Tag Archives: Phantom Cinema

Yusuf Abas – S3946777

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Major Reflection

In creating ‘Marilyn Monroe: The Ghosts of Old Hollywood’, our aim was to reimagine Monroe’s life and legacy through a contemporary lens, engaging the audience with her inner demons and the external pressures she faced in Hollywood during her time. This aligns with a central concern of our studio, which asks us to “How can we use histories of…. lost, unmade, partly imagined, non-existent and incomplete “films”, …..to create and inspire new works and responses…?”. Specifically relating back to “Unmade & Incomplete Films’ and how it can create and inspire new works as well as responses in the chosen media form of film. We used a film in this situation known as ‘Something’s Got to Give’ to explore and reflect upon under a contemporary microscope the unspoken side of Monroe’s experience. Through this, we went to capture a sense of unfinished and historical reinterpretation that addresses the studio’s questions.

Our studio prompt asks how exploring incomplete films, imagined stories, and even the concept of cinema’s death can inspire fresh responses in today’s media. By grounding our piece in ‘Something’s Got to Give’ We created a work that resonates with the sense of a “ghost story,” acknowledging Monroe’s legacy and her unfinished narrative within Hollywood. Brian Jacobson’s exploration of cinema’s “deaths” notes that, “each death…offers a new beginning” (Jacobson, Paredes & Hanson, 2007), which complements our goal to give Monroe a new voice in a work that remains both haunting and incomplete. Our piece addresses this “new beginning” by visualising what Monroe might have said had she been given more agency within her industry.

Viewing our work on the Capitol Theatre’s screen was rewarding, as we witnessed firsthand the reactions from our audience. Some were drawn to Monroe’s reimagined monologue, while others noted imperfections such as a noisy camera angle, which had resisted correction during post-production. Experiencing the audience’s engagement underscored the value of presenting Monroe’s internalised dialogue on a large screen, as viewers were brought face-to-face with both her constructed persona and a deeper, more human portrayal. This juxtaposition echoes Laura Mulvey’s idea that, through “passing time,” cinema uniquely bridges gaps between past and present selves (2006), which was something we hoped to accomplish with Monroe’s character.

Reflecting on the project’s successes, the recreation of Monroe’s character/being and the setting of her last unfinished film were integral. We worked hard to recreate her appearance, tone, and the sense of the 1962 scene, from her costume to lighting, bringing the audience as close as possible to Monroe’s world. This immersion allowed viewers to experience her character’s nuances, suggesting a complexity that often eludes typical Hollywood portrayals. However, there were challenges as well. One of the most significant issues was our group’s delegation of workload. A lack of clear communication led to misunderstandings and unequal distribution of tasks, sometimes resulting in rushed scenes or overlooked adjustments, like the side camera’s noisy angle. This experience highlighted the importance of given and set roles as well as frequent open communication within groups and teams.

If I were to continue developing this piece, I would address several points. First, refining our technical setup, particularly with lighting and exposure, could’ve significantly improved the quality of the camera as well as minimise the noise and sound distortion in our work. This would ensure that the visuals remained consistent and in line our thematic motive. Additionally, further refining the script would allow us to create a more organic flow in Monroe’s monologue, removing repetitive lines and building a stronger sense of causality in the dialogue. Anthony Salzberg’s analysis of ‘Something’s Got to Give’ emphasises how Monroe’s vulnerability and agency remained central even in its incomplete state, suggesting that her character’s unresolved struggles are part of what makes her legacy so compelling (Salzberg, 2015). A more nuanced script would better convey these aspects, allowing Monroe’s character to be more …complete.

Throughout the studio experience, I gained a proper understanding of creative control in group work. This lesson was eye-opening, as I found that balancing my vision with that of my teammates required openness,  listening, and often compromise. While I felt confident in my ideas for Monroe’s character, I learned the value of advocating for these points while also being open to others’ contributions. Collaboration in this environment taught me that creative control doesn’t mean dominating, but guiding the group in a streamlined direction. This reflection will be invaluable for future projects, especially in balancing leadership with inclusivity and the importance of clear communication.

Additionally, our group experience reinforced the need to recognize and utilise the different strengths and weaknesses of each member, as well as to acknowledge areas where improvement is necessary. For example, while some members excelled in design and acting, others were adept at editing and sound design, contributing distinct elements to the final product. However, weaknesses in our communication structure sometimes caused overlaps in responsibilities or a lack of follow-through on certain tasks. Making sure that all voices were heard and that workload was distributed equally would have relieved many of these issues and improved the quality of our teamwork.

In sum I’d say, ‘Marilyn Monroe: The Ghosts of Old Hollywood’ served as an exploration of Monroe’s legacy and our own contemporary relationship to Hollywood’s past. We wanted to engage the audience by revealing Monroe’s inner dialogue and, in doing so, tap into the studio’s question of how cinema’s old and unfinished works can inspire new media. As Mulvey’s reflection on time and cinema suggests, these incomplete stories allow us to connect together different eras and capture the lasting spirit of cinematic icons. For future projects, these experiences and lessons will guide my hand with collaborative and creative work, helping me refine technical and communicational skills to produce better works.

References: 

  • Jacobson, B., Paredes, V. & Hanson, C. 2007, ‘Deaths of Cinema: Introduction’, Spectator, no. 27, pp. 5-8.
  • Laura Mulvey, ‘Passing Time ‘, Death 24X a Second: Stillness and the Moving Image, London: Reaktion Books, 2006, 17-32. 
  • Salzberg, A., 2015. “How Long Does It Take?”: The Resurrection of Marilyn Monroe and Something’s Got to Give (1962). Quarterly review of film and video, 32(4), pp.355-366.

Blog Post 2

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Blog Post 2: Post-Production Stage of ‘Marilyn Monroe: The Ghosts of Old Hollywood’

Post-production on ‘Marilyn Monroe: The Ghosts of Old Hollywood’ presented its own set of challenges and triumphs. Our first shoot on October 8th was mostly smooth, but it was during the second shoot on October 10th that we faced more sound recording issues as well as some lighting ones. While setting up our shots in a dark studio space, we struggled with channel audio. This required assistance from the studio staff but the team stayed patient, and we eventually managed to get the device working, fine-tuning the settings on our recording device and achieving the desired clarity by adjusting the positioning of the microphones.

One of the highlights of this phase was Chewie’s performance of Monroe’s interview. Chewie worked extensively to channel Monroe’s mannerisms, and using a teleprompter was key to nailing the long monologue. We both spent time before the shoot setting up the teleprompter so that Chewie could deliver the lines seamlessly, keeping the emotion and pacing intact. Chewie’s dedication to the role really shone through as she embodied the frustrations of Monroe, not just reciting lines but truly feeling them, especially in the improvised moments.

The editing process, from October 11th through the 17th, was a race against time. Each editing session was focused on different elements: cutting scenes for pacing, adding effects, and syncing audio with the footage. The sound issues from our shoot days meant extra work in post-production. We used tools to clean up the audio and balance it properly across scenes, but some moments still required more tweaking. The second camera we used for an alternative angle such as the storyboard went awry when we found out the camera’s auto settings for ISO self adjusted itself believing our shot was under exposed making the quality of our shot composition an overwhelming noise. Using an adjustment layer we managed to salvage some of the angled shots with colour correction. Workload-wise Caelan took the load of the work when it came to Editing, taking it upon himself to edit in his own time with the hard-drive. I did my best to drop advice in when I could, assisting with some of the more technical Premiere Pro tools and functions. I think there were some creative clashes in the team when it came to some shots, transitions and the overall makeup of scenes however it all came together at the end and that’s what was important.

Despite the sound and scheduling challenges, our team’s determination paid off. We managed to get a final cut that we’re proud of—one that captures Monroe’s legacy with a sense of reverence, while also giving voice to her personal struggles. The journey from planning to post-production has been rewarding, and we’re excited to see how the project will be received at the Media Studio Screening.

Blog Post 1

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Blog Post 1: Pre-Production Stage of ‘Marilyn Monroe: The Ghosts of Old Hollywood’

Our pre-production stage for’*Marilyn Monroe: The Ghosts of Old Hollywood’ began without much direction if any at all. After squandering a bit of time scrambling for unfinished films and unmade works, i chanced upon footage of an unfinished film called ‘Somethings Got to Give’ and suggested we work on this for our work. After deliberation with the team and advice from Adrian we initiated the process but realised with such a controversial and influential person like Marilyn Monroe in the scene, we’d have to understand as much as we could before we made this piece and so began an in-depth research on Monroe’s life including her legacy in film. This project wasn’t just about recreating a scene from ‘Something’s Got to Give’, but about delving into the many sides of Monroe as a person and actor. The entire group brought different perspectives to the table, placing ideas from her career struggles, mental health issues, and societal pressures that shaped her public image. We explored her battles with the industry, the label of “blonde bombshell,” and her desire to break away from that limiting persona. These themes became central to our script and a group viewing of a documentary of ‘Marilyn Monroe’ and ‘Something’s Got to Give’ gave us direction.

After managing to make a script using video to text software and reediting it, making an initial side by side draft with the modern changes we decided to move into a different direction once more Caelan taking charge led the scriptwriting process with AI assistance, which gave us a starting point to build on. It was essential to balance AI’s draft with our group’s understanding of Monroe, her strength, and her vulnerability. The script took a interesting angle, imagining how Monroe might have reacted to the scene in ‘Something’s Got to Give’ had her real-life struggles been acknowledged. We saw a version of Monroe who rebels against the stereotypical roles she was often given, directly confronting the industry’s treatment of her.  We met a few times to review, edit, and refine the dialogue, working to give Monroe a voice that was both true to her historical persona and also reflective of the themes we wanted to explore her desire for authenticity and freedom. The group collaborated to fine-tune the script, ensuring that her frustrations, as well as her depth, came through.

With our other documents such as sketches, storyboards Caelan and Chewie reviewed these on the whiteboards during class after discussion to bring together a visual plan for our shots later on. When it came to costume ideas, it was a bit of a scramble to find our Marilyn Monroe costume and a collaborative effort to source from Caelan and Chewie. The group discussions were particularly productive as we debated how to approach Monroe’s inner struggles.

Finalising the script brought us to a place where we were ready to move forward with shooting. From ensuring the script captured the emotional complexity of Monroe’s character to preparing for the technical aspects of production like costume choices and securing equipment. By the end of the pre-production phase, we were confident that we had a solid narrative, one that honoured Monroe’s legacy while giving her the depth and respect she deserved.