Howl’s Moving Castle
Howl’s moving castle is one of the most extraordinary and unique films of all times on my list.
Every Ghibli film reflects Hayao Miyazaki’s imagination of a highly exaggerated world which may be unusual and uncommon but it works well as everybody loves to lose touch with reality and experience something magical even if it is for a few minutes through a movie.
This film takes you through a range of emotions that are so prevalent and not only show you how to feel about brutal realities of war but also put the viewer into a perspective of a child’s imagination of the world around them.
Let me take you through a few of the most special moments I got to experience through this film.
1. Great use of Affinity to Contrast as a way of introducing the castle for the first time. This transition creates a good sense of anticipation as one is curious about what hides behind the mist. Once the castle appears, the movie continues to have a few but interesting shots of the castle that leaves the user wanting to know more and explore every part of it.
2. This frame introduces the main character for the first time who wears an emerald coloured dress which reflects calmness, peace, balance and humility. A negative connotation of this colour would be an indication of boredom/dullness that reflects the personality (lacking confidence when it comes to taking risks) of the main character at the beginning of the film.
The hats and brooches have warm colours that give the character a personality that reverberates warmth and comfort around them.
These items also make the viewer look at the main character as Sophie lies at their point of intersection.
Overall, the first impression of the main character’s personality is easily conveyed through this one frame without the use of dialogues/interaction which is a good example of showing you how to feel instead of telling you how to feel.
3. From Round to Pointy
These frames suggest a transition from ROUND and HARMLESS to POINTY and THREATENING.
This is when the main character Sophie, is confronted by the witch of the waste for the first time. Initially, the witch of the waste calls Sophie and her shop tacky. Sophie is not afraid of standing up to lady and asks her to leave. Sophie then finds out she is the witch of the waste and the sudden change in shape leaves Sophie petrified. Filling the frame with the face of witch of the waste enhances the evil nature of the witch. This is also a great example of flat space utilized in different frames.
4. Shapes, Leading Lines, Pattern, Contrast and affinity
5. Leading the viewer’s focus to the main character using different visual components.
Frame 1: Fire on each side creates a path that leads our attention to Howl. This is the first time Howl is introduced as a warrior who escapes from the battlefield with ease. He clearly dominates the next few frames.
Contrast to Affinity
Affinity to Contrast
The viewer now sees Howl exiting the scene indicating the end of the battle scene.
6. Howl’s hair varies in colour according to is mood. His personality at any given moment is depicted through a change in his appearance. Each colour has a positive and a negative connotation which is described through the expression. Colour, expressions and appearances go hand in hand.
Though black can depict efficiency and sophistication the scene describes heaviness and coldness.
Blue denotes trust and calm. This portrays Howl’s character as a child correctly when he gives his heart to the falling star (calcifer) and saves his life by letting him live.
Green can mean refreshment and balance, the scene indicates stagnation.
Here is black again but this time it indicates a much powerful meaning - death. This happens because of more pointy shapes (chin and teeth).
Here, the colour’s connotation is affected by the pointy shaped feathers which indicates power.
7. Contrast of Line - What the director wants you to feel.
Different views and angles of the flying machines works really well for this panic-stricken chasing sequence.
8. Different Camera Angles with Frame within a Frame.
Calcifer (The fire demon) within a frame created by Sophie’s arm and the wooden frame.
Shot : Over the shoulder.
The hole created as a result of blast surrounds Sophie.
Shot : High angle.
Frame created by ground sinking in around Sophie.
Shot : Low angle.
Frame created by ground sinking in around Sophie.
Shot : Low angle.
9. For the current and next slide, I would like you to find out where your eye is drawn to first.
I believe there is a difference between telling a story through a movie and telling one through frames. While frames can be a powerful way of planning for a movie, their effect can also fail at times when converted into a movie. The vice versa is also true. When I saw the movie first, my eyes focussed on the bright glowing light for less than a second and then Howl’s character. When you divide the video into frames, the bright glowing lights are much more prominent than the character and it takes time for the viewer to divert their attention to Howl.
The camera then tracks in bringing Howl into focus and then slowly lowers the contrast until Howl’s character becomes less visible.
This just proves that sometimes movies may not have the same desired effect as the one observed in storyboards and vice versa. It is important to adapt while shooting films.
10. 180 Degree Rule - Line of action.
The entire conversation takes place between Howl and Calcifer by keeping the camera to the right of Howl. This rule helps to bind the conversation and scene in spite of switching continuously between 3 different camera angles.
Linear motif - It helps in dividing the scene and diverts the user’s focus to what the director wants them to see. This again helps the user to understand and absorbs the information with ease.
11. Unbalanced picture. Why does it work then?
Though Orange can depict fun and passion, the expression suggests frustration.
These quick frames also builds a sense of urgency and chaos to describe the situation and still manage to make the user digest the information presented to them.
Howl’s moving castle is one of the most extraordinary and unique films of all times on my list.
Every Ghibli film reflects Hayao Miyazaki’s imagination of a highly exaggerated world which may be unusual and uncommon but it works well as everybody loves to lose touch with reality and experience something magical even if it is for a few minutes through a movie.
This film takes you through a range of emotions that are so prevalent and not only show you how to feel about brutal realities of war but also put the viewer into a perspective of a child’s imagination of the world around them.
Let me take you through a few of the most special moments I got to experience through this film.
1. Great use of Affinity to Contrast as a way of introducing the castle for the first time. This transition creates a good sense of anticipation as one is curious about what hides behind the mist. Once the castle appears, the movie continues to have a few but interesting shots of the castle that leaves the user wanting to know more and explore every part of it.
2. This frame introduces the main character for the first time who wears an emerald coloured dress which reflects calmness, peace, balance and humility. A negative connotation of this colour would be an indication of boredom/dullness that reflects the personality (lacking confidence when it comes to taking risks) of the main character at the beginning of the film.
The hats and brooches have warm colours that give the character a personality that reverberates warmth and comfort around them.
These items also make the viewer look at the main character as Sophie lies at their point of intersection.
Overall, the first impression of the main character’s personality is easily conveyed through this one frame without the use of dialogues/interaction which is a good example of showing you how to feel instead of telling you how to feel.
3. From Round to Pointy
These frames suggest a transition from ROUND and HARMLESS to POINTY and THREATENING.
This is when the main character Sophie, is confronted by the witch of the waste for the first time. Initially, the witch of the waste calls Sophie and her shop tacky. Sophie is not afraid of standing up to lady and asks her to leave. Sophie then finds out she is the witch of the waste and the sudden change in shape leaves Sophie petrified. Filling the frame with the face of witch of the waste enhances the evil nature of the witch. This is also a great example of flat space utilized in different frames.
4. Shapes, Leading Lines, Pattern, Contrast and affinity
5. Leading the viewer’s focus to the main character using different visual components.
Frame 1: Fire on each side creates a path that leads our attention to Howl. This is the first time Howl is introduced as a warrior who escapes from the battlefield with ease. He clearly dominates the next few frames.
Contrast to Affinity
Affinity to Contrast
The viewer now sees Howl exiting the scene indicating the end of the battle scene.
6. Howl’s hair varies in colour according to is mood. His personality at any given moment is depicted through a change in his appearance. Each colour has a positive and a negative connotation which is described through the expression. Colour, expressions and appearances go hand in hand.
Though black can depict efficiency and sophistication the scene describes heaviness and coldness.
Blue denotes trust and calm. This portrays Howl’s character as a child correctly when he gives his heart to the falling star (calcifer) and saves his life by letting him live.
Green can mean refreshment and balance, the scene indicates stagnation.
Here is black again but this time it indicates a much powerful meaning - death. This happens because of more pointy shapes (chin and teeth).
Here, the colour’s connotation is affected by the pointy shaped feathers which indicates power.
7. Contrast of Line - What the director wants you to feel.
Different views and angles of the flying machines works really well for this panic-stricken chasing sequence.
8. Different Camera Angles with Frame within a Frame.
Calcifer (The fire demon) within a frame created by Sophie’s arm and the wooden frame.
Shot : Over the shoulder.
The hole created as a result of blast surrounds Sophie.
Shot : High angle.
Frame created by ground sinking in around Sophie.
Shot : Low angle.
Frame created by ground sinking in around Sophie.
Shot : Low angle.
9. For the current and next slide, I would like you to find out where your eye is drawn to first.
I believe there is a difference between telling a story through a movie and telling one through frames. While frames can be a powerful way of planning for a movie, their effect can also fail at times when converted into a movie. The vice versa is also true. When I saw the movie first, my eyes focussed on the bright glowing light for less than a second and then Howl’s character. When you divide the video into frames, the bright glowing lights are much more prominent than the character and it takes time for the viewer to divert their attention to Howl.
The camera then tracks in bringing Howl into focus and then slowly lowers the contrast until Howl’s character becomes less visible.
This just proves that sometimes movies may not have the same desired effect as the one observed in storyboards and vice versa. It is important to adapt while shooting films.
10. 180 Degree Rule - Line of action.
The entire conversation takes place between Howl and Calcifer by keeping the camera to the right of Howl. This rule helps to bind the conversation and scene in spite of switching continuously between 3 different camera angles.
Linear motif - It helps in dividing the scene and diverts the user’s focus to what the director wants them to see. This again helps the user to understand and absorbs the information with ease.
11. Unbalanced picture. Why does it work then?
It gives a sense of status of the characters in the scene. Madame Suliman, the King’s Royal Sorcerer, has a high status than Sophie in terms of power. Her arm chair, which is taller than Sophie’s, shows her dominance over any guest sitting on the other side of the room.
References
[1] Camera Angles - https://www.bhphotovideo.com/explora/video/tips-and-solutions/filmmaking-101-camera-shot-types
[2] Psychological impact of colours - http://www.colour-affects.co.uk/psychological-properties-of-colours
[3] Linear Motif - https://seelio.com/w/1af2/lines-lines-everywhere-lines-_-frozen-linear-motif-analysis-unit-5
[4] Personalities - http://howlscastle.wikia.com/wiki/Howl_Jenkins_Pendragon
[5] The Bourne Ultimatum (4/9) Movie CLIP - Bourne vs. Desh (2007) HD - https://www.youtube.com/watch?v=uLt7lXDCHQ0
[6] Warm versus Cool colours - https://www.youtube.com/watch?v=0jFbFXYeqb0
[7] Lines, Patterns, Filling the Frame, Shapes, Frame within a Frame, Balance, Space - http://visualstory.etc.cmu.edu/wp-content/uploads/2017/09/Compostion-Lecture-17.compressed.pdf
[8] Line, Movement, Linear Motif - http://visualstory.etc.cmu.edu/wp-content/uploads/2017/09/Visual_Structure_II_Lines_Shape_MovementLecture-2017.pdf
[9] Contrast and Affinity - http://visualstory.etc.cmu.edu/wp-content/uploads/2010/09/Contrast-Infinity_2017-copy.pdf
[10] 180 degree rule or Crossing the Line - http://visualstory.etc.cmu.edu/wp-content/uploads/2017/09/Directors-paper-work2015.pdf
