British vs American comedy, film geometry and more


(The Morning Watch is a recurring feature that highlights a handful of notable videos from across the web. They could be video essays, fan-made productions, feature films, shorts, hilarious skits, or everything about our favorite movies and tv shows. shows.)

In this edition, one video essay examines the differences between American and British comedy, while another examines how geometry is used in films to add another layer of visual storytelling. Plus, check out a cool cut of a bunch of 1980s movie production company logos that have long since been retired.

In this video essay from Now You See It, there is an attempt to understand the difference between American and British comedy. He begins by comparing the characters of David Brent and Michael Scott, the bosses played by Ricky gervais and Steve carell in the UK and US versions of Office respectively. A simple explanation is that British comedy seems to like chess while American comedy pushes for success in the end, but comedy has continued to evolve as well. What do you think?

Then here’s another Now You See It video essay, this one taking note of how geometry is used to add layers to visual storytelling using certain types of shapes for certain types of characters. He begins by explaining the “bouba / kiki effect”, a psychological observation of how humans tend to perceive certain shapes as friendlier or more antagonistic, then explains how this is used to create characters in a certain way. to make them appear as heroes. or bad guys. And it’s not just something that happens in animation either.

Finally, like a little blast from the past, check out a cool cut of 1980s movie production logos, featuring companies like Orion, Cannon, and Carolco that you’ve constantly seen on VHS tapes when watching your favorite movies there. decades ago. Orion actually made a comeback recently, but otherwise the rest of these logos are long guns, either because they’ve been updated or because the companies no longer exist.


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