and historical statues that depict visual replications of the face of God. This is something that has been featured from the early cultures of Greece and Rome all the way up to modern day Catholicism. Although my films religious focus is more of a visually Catholic/Christian reference, the use of the white marble statue within early Greek depictions of the Gods is more aesthetic pleasing to the eye. In addition to this the use of the white connotes the implied purity that is associated with “heavenly beings”, therefore by painting my own figure of divinity white my message of the corruption within organised religion would be more visually apparent.
The key concept behind this makeup is a visual metaphor for religious corruption. This will be achieved through a combination of white makeup, black water and baptism. The use of a pure white makeup creates an implication of the human statue but also connects to the visual constructions of God’s image seen across countless religions. The use of statues as an object for prayer is a culture wide concept and yet is criticised within the Old Testament, Exodus 34:13-14 “But rather, you are to tear down their altars and smash their sacred pillars and cut down their Asherim –for you shall not worship any other god, for the LORD, whose name is Jealous, is a jealous God”. Regardless it is a feature that continues even within the Catholic religious practice who use the statue of Jesus and the Virgin Mary as key relics for prayer. Through baptising this character in black water the metaphor of religious corruption is created visually. The purity of “Gods image” is tainted through the very sins depicted within Exodus 34:13-14. Through submerging my character in black water the white makeup is lost beneath the surface, consumed by the black therefore creating the visual metaphor for the loss of purity and lies of organised faith.

White Horses – Religious Connotations

Book Ref: Corcherell, B. (Date N/A). The White Horse. Bible Research. p1-3.
Book Ref: Woodman, S (2008). The Book of Revelation. London: SCM Press. p76-78 & 151.

Within Biblical history the image of the white horse and its rider is a reoccurring theme, prominently within The Book of Revelation due to its rider being one of the horsemen of the Apocalypse. Due to this symbolism the religious connections for my film are most apt, however in order to include this symbolism properly it is important to understand the history of such a heavy religious connotation, The Horsemen and Harmageddon. John writes “I watched as the Lamb opened the first of the seven seals. Then I heard one of the four living creatures say in a voice like thunder, “Come and see!” I looked, and there before me was a white horse! Its rider held a bow, and he was given a crown, and he rode out as a conqueror bent on conquest.” (Revelation 6:1-2)
The Four Horsemen of the Apocalypse:
Conquest – White Horse: “I watched as the Lamb opened the first of the seven seals. Then I heard one of the four living creatures say in a voice like thunder, “Come and see!” I looked, and there before me was a white horse! Its rider held a bow, and he was given a crown, and he rode out as a conqueror bent on conquest.” (Revelation 6:1-2)”
War – Red Horse:” When the Lamb opened the second seal, I heard the second living creature say, “Come and see!” Then another horse came out, a fiery red one. Its rider was given power to take peace from the earth and to make men slay each other. To him was given a large sword.” (Revelation 6:3-4)
Famine – Black Horse: “When the Lamb opened the third seal, I heard the third living creature say, “Come and see!” I looked, and there before me was a black horse! Its rider was holding a pair of scales in his hand. Then I heard what sounded like a voice among the four living creatures, saying, “A quart of wheat for a day’s wages, and three quarts of barley for a day’s wages, and do not damage the oil and the wine!” (Revelation 6:5-6)
Death – Pale Horse: “When the Lamb opened the fourth seal, I heard the voice of the fourth living creature say, “Come and see!” I looked and there before me was a pale horse! Its rider was named Death, and Hades was following close behind him. They were given power over a fourth of the earth to kill by sword, famine, and plague, and by the wild beasts of the earth.” (Revelation 6:7-8)

Image Ref: http://publicdomainreview.org/collections/the-four-horsemen-of-the-apocalypse/
Within the Bible the symbolism of the white horse is prominent one, a key prophesy recorded within the Christian/Catholic faith is that of the white horse and his rider. Seen during the final days of the apocalypse Jesus will return to rule over the earth once more, a symbol to God’s children of their salvation and concerns the end of the rule of man on earth. The white horse remains a symbol of purity and righteousness, during this time only those of innocence and clothed in the white gowns of heaven may mount a white horse to return to the kingdom of Heaven. This “Army of White” is written to be of 144,000 and will rise with Christ during the Battle of Harmageddon. The rider of the white horse is important as he is the only one who symbolise a direct connection to heaven. There is a second theory that the white is also a symbolism of the discovery of Satan’s deception of Gods trust.
There are two key features of this white rider in particular, these consist of the Bow and Crown. God uses a bow and arrow to aim at those of wicked judgement and sin. Awakening them from their misdeeds. The crown is one of victory, in Revelation 6:2 it is written that the image comes from the Greek word ‘Stephanos’ which refers to the victory wreath of an athlete. This rider is also bestowed with tasks of Conquest such as the judge the righteous and make war to strike down nations of impurity. A symbol of Christ’s defeat over evil and sin.
The Connection to SECT?
As my film has a religious focus it is important for me to include a series of spiritual connections, however these should be subtle as I did not want to include cliche imagery such as crosses and direct holy iconography. The concept of the white horse is subtle within the film however the connotations behind its symbolism are heavy in religious influence, focusing in-depth on the depiction of Apocalyptic damnation. The association with innocence but also a horrific end links well with the theme of my film, revolving around how faiths based on love and compassion can cause such hate. Organised religion is in theory a collection of powerful stories with good moral standing, however when applied to modern society is the cause of such hatred and war. A combination of purity and the darkest suffering.

The Omen – Animals in Religion (Evil)

Book Ref: Bane, T (2013). Encyclopaedia of Fairies in World Folklore and Mythology. United States of America: McFarland. p106.
Book Ref: Pratchett, T (2010). The Folklore of Discworld . London: Random House. p316.

As part of my research for my fashion film it was important to look at how animals are represented within religion, because my film comments on the corruption within religion the use of animals to connote innocence and evil is an interesting additional element to be combined into my footage. For this it is helpful to look at cult classic horror films that have a focus on faith. Both the 1976 and 2006 versions of ‘The Omen’ are heavy in religious ideology, prophecy and biblical imagery. The concept that satan can be reborn through a child as the ‘Anti-christ’ for the purpose of apocalyptic events is an idea that has been written throughout countless religious articles. The concept is originally a Catholic/Christian concept however similar ideologies can be seen throughout a series of other religious faiths.  ‘The Omen’ focuses in particular on the Catholic association, an idea of a child of hell being born into the human world, only to be destroyed at the hand of seven daggers, perhaps to symbolise the very sins that Satan pursues within humanity.

Moore, J. (2006). The Omen – The appearance of the Hell Hound

Within ‘The Omen’ there is a key figure that is reoccurring throughout as an image of evil and guardian of Damien. The use of a large black dog, referred to as a Hellhound is a prominent feature within both the film and religious folklore. Within the 1976 version of the film the dog used is that of a Rottweiler, however this is altered within the 2006 remake to that of a black Alsatian which is more visually accurate to historical accounts of the creature. The animal first appears during Damien’s 5th birthday party and forces Holly (the nanny) to hang herself from the roof the stately home. The dog represents a guardian for the anti-christ and from that point cannot be removed from his side once invited in. According to legend Hellhounds possess the ability to cause other to do their bidding simply through the use of a star, this can include the suicide of that very victim. The creature can also sense holy events, for example when Mrs Baylock is killed the Hellhound reacts to the loss of an evil counterpart. The imagery of the dog is a reoccurring theme throughout the film as even the biological mother of Damien is a Jackal impregnated by Satan himself.
According to folklore mythology the Hellhound (also referred to as the Dip) is a black, mangled dog like creature that is limp in one leg. The animal is a counterpart to the devil and feeds on the blood of mortal men. Terry Pratchett describes them as a universally recognised symbol of evil within Europe and America. The animal is of black fur, large and with fiery eyes. Often they are seen wearing heavy chains or collars constructed by the fires of hell.

Scott Breckenridge – Guest Lecturer

Scott Breckenridge, a freelance TV and film editor has spent his career since leaving university developing his skills in video editing. Working for 2 years as a runner and a further 10 years in editing. Breckenridge has worked on a series of short films and TV commercials including work for LUSH Cosmetics and popular reality series The Only Way Is Essex “TOWIE”. Beginning his career at UWCN with a degree in Photography, which then lead him onto studying a MA at Southampton Solent University. Following this he has worked as an independent freelancer for the past number of years before coming here as a guest lecturer. Breckenridge states that in order to be successful in the role of an editor it is vital to be technically proficient, creative and supply a polished finish to your work while managing your expectations. The success of an editor always relies on the ability to understand quality production and develop the techniques seen within a variety of visual works.

Case Study 1: ‘Run Lola Run’ is a 1998 action film directed by Tom Tykwer. The story follows that of Lola who has exactly 20 minutes to produce the 100,000 Deutschmarks following a failed money transfer. The production for the film was low budget with a fast paced tempo, choppy editing and lots of graphic effects throughout.

The scene above depicts that of Lola’s discovery that the money has been lost, it is a high action scene which takes the subject of the title into a literal sense.
In regards to the styling within this scene there are a number of elements that can be analysed despite the fact that Lola’s costume remains unchanging to a large extent. The most prominent feature is that of the bright red hair, this is a contrast to the styling of the other characters seen within the scene as they appear far more commonly styled. The use of the bright red adds an element of edge to her character, it also suggests that she is perhaps fiery in nature as the colour carries connotations of danger and passion. Due to this it may also depict her in a somewhat seductive state as the combination of bold hair and masculine clothing carries a slight Lara Croft’esque undertone. The hair itself is messy but with a lot of volume, suggesting that she is not clean cut, but instead grungy. This concept of a grungy overall style is enhanced further by the somewhat androgynous lack of makeup. No bold tones are visible on the skin which implies she is either wearing non or very little makeup, as a result we make the presumption as the viewer that she is not outwardly feminine. This choice of beauty aesthetic fits with the action genre as rarely do female action figures display their sexuality through cosmetics. The choice of clothing follows a similar masculine aesthetic with the use of cargo pants, ribbed vest and chunky boots. This style of attire carries heavy military connotations, further enhancing the action genre of the film. By placing Lola in more masculine attire it defeminises her but through cropping the vest to expose the flesh of the stomach area it also creates that subtle sexual element that will grab the interest of a male audience. Through the colour palette of the garments being mainly grey/pale tones it connotes a sense of innocence about her character. We know though the use of lighter fabrics that she is not a dark figure within the film but rather a person of good intention. The use of lighter fabric makes her injuries at the end of the sequence all the more shocking as elements of dirt and blood are highly visible against the light grey vest.
The use of styling works well alongside the mise-en-scene of the film whereby her military attire fits into the urban surroundings of the cityscape environment. During the first scene her character is visibly within a bedroom environment, the design of the room carries heavy teenage connotations with heavily postered walls and messy displays. The use of the dark walls implies the troubled situations that her character is surrounded by and also makes her physical features more obvious. The bedroom design is a heavy contrast to that of the rest of the apartment which is presumed to be owned by her mother. This assumption comes from the only heard dialogue within the film whereby you hear a older woman ask if Lola is “going to the shops”. This presumption is enhanced further by the decor of the apartment which is warmly lit and modernly decorated to a middle class aesthetic. A heavy contrast to the personal styles of Lola. The cityscape itself is generic of a urban European city however it is visibly less busy that would be presumed, this is something visible as she runs though the varying locations.
Finally is the style of editing which is seen throughout this scene. The main body of shots are done on a tracking system, working in a combination of mid and distance shots. The use of a tracking shot allows the viewer to follow the actress as she runs throughout the city but all the while keeping her in the centre of the frame. The main contrast and more elaborate use of editing within this scene appears early on through the use of a circling shot of Lola. As the camera pans around her there are a number of quick cuts which display a number of still images which are presumed to be people she knows. Taking into context the story of the film it is apparent that Lola is in distress and through the use of editing we as the audience feel her anguish as she attempts to figure out a solution as to who would’ve taken the money. This use of editing is very clever as it literally places the viewer in the mind of the character.
In regards to analysing this scene as a case study the use of editing is heavily inspiring as it demonstrates how the use of cuts and specialist camera angles can be used to convey a message.

Clothing in Inception

Ref: Laverty, C. (2010). Inception: Jeffrey Kurland Costume Q&A. Available: http://clothesonfilm.com/inception-jeffrey-kurland-costume-qa/14317/. Last accessed 23rd Oct 2015.

Costume design within Nolan’s Inception is focused on the use of silk ties, suits and structured classic clothing that would fit within any business faculty. Designer Jeffroy Kurland has worked previously on productions such as Oceans 11 (2001) and Collateral (2004), this however was the first production that Kurland had worked in collaboration with Nolan. Each costume was designed to be practical for the character, no character has one specific costume throughout the film so the outfits do change gradually. Even so the outfits are somewhat recognisable to the main figures of the film. The clothing for certain characters however is highly recognisable to their personality traits, for example Mal’s character who represents the femme fatelle. Her character carries a heavy sense of mystery which is enhanced through the use of sharp, angled collars which hide the features of her face at certain angles. Adding to the secrecy of her nature. In addition to this is Wally Pfister, who is always depicted in light colours, a contrast to Dicaprio’s character who uses dark tones to reflect his troubled nature.
Within Inception clothing reflects a characters development, the main point of the change in design is to show the story in motion. The children for example are wearing the same clothing in the beginning of the film and during the dream sequences. This demonstrates how during these times their characters are unchanging due to their function as a figment of  Cobb’s memory. At the end of the film however the costume does change which implies to the audience that the setting is back in the present as the costume design moves on. Male characters are continuously depicted in “suited and booted” attire which enhances the sophisticated nature of the film but avoids dating it. The use of the suit and ties connects heavily to the landscape that the actors are placed within. The clothing is a fabric representation/metaphor for a modern lifestyle. Furthermore the use of the suit creates a flow between the dream state and reality as the clothing is to a degree unchanged. All the situations within each scene are connected through the continuous style of clothing which creates fluidity between scenes. Even the leather jackets used are structured to match the business/architectural concept, the thug image is combined with a conservative flair.

Inception – Questioning Reality – Pascal

‘Inception’ proves to be a film with a complex storyline. The viewer can easily be lost if distracted by the highly imaginative editing and repetitive concept of a dream, within a dream, within a dream. Directed by Christopher Nolan the 2010 sci-fi mystery follows the criminal mastermind Dominic Cobb, a practitioner of the science of extraction. Extraction by definition explains how our dreams can be invaded through out subconscious without us having control over what is seen or done. Cobb specialises in taking information from the dreams of others, however under the instruction of a character by the name of Saito his ability is challenged to instead plant information into the mind of a CEO. The film follows Cobb’s creation of a triple layered dream and how using his team and the power of an artificial sedative this is achieved, but also Cobb’s own desire to connect back to his past and deal with his sense of emotional guilt following the death of his wife.
Nolan’s aim within this film is very much to force us to question our own perceptions of reality. On a smaller budget this film would most likely of been an art house/surrealist production as the concept of it is rather philosophical and complex. Due to its narrative it makes us very aware that infact we do not know fully what reality is and never will, even our reflections are just an idea that our mind creates and when we close our eyes does the world itself even stay the way it is when they are open? Within the film there are a few key scenes that really stand out in this recognition of what reality really is.
A scene of key evaluative interest within ‘Inception’ is that of the Cafe Scene whereby Cobb explains to Ariadne the concept of dreams and how they differ from reality. 5 minutes of conscious sleep can filter into 5 hours of dream time, within this time a dream requires construction and this is done through the architect of our subconscious. A dream feels at its most realistic when were are in it, at the point of consciousness we are able to assess the strange from reality. As Ariadne realises this she begins to panic resulting in the destruction of the dreams architecture. The scene goes on to show how others can also manipulate your dreams as Ariadne does to Cobb, however like white blood cells the subconscious begins to attack the invading architect. Only once you are removed from another dream may you wake e.g. Mal (Cobb’s dead wife) appears and kills Ariadne within Cobb’s dream state.

Evaluating this scene is in itself rather complex as the dimensions of the films content are constantly altering, however once the initial concept is grasped it is rather straightforward. Within this scene the use of colour is continuous to the rest of the film, reality e.g. the warehouse is presented in harsh tones of white, grey and black. Throughout the film reality is nearly always presented in either washed out or sepia tones to allow the audience to identify it as reality. This is also perhaps a comment on how reality is a dull place in comparison to our dreams whereby anything can be constructed as long as we can visualise it. Continuing on from this point is the use of colour within the dream state, although this too is slightly washed out (a key feature of Nolan’s style) the surroundings and characters are visibly more vibrant with tones of red, yellow and green very apparent throughout both the scenery and costume. This bright use of colour is another signifier to the audience that the current location is within a dream state. The most interesting thing in connection to this however is the choice of colour depicted within Cobb’s suit. He remains in tones of grey and murky blue, this is a feature that is continuous throughout the film but not for the purpose of constructed a purely corporate connotation surrounding his character. The use of grey even within the dream state infant signifies that this is taking place within his dream and that he is fully aware and in control of the surroundings. This makes sense as he is the one explaining the Ariadne the concept of a dreams construction. Ariadne is depicted wearing a bold shade of red on her blazer, connoting how she blends in with the vibrancy of her surroundings therefore reflecting how for a large majority of the scene she is unaware of her dream state.

Image Ref: ABC Cool Images. (2010). Inception Movie Stills. Available: http://www.messynessychic.com/2013/07/11/paris-like-it-is-in-the-movies/. Last Accessed: 23rd Oct 2015
In regards to the editing of the scene this is where the visual skills that depict “Inception” as an arthouse product come into play. Only once Ariadne’s character has become aware of her dream state does the heavy duty editing take hold, from then on it becomes a key feature within the film particularly when the inception (dream layering) actually takes place. Within this scene there are a number of explosions that are created throughout the unfolding of the scenes disequalibrium, however these effects take place in slow motion while the rest of the scene continues at normal rate. Through the scene being edited this way it creates a disjointed appearance that in turn constructs a discomforting dream like illusion for the audience. The explosions are visually slow but are combined with audio effects that are of normal speed and high volume. The audience would therefore react in a way that is of a realistic nature while the visuals on screen are much slower and less shocking. It is the audio combined with the visuals that makes the scene disjointed.

Nolan, C. (2010). Inception.