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looking at hidden meaning throughout the pieces!

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from my powerpoint!

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an artist that takes inspiration from movie posters and often recreates them using different characters and topics! this relates pretty perfectly to my recreations using the Beatles, thatcher and Presley! his work is also completed on photoshop, which is the software I used in this project to produce my final outcomes too!

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hand papercut for my third movie poster recreation!

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hand papercut for my third movie poster recreation!

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this is inspired by the large hand-print in the invasion of the body snatches piece!

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trying to figure out the title for my thatcher piece. was going to be a nightmare Britain, or a clockwork Britain but after reading this, it will be a clockwork thatcher, which aswell  as makes more sense, links nicely to the Presley piece

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What does the title of "A Clockwork Orange" mean | ScreenPrism

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ScreenPrism is the hub for film and TV analysis. Currently, we are building the largest digital library of film and television inquiry and related content by producing original articles, curating content from other esteemed sources and facilitating user generated comment and discussion.

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What is the the legacy of Margaret Thatcher, who died today?

The 1980s is increasingly being seen as deep history - 50% of the Datablog team were born in the late 1980s and were just toddling into school when she resigned in November 1990.

If the past is a foreign country (they do things differently there), there is nowhere more foreign than May 1979, when the Conservatives entered Downing Street. In fact, it's getting increasingly difficult to tell - many of the datasets we rely on now weren't compiled until the early 1990s. So what kind of Britain did the country's first woman prime minister come to rule in 1979 - and how has it changed?

These are some of the datasets which actually go back that far - mostly from the Office for National Statistics, and some from the excellent British Political Facts.

She may or may not have caused it, but Britain under Thatcher saw huge economic, demographic and cultural change. These are just some of the facts.

The UK was a smaller country then - 56.2m people lived here, compared to 62.3m people in 2010. That had been pretty stagnant since 1970, actually going down for four years before 1979 as the economy faltered. During the first years of Thatcher's reign, fewer people came to live in the UK - acceptances for settlement went down from 69,670 in 1979 to 53,200 by the time she resigned in 1990. Since then, the economy has boomed and eastern European countries have joined the EU. In fact, for much of the decade there were more people leaving the UK than coming here. Now it is the reverse. Net migration now is at a record high.

The population has changed too. There are no accurate figures for the UK's ethnic breakdown before the 1991 census, so we can't say what Britain's ethnic mix was. By the 2001 census, four years after the end of the Conservatives in power, the UK's population was 92.1% white. According to the latest ONS estimates, that figure has gone down now as Britain becomes more diverse; 83.35% of England and Wales is now defined as "white British".

We're living longer - life expectancy overall went up from 70.3 for men and 76.4 for women in 1979 by three years for both sexes by 1990. In a developed country, life expectancy should go up as medicine improves and the economy grows. But in 1985 it went down briefly, as it did again in 1993, both after huge recessions.

There are more of the super-old around now. Some 15% of babies born in 1979 would live to reach 100 - that figure is 26% now.

Ironically for a prime minister who focussed so much on family life, the 1980s saw the end of the traditional family unit for many. Divorce rates reached 13.4 per 1,000 married population in 1985, although that wasn't as high as the peak of 1994 after the recession. They have gone down now. The most recent figures show that 119,589 people got divorced in 2010, roughly half of the number of people who got married the same year.

Of course, fewer people are getting married now - only 231,490 in the latest year, down from 368,853 in 1979, which was the highest figure since the war brides of 1940.

Which also means less babies being born to a traditional family unit too - in 1979, only 12.5% of babies were born outside marriage. By 1991 that had gone up to 29.8%.

As Britain learnt to come to terms with the idea of "no such thing as society", unemployment shot up under the Conservatives to levels not seen since the Great Depression. The figures show how it lags behind the economy - even after the recession was over, many were unemployed.

Britain got hit by two major recessions under Thatcher, which sandwiched the boom of the 1980s but even that boom never saw GDP grow by more than a couple of percent. Obviously in 2013, George Osborne would kill for growth of 2.2%.

If the deficit is the obsession of this government, in 1979 it was inflation, which had rocketed into the twenties in the 1970s.

The figures show how it went down under the Conservatives - after a struggle as it rose to 21% in the 1980s - decreases which largely continued under Labour and have only just started to reverse.

Perceived wisdom is also that manufacturing disappeared under Thatcher. If so, it was something that had already started. In 1970, manufacturing accounted for 20.57% of UK GDP. By 1979 that was down to 17.62% of GDP. By the time she left office, that decline had continued - albeit at a slightly slower pace, down to 15.18%. Now it is much lower, according to the ONS - down to 9.68% in 2010.

Thatcher never tried the scale of austerity cuts facing the UK coalition government now. In fact if you look at spending as a percentage of GDP it actually rose in her first years of power, going down during the 1980s before rising in the early 1990s under John Major and chancellor Kenneth Clarke. Her reign actually ended with more of the workforce employed in the public sector than now - 23.1% as opposed to around 20% now.

She may have been our first prime minister but men still ended her decade paid a lot more than women - especially if you look at the bald figures below.

However, if you change it and look at women's full-time pay as a percentage of male full time pay it shows women working full time in 1990 paid 76% male full-time pay - up from 73%. It has improved since then - in 2011 it was 84.8%.

One of the defining features of the 1980s was the rise of the house price economy, especially with the sales of council houses.

At the same time, interest rates rose to record levels of 17% and repossessions rose to match.

In 1991, 75,500 properties were repossesed, the peak, and 186,649 cases reached the courts.

The unions were a major force in 1970s Britain, with around one in four of the UK population a member - 13.2m people. Those numbers went down significantly by 1990 to 9.8m - and in 2008/9 to 7.4m or one in eight of the population.

At the same time days lost to industrial disputes shot down too - from around 900,000 a month when Thatcher became prime minister to 183,000 in November 1990 - albeit with millions of days lost in the miner's strike.

Poverty went up under Thatcher, according to these figures from the Institute for Fiscal Studies. In 1979, 13.4% of the population lived below 60% of median incomes before housing costs. By 1990, it had gone up to 22.2%, or 12.2m people, with huge rises in the mid-1980s.

With it came a huge rise in inequality. This shows the gini coefficient, which is the most common method of measuring inequality. Under gini, a score of one would be a completely unequal society; zero would be completely equal. Britain's gini score went up from 0.253 to 0.339 by the time Thatcher resigned.

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How Britain changed under Margaret Thatcher. In 15 charts

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What is the the legacy of Margaret Thatcher, who died today? The 1980s is increasingly being seen as deep history - 50% of the Datablog team were born in the late 1980s and were just toddling into school when she resigned in November 1990.

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investigating my paper-cut development

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lil doodle using one of the colours from my scheme - orange.

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adults - between 18-60 demographic, who would have grown up surrounding this golden-age in horror, or those who may have grown up admiring the past developments from the 70's. very likely, horror genre fans.

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working on a large-scale paper-cut development piece. 

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working on a large-scale paper-cut development piece. 

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not very happy with one of the paper-cuts at this time, this one happening to be a screen-shot from the film "invasion of the body snatchers". i don't feel as though the image is reflected well as a paper-cut, and i am a little disappointed with it right now.

to improve it, i am wondering whether i can accompany the piece with a similarly large-scale collage, showing the audience where the references originate from. i also want to explore scanning the piece in and working on the paper cuts digitally.

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i chose paper cut for my main medium this project due to various reasons;
1. i have always been interested in the intricacy of the medium, and wanted to enhance my skills of using craft-knives and card, rather than sticking to my usual use of card; which tends to be collage.
2. there is a potential link to the idea of cutting paper, (slashing it) and the relevance of slasher films in my project.
3. it has the potential to be layered - i would like to explore how to link my digital work and collage pieces into the recent paper cuts i have been producing.

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the plan is carve each character out of white card, and then layer the piece over different coloured backgrounds! i need two sheets of A1 card - which i have! :-)

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quick paper cutting exercise using a drawing from tuesday’s live drawing workshop

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quick paper cutting exercise using a drawing from tuesday’s live drawing workshop

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workshop 20th november! live drawing compositions

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workshop 20th november! live drawing compositions

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a recreation of the classic 'carrie' poster, using margaret thatcher, and her splitting image puppet. i manipulated the text via photoshop, and used orange card to great the main 'Maggie' text below the photographs. overall - i think there is a great resemblance!

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taking inspiration from the invasion of the body-snatchers poster, i attempted a rough recreation using the cast of the Beatles instead. using the classic handprint, layered over black, orange and red paper, i attempted to mimic the type, and also use dark images of the members to mimic silhouettes seen in the original poster!

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created using my ink-rolling tray

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after finishing a small lino carve and printing it, I experimented with some expressive textures - mainly using ink and pen. i similarly scanned those in, and attempted for the first time to create various photoshop brushes of different shapes and textures. my favourite was a large, expressive texture created from my ink roller-tray, which i will also upload here. i layered it among various shapes of blue, before layering my piranha lino (after erasing the background). i proceeded to add some smaller brush details, as-well as outline the lino with a few thin brush outlines of again, varying colours. overall, for a first attempt at photoshop - i am really pleased with this quick practice.

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Explore our inspiring Scotland travel blogs. Including insider tips, personal recommendations, and first-hand accounts about the best of Scotland!

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leather-face - texas chainsaw massacre

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potential references from the horror-films (for paper-cuts and layers)

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potential references from the horror-films (for paper-cuts and layers)

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the exorcist house and silhouette

carrie flowers

pigs blood from carrie

hand-print from invasion of the body-snatchers

regan from the exorcist

pumpkin and knife from halloween

michael myers mask - halloween

alien egg

alien bursting out of chest

the wicker-man

pirahnas

a clockwork orange eye scene

jaws shark

"it's not safe in the water"

prom ticket from carrie

haunted house

leather-face chainsaw and/or mask

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a beautiful piece that appears more three-dimensional, than 2D. referencing London, this time

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a paper-cut artist, that works on both a 2D, and a 3D level. her work is stunning, and so complex and detailed, while not appearing crowded or too-busy. this would be a lovely piece to use as inspiration - layering various references from different horror films over, perhaps, a large-scale 70's text.

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the song was sort-of eerie, strongly reminding me of a spooky, quiet atmosphere, that you may listen to during a tension-build up in a slasher flick.

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Kraftwerk - Trans Europa Express (original)

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after mono-printing, i decided to move towards another medium - this time, paper-cutting. after delving into the idea of 3D production in the last project, i became really interested in the careful layering and detail that can be produced using paper only. my first attempt at replicating something like this was using a traditional 70's horror poster - this time, of the well-known flick "halloween". using a limited colour palette of black, silver, orange, yellow and beige, i created a minimalistic, bold paper-cut, strongly referencing this poster. this is something i would love to delve into further, and perhaps look into 3D paper-cut production. at this point, it would be interesting to have a large-scale, layered, paper-cut final piece, referencing various horror films from the 'golden age of horror', a.k.a, the 1970's.

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"kraftwerk trans-europa express"

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playing around with composition/recreation and fonts

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FONT play - messages on 1001 fonts!

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horror through the decades: 1950-1970 - october 2016 by jordan plaut

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horror through the decades: 1950-1970 - october 2016 by jordan plaut

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if the ‘60s brought about more horror titles rooted in exploring serious social issues, then the ‘70s continued the theme in force. horror titles jumped back into the big-budget mainstream, where they explored the fear that the shift to addressing real issues had created a culture of potential monsters and aggressors right in your own home. these issues were felt most acutely within families and small communities, where the younger generation had established new ideologies in contrast to their parents and tradition – and the best horror films of the time followed suit.

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horrorwood! will the new golden age of scary movies save cinema? - anna smith

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horrorwood! will the new golden age of scary movies save cinema? - anna smith

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according to Alan Jones, director of London festival FrightFest: “horror is a cyclical genre. there’s always one movie that kicks off another golden era. first it was Hammer, then Psycho, then Rosemary’s Baby, then The Exorcist, The Texas Chainsaw Massacre, Halloween, A Nightmare on Elm Street, Scream, Blair Witch, Hostel, Paranormal Activity, Saw, and now it’s The Conjuring universe and It.”

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ij wilson, audio story producer at FOTW radio - answered Sep 23, 2017

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ij wilson, audio story producer at FOTW radio - answered Sep 23, 2017

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in the sixties, it was Psycho (1961) at the beginning of the decade — and then Night of the Living Dead (1969), as well as Rosemary’s Baby (1968), which in a way, kicked off a wave of Satanic horrors during the seventies with The Exorcist (1973) and The Omen (1976).

the rise of Stephen King in the 1970s, as well as directors like Tobe Hooper, Wes Craven, John Carpenter, John Landis and George Romero, led to a major rise of horror films in the late seventies/early eighties. to me, this was the greatest peak of horror — and it died down again at the end of the eighties, thanks to over-exposure: too many sequels for the Freddy, Jason and Michael Myer movies, and gore reaching its peak as a shock value in these films.

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King sold his first professional short story, "The Glass Floor," to Startling Mystery Stories in 1967.[1] the Fogler Library at the University of Maine now holds many of King's papers.

in 1973, King's first novel Carrie was accepted by publishing house Doubleday. King had thrown an early draft of the novel into the trash after becoming discouraged with his progress writing about a teenage girl with psychic powers. His wife retrieved the manuscript and encouraged him to finish it.[19]:54 his advance for Carrie was $2,500; King's paperback rights later earned $400,000.

at this time, he began writing a book titled Second Coming, later titled Jerusalem's Lot, before finally changing the title to 'Salem's Lot (published 1975).

after his mother's death, King and his family moved to Boulder, Colorado, where King wrote The Shining (published 1977). the family returned to western Maine in 1975, where King completed his fourth novel, The Stand (published 1978).

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how horror movies have changed since their beginningposted on october 21, 2015 by new york film Academy

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how horror movies have changed since their beginningposted on october 21, 2015 by new york film Academy

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"all hell breaks loose

literally.

occult was the flavor of the day beween the 70s and 80s, particularly when it came to houses and kids being possessed by the Devil.

the reason for this cultural obsession with religious evil during this period could fill an entire article on its own, but bringing it back into the cinema realm we can boil the trend down to two horror milestones: the Exorcist (1973) and the omen (1976).

supernatural horror was now very much back in vogue, and harking back to its cinematic origins, literature once again became the source material.

this time, however, it wasn’t a victorian author whose work had fallen out of copyright, but a gentleman named stephen king.

carrie (1976) stormed the gates, and the shining (1980) finished the siege (with 1982’s supernatural frightfest poltergeist following soon afterward).

with these hallmarks of horror now firmly established, the foundations were laid for…

the slasher years

if there’s one trope that typifies the 80s, it’s the slasher format – a relentless antagonist hunting down and killing a bunch of kids in ever-increasing inventive ways, one by one.

arguably kicked off by the texas chainsaw massacre in 1974, the output became prolific over the next decade. for every ten generic slashers, however, there was one flick that would end up becoming a cult classic even if critical success was mixed at the time—halloween, friday the 13th and a nightmare on elm street are the most prominent examples, which became so successful that they spawned their own long-running franchises (the first time in the history of the genre that multiple sequels became commonplace.)

plenty of imitators and rip-offs followed too, particularly in the holiday-themed department. some were a lot better than others as the genre descended to its most kitschy."

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the exorcist

jaws

the omen

a clockwork orange

wicker man

suspiria

the texas chainsaw massacre

halloween

invasion of the body-snatchers

don’t look now

dawn of the dead

carrie

alien

the last house on the left

the hills have eyes

tales from the crypt

the amityville horror

nosferatu the vampyre

piranha

the crazies