Saturday, 17 December 2016

Cook, the Thief, the Wife, and her Lover by Peter Greenaway 1989 - Film Review 12 space and environment

 Figure 1

Cook, the Thief, the Wife, and her Lover is a film created by Peter Greenaway in 1989, he also known for Prospero's Books (1991), Drowning by Numbers (1988) and The Falls (1980), with the help from Ben van Os and Jan Roelfs they would create the most lustful yet disturbing film of 1989.

The narrative is a mixture between abuse towards a loved one, lust that the characters feel for one another but ultimately end in tragedy and the appetite of food and the body, the film’s narrative is a French restaurant owned by a thug named Albert Spica, thinks that his ideas for the restaurant and his food choices is what people want more importantly what he wants, for his wife Georgina, though this makes her frustrated and annoyed at her husband at his behaviour until she gives the lustful looks to a character named Michael narrative kicks off, the rest of the film is about how lustful Michael and Georgine were, how they slowly become together as if the film will have a happy ending but it twists the idea resulting in horrifying ideas and images.

The main aspects that viewers will notice about this film is the re-occurring theme of lust and appetite, for it is shown in many ways in the film for physical lust by Michael and Georgina to the set design and colouring. This truly demonstrates how far the director wanted to go with this film is a pushing the boundaries of how to demonstrate this theme for Roger Ebert says “The sex scenes in this movie are as hungry and passionate as any I have seen, and yet they are upstaged by the rest of the film, which is so uncompromising in its savagery that the sex seems tranquil by comparison.”(Ebert, 1999) What this means is that not only appetite shown by the minute eating of food but also how Georgina feels like she hacks to be with Michael every minute she sees him she has to devour his body through her own. This makes it interesting for audiences for we would not like appetite to a sexual manner but is still a long way in the film that makes the audience think about how appetite can be more than just one thing it could be multiple things which are done very well in this film, A good demonstration of this appetite is a scene where Georgina is looking at Michael whilst eating you could almost see it in her eyes how sexual she’s being and the way she's looking at Michael as if she wants to just gobble him up as demonstrated in figure 2.

 Figure 2

The colour scheming in this film is done in a way that audiences can connect what is going on in terms of mode and feelings, for example every time when the characters enter into the kitchen the viewer will find themselves thinking of linking the green colour to read as greed as if no matter what you cannot get enough of this food, but the important colour out of all of them is red for it comes off as “Thematically, depicting lust, adultery, jealousy and revenge, “The Cook” is a variation of film noir—only more brutal and in colour” (Levy, 2011) This quote makes a good remark at this colour. Red is always being associated with 2 things, one of danger and death however in this film it's heavily used to symbolise lust and sex in the film well that it helps the chemistry of Georgina and Michael lust for each other. The way the red clothing and red atmosphere is in golfing these characters makes it feel that the colours are pushing them to commit acts of lust in different ways How the clothing helps the theme of lust as shown in figure 3.

 Figure 3

Yet there is one other that sex comes into this film as a theme and that is by the characters clothing, As seen in the film the closing of the female characters are strangely designed it is as if the audience is looking at fetish clothing that most others would get aroused however the men they seem to be in suit although the colours change from one room to another, the only sexiness comes from female clothing as shown in figure 4 and 5. This gives an understanding to audiences of how far sex is a theme that plays out through the film, because of the weird choices of this clothing there is this big idea of lost it's going to be betrayed in the film, in this case, it helps for Georgina is always wearing something seductive and fetish looking making it easier for her to get Michael into being with her in a sexual manner.

Figure 4

 Figure 5 

What compliments the film's theme of lust and appetite is the thematic feel when watching it, for it feels as if looking at a play in a theatre set up to be dramatic if we move it makes most like other theatre productions e.g. war horse and Les Miserable. Also, the symbolism of a painting in the main eating whole and how Albert and his goonies are sitting just like them, however, their behaviour is completely opposite (figures 6 &7) “thematic poke by the filmmaker. Albert spews his cockney variety of verbal bile at a large rectangular table that allows for Greenaway's formal tableaux compositions to blossom. Challenging thematic ideas come in spades.” (Smithey, 2011). In a way, what this is supposed to be symbolising how Albert should be behaving in this restaurant completely ignores it because he is the owner and she should do whatever he wants with this good character development Forum brings the subject of abuse and how dramatically can be to somebody, bringing this thematic element into the film to show the heart-breaking and lustful ways of Georgina and giving her reason why did I get Albert in the first place.

 figure 6 

 Figure 7

So as demonstrated in this review Greenaway has demonstrated his vision of lust and appetite through character development, clothing and colour choices and finally thematical set design. The audience can immediately connect to what he was trying to show as one reviewer states that “Semioticians have interpreted the film as an allegory that condemns contemporary consumerism, cynicism, and greed, and vulgar taste.” (Levy, 2011) He makes a good point of what the film is a symbolism of and what themes it is trying to achieve, Greenaway obviously knew what he was trying to do with this film and that is why that this film is considered a great intake of what lust and appetite are or could be.


  • Ebert, R. (1999) THE COOK, THE THIEF, HIS WIFE, AND HER LOVER. Available at: (Accessed: 16 December 2016).

  • Levy, E. (2011) Cook, the thief, the wife, and her lover, the (1989). Available at: (Accessed: 16 December 2016).

  • Smithey, C. (2011) Capsules: The cook, the thief, his wife, and her lover - classic film pick. Available at: (Accessed: 16 December 2016).

Illustration list:

  •      peter (no date) The cook the thief his wife & her lover. Available at: (Accessed: 16 December 2016). Figure 1

  •  Miramax (2016) The cook, the thief, his wife & her lover - official site. Available at: (Accessed: 16 December 2016). Figure 2

  • Madson, A. (1966) Alex Kingston . Available at: (Accessed: 16 December 2016). Figures 3 and 4 

  •  de Cinema, C. and profile, V. my complete (2011) THE COOK, THE THIEF, HIS WIFE AND HER LOVER (1989) - Peter Greenaway. Available at: (Accessed: 16 December 2016). Figure 5

  • Mahiques, M.B. (2013) Food, art and architecture. Available at: (Accessed: 16 December 2016). Figure 6

  • Editors, W. (2015) Weekend words: Police. Available at: (Accessed: 16 December 2016). Figure 7 


Friday, 16 December 2016

Reflective statement

Throughout this whole project it has been a real challenge and delight, for I have really enjoyed trying to create the city not just in mooring and some mailing but also by making it in Maya. My strongest points of the project is definitely how I modeled this entire city for its the strong point of the project to me I love how I have modeled every part of the building even the ones that looked complicated in orthography yet they were completely fine when modelling itself. I agree with film after looking back on my renders I agree that the texturing of the building need some work and that the scales and placements of the matte painting, lamps and builds needs some readjusting, i will Bear this in mind for the next project. I am really happy nonetheless of how my model was made and how it looks and glad that I managed to achieve this model.

Art of Xander


Monday, 12 December 2016

Sunday, 11 December 2016

modelling building and putting the scene together

After a few days of modelling my building, I'm ready to UV and Texture, I'm really happy with how they look.


Scene Render 


Production Design Art


Friday, 9 December 2016

Animation toolkit - 10 Christmas

The last animation lesson until next term so please enjoy the animation. Merry Christmas everyone.


Thursday, 8 December 2016

Susiria by Dario Argento 1977 - Film Review 11 space and environment

 Figure 1

Dario Argento also known as horror's Italian Stallion and the Italian version of Hitchcock decided to make a horror film about dance and witch called Suspiria in 1977, with the help of Giuseppe Bassan they would make a horror film that explores every way it could to be terrifying.

the film has a simple narrative to follow and understand. The narrative is a New York dance student called Suzy Bannion, she moves to a famous dance school in Germany only to find mysterious murders and secrets to discover, after discovering that the school is run by a covenant of witches she burns the school and walks away. Although the story is plain and simple it makes up in its music, effects and colour choices, for this quote states that “the whole is a stunning combination of menacing Grand Guignol atmosphere, dazzling colours, gory violence, lush d├ęcor and pounding soundtrack.” (Jones, 2015). This helps the film stand out more of a horror film and bring it to life for viewers to enjoy.

To make the theme of horror to come to life in his film, Argento asked Goblin to create the musical score for the film “stick-and-stab Grand Guignol set to a jangling, cackling, ear-splitting score by a band called Goblin.” (Hoberman, 2016). When hearing the music, viewers will see what mood Argento was archiving and how to feel about it, when listening to the music its booming sounds and small whispers gives the viewer a tense feel when the characters are walking, there is also a music box song when the main character explores the school making it feel mysterious and strange. The music makes the horror aspects of the film shine alongside the other components of horror. 

Argento also used heavy colour to express the mood and setting of the scenes “garish red and green light (he acquired 1950s Technicolor stock to get the effect) giving the whole film a hallucinatory intensity.” (Smith, 2000). This helps give the viewer a more in depth feel of how Argento wants to present different ways of horror, the deep red lighting hitting the set and characters gives the view a strong sense of danger of what might happen in the film, this effect works more to the bloody gory violence and the worried expressions of the character. This is demonstrated in figure 2.

 Figure 2

To bring horror elements to the set design Argento asked Bassan to help with the production design to create the eerie and disturbing angle shot in the film. In one scene of the blind man going home only to die by his own guide-dog, the way this is shown in the film is by building suspense on the method of death for this is done by close-ups of the man and his dog looking and waiting then cutting to extreme long shots of the area there into mess with the viewer if there is anything there or not (figure 3).
Another time they use the long shot is in the dance school with a character wondering around to find the truth giving the viewer this long expectance of something horrifying to happen as shown in figure 4. This gives the film an interesting look at how to explore the themes and ideas of horror and why the choices in the film make this a brilliant horror to watch.  

 Figure 3

 Figure 4

Argento has shown many ways to create horror from the action of the characters, sounds and angle shots of the film, he has truly made the viewers understood what he wanted to achieve by adding all these elements in his film it makes the experience more enjoyable and spine tingling to watch.


  • ·        Hoberman, J. (2016) Suspiria shock: Two runs in Two weeks. Available at: (Accessed: 7 December 2016).

  • ·        Jones, A. (2015) Suspiria - RT Review. Available at: (Accessed: 7 December 2016).

  • ·        Smith, A. (2000) Suspiria. Available at: (Accessed: 7 December 2016).

Illustration list


Wednesday, 7 December 2016

CG Artist Toolkit: Life Drawing - 10

This post is a little different from the others because robin wasn't in for our life model we drew the famous bird attack scene from The Birds and a scene from Bugsy Malone.

scene stills

my drawings


Monday, 5 December 2016

Photoshop toolkit - texture and bumps

I made some textures to put in crazy bump, thanks to Jordon I feel like I can make the city of Xander even better


normal bump

occlusion bump

diffuse bump


normal bump

occlusion bump

diffuse bump

normal bump

occlusion bump

diffuse bump

final render