Who Framed Roger Rabbit

This film is a good example of metalepsis, as well as having an interesting use of lighting and mis en scene to create a mood.

In tone, the film can be compared to a film noir, and there are certainly many of the archetypal elements found in this genre (a jaded ex-cop turned PI, an innocent being framed etc.) The lighting in the "real world" scenes reflects this as well

However, this is skewed through the world in which it takes place, where cartoons come to life and are a part of everyday life in Hollywood. There feels like a social overtone to the parts with the "toons" since the impression is given that they are second class citizens and not treated seriously. However, this is bnot necessarily shown in a bad light, Roger himself says that toons are meant to make people laugh.

The techniques used to integrate the live action with the animated cartoons (metalepsis) although seeming dated now, were extremely ahead of their time, and even now, it's not noticeable enough to detract from the film in my opinion, although it varies from character to character. As the main toons featured, Roger and Jessica Rabbit integrate extremely well, whereas some of the "cameos" from older and more mainstream cartoons don't fit as well

The concept behind the use of metalepsis is an interesting one. I personaly enjoyed this film, but I found the ending upsatisfying as instead of using the film noir route that it had been following, the character's literally skip off into the sunset, leaving the audience with a feeling of "Wait...that's IT?" I guess the film makers wanted to stay true to  the Warner Bros style of film that the cartoons reflected, but in my opinion, it feels like a cop out.

Visual components analysis

Examples:

From Perfect Blue

The top image features depth cues, such as the woman's reflection, but it is a limited space, increasing the cramped, rushed feeling that this scene is trying to invoke . The posture of the girl creates a division between her and the rest of the scene, and the contrast of her outfit when compared to the dingy background draws the eye.

In the second image, Mima has affinity with the background, but the middle strip of the frame contrasts to the darker edges, which further shows her isolation. There is a clear use of perspective and tonal separation to create depth. The camera pole to the left and the group to the right create divisions framing Mima and sharpening our interest.

Both images here use contrast to frame the shot, focusing our attention on the centre of the frame. Both use tonal and both use limited space to show how separate the actors/singers are from the watchers backstage. The curtains and cameras create divisions between the two groups.

All of these images invoke a feeling of separation and of Mima being alone, but in different ways.

In the first image, the screen and plant pot create a surface division between the group and Mima in a limited space. There is affinity however.

In the second image, the image is fairly flat, with no particlar depth. Mima contrasts slightly with her background, but only enough to just stand out.. The emptiness of the frame is what draws our eye this time

On the final one, there is a very clear surface division in the fish tank. The tank could be a metaphor for how Mima finds herself watched constantly and always on display, and the contrast between the two sides of the glass enhances this.

Perfect Blue screening

Today, we watched a screening of Perfect Blue. I have to admit, I found it a little hard to follow, but I liked the idea. I think I might need a few repeat viewings, and that I should watch the original Japanese dub as well as the film may have lost something in translation.
The relation between story and events was something that I found difficult to follow, mainly due to the complexity of the storyline, and the lack of linearity  made it harder as it is hard to tell what really happened in the film and what was a dream or illusion.
The connection between the events in the film was clear however, they all centred around the main character, Mima, as she is somewhat forced to give up being an idol in favour of being an actress.
The characterisation of Mima as a slightly naive girl who had travelled up to Tokyo on her own in the hope of being a singer was, I think, an interesting one, if only because of how plausible it seems. The character who surprised me most in terms of motive however (although, looking back at the film, I can clearly see where it was hinted at) was the character Rumi, who was Mima's manager. She is the one who pushes Mima as a pop idol and who argues against her move into acting, and it is later revealed that she is the one who has been murdering those who scarred Mima's reputation by making her take part in a rape scene and then pose for nude photographs in a magazine. It is suggested at the end that she is suffering from MPD (multiple personality disorder) and is being treated in an institution.
A recurring character is the character of pop-idol Mima, who claims she is the "real" Mima and that Mima is an impostor. It is unclear whether this character is a product of Mima's mind or whether it is a visualisation of how Rumi sees herself when she is in her Mima personality or a mixture of the two.
Another thing that I found interesting about the film was it's treatment of pop culture and particularly fandom. The "idol" culture in Japan is something that is very prevailent and that the target audience would understand. It also shows the darker side of fandom in the character, ME-MANIA who obsesses over Mima and follows a blog that she is claimed to write "Mima's Room" and believes he is e-mailing her, although it is later revealed to be Rumi, who tells him she is the real Mima and that the actress he sees on "Double Bind" is an impostor.
I found it a very  interesting film and one that became clearer on repeat viewings.