Deconstructing Pandora

Rochester Institute of Technology

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10-28-1999

Deconstructing Pandora

Katherine Mervine

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Recommended Citation

Deconstructing Pandora

A Computer Animation Thesis Report By

Katherine Kinnear Mervine

Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts, Computer Animation

School of Film and Animation Rochester Institute of Technology

Rochester, New York October 28, 1999

Professor Howard Lester Chair

School of Film and Animation

Section I

Reproduction Statement

I, Katherine Kinnear Mervine, hereby grant permission to the Wallace

Memorial Library at Rochester Institute of Technology to reproduce my thesis

in whole or in part. Any reproduction will not be for commercial use or profit.

Table

_of

Contents

Section

I

Section

II Section III Section IV Section V Section VI Section VII Section VIII Section IX Appendix A Appendix B Appendix C Appendix D Appendix E Reproduction Statement

Development ofthe

_Story

Synopsis of

_Story

Character Design

Methods

Score and Sound Effects

Final Production Conclusion

Bibliography

Thesis Proposal Storyboard Production Stills Photographic Reference

Section II

Story

Development

When Ifirst decidedtoanimatetheancientGreektaleofPandora'sBox,I

wascontent enoughtocreate a simplefilm fromthe_{commonly heard}story.

Pandora, thefirst femaleon_Earth,ismade_{happy by}hersimple existence asthe

wife of_Man, but isunabletoresisttheone_thingsheistold_byher husbandnot

todo: openthestrangebox hidden inthehouse. She surrendersto her

curiosity,opensthebox, andtheworldis destroyed.

"Pandora'sBox"

has alsobeentranslatedoverthecenturiestomean,"...a

processthatgenerates_manycomplicatedproblemsastheresult of unwise

interference insomething."'

Atfirstthe_gravityofthis definitionescaped_me,as

Ithoughtitwould _{simply be}atalerich with visualpossibilities _perfectlysuited

forcomputeranimation. As I developed ascriptfromthe_{story though, I}

discoveredtheoriginal myth was abit differentthan theonethat_{is commonly}

understoodinpopular culture. A_{sampling from}theoriginaltaleincludesthis

eye-openingnarrative:

"... Forerethis the tribesofmen livedon earth remoteandfree from ills

andhardtoiland _heavysicknesses which_bring theFates upon_men;for in

miserymen growoldquickly. Butthewomantookoffthegreatlidofthe

jarwithher handsandscattered,alltheseandherthoughtcaused sorrow

and mischieftomen._OnlyHoperemainedtherein an unbreakablehome

within undertherimofthe great_jar,anddidnot_flyout atthe_door; forere

that, thelidofthejarstopped_{her, by}thewill of_{Aegis-holding}Zeuswho

gathers theclouds. Buttherest, countless_plagues,wanderamongst _men;

forearthis fullofevils, andtheseais full."2

AsIcreatedthe_script,I became_increasinglyuncomfortable_developinga

workbasedon a centuries-old misogynist story. Ifoundmyself_comingto

termswith_myown sense offeminism:whatitmeanttome andhowit impacted

myrelationships with everyone aroundme. Do I simplyrecreate themythof

Pandoraandignorethe_{deeper meaning}ofthestory? Or do Itakea_leapand

change_{it into something}moredefining? Iwasfortunateto findabookthat

helpedmetounderstand_mymisgivingsabout_changingthePandorastory. In

theintroductiontohercontroversial 1992_bestseller, Backlash: The Undeclared

War Against American _Women,Susan Faludistates, "...Inthe last decade

publicationsfromtheNew York Times to_VanityFairto theNation haveissued

a_steadystream ofindictments againstthewomen's movement,with such

headlinesas,WHEN FEMINISM FAILEDorTHE AWFUL TRUTHABOUT

WOMEN'S EQUALITY. _Theyholdthecampaignforwomen's_equality

responsiblefor nearly every woe_besettingwomen, frommental depressionto

meager savingsaccounts,fromteenage suicidesto_{eating disorders}tobad

complexions. .. This bookhelpedmetounderstandthatabandoningwhat

feltright(in reformingthe_meaningofthePandorastory)to thepressures ofthe

society around mewasnotjustapersonal_issue,buta_{universally feminist}one

as well. Pandora'sBoxwas_happeningin mycentury!

2

Hesiod,Theogony (English).The Homeric HymnsandHomericawith anEnglish

Translation _byHughG. Evelyn-White. Theogony. Cambridge, MA., Harvard

UniversityPress; London,William Heinemann Ltd., 1914.

3

Faludi,Susan. Backlash: The Undeclared War Against American Women.Random House.

Withtheaid of_{my thesis advisors,}Professors Howard_Lester,Stephanie

Maxwellandthenow retiredDr. JackSlutsky,ItransformedPandora'sBox

intoatalethatnot_onlyhadpersonal _meaning,butalsobrokefree fromthe

traditionalcontempt of a woman'sfreewill. Pandorawas oncea euphemism

forthefemaleembodiment of_{evil,but in my}workIwould giveher back her

Section HI

Synopsis

_of

_Story

"Pandora"

beginsinablackand white_world,flooded_byan_evening storm.

Lightningflashes illuminateodd_bodypartsof_{statuary shrouding}theexteriorof

a museum. Asthe_lightningintensifieswefindourselvesinsidethemuseum

surveyinga_longrowofGrecianstatues. Anotherboltof_lightningcauses a

statue of a woman_(Pandora)attheend ofthemuseumhalltoawakenand_drop

thevase she is_holding,while_fallingherself. Asshefallsshe_{inadvertently}

smacksthe_{Man sharing}thepedestal withher. Heawakens as well. Bothgo

througha process of_discoveringthat_theyareindeedalive and can move.

Althoughawkwardintheir_{bodycoordination,theyeventually}maketheir_way

to theopposite end ofthemuseumhall. Pandorafindsshe andtheManareat a

door. Pandoratouchesit_tentatively atfirstthen_finally pullstogetherher

resolve andpushes itopen. Withaflashoflightandburstof_sound,shehas

openedthedoortoa modern world of color and_noises, aliento_everythingthe

shehas seen. Thestatuesthemselves arenow alive with_flashingcolors. In

fear,bothrunbacktowards their pedestal, but Pandorafallsto thegroundin

herattempt, andthe man runs ahead withouther. Pandorasits_upandlooks

backatthedoor. Atthismomentthemanis backonhispedestal,tryingto

regainhisoriginalform. WhiletheMan in hispanic strugglestoreinstatehis

former"self," Pandora hasmovedbackto the opendoorwhich_{is radiating}

noises and colorsmore_vibrantlythanever. Afteralastglancebackatthe_man,

sheturns_{away from him}and movescloserto the thresholdbeyondwhichisthe

modern world. Thereis a_blinding flashoflight followed_bya quiet moment.

reachingouttoher. Themuseum assumesitsoriginalstate andthedooris

closed.The Mansits alone onhispedestal withthebrokenvase onthefloorand

Section TV

Character Design

Not entirelyabandoningthePandora's Boxstory,I kepttheoriginal

charactersinmind whenIcreatedthemuseum. _DuringmyresearchIwas able

tofindphotographsofstatues of severalGreciangodsmentionedinthestory:

Aphrodite, Zeus,andMercury._Drawingthemfromthephotographswasthe

easiest partof_makingthiswork. Iused a simple numbertwopencil on_heavy

drawing papertodraw the_figures,andscannedtheseimages intoa computer.

FromthereItook themintoaphotographic manipulation software program

calledAdobe Photoshop. _Photoshophasusefultools such asscale,brightness,

contrast,perspective, layers, and_blurs,to mentiona few. Iusedthese tools to

alignthe statues_{properly in}themuseumhall.

Icreatedthemuseumhallfrom sketching images fromtheMemorial Art

Galleryatthe_UniversityofRochester. Iwantedtoestablishan _empty space

with a_feelingof mystery. _LuckilytheMemorialArtGallery's"GrandGallery"

hallwas perfectforthis task. Withcathedral ceilings and_flyingbuttress-like

windows,I foundthat_{sketching it}was not_onlysimple,butalsoajoy.

Creatingthemain characterstookabitmore research andthought.I drew

Pandorafroma piececalled, "The West

Wind,"

byThomas_{RidgewayGould,}

locatedattheMemorial ArtGallery. It isa smooth marble statue ofa_younggirl

withher hairanddress_blowinginthewind. Ithenadded_my versionof a vase

thatwasdevelopedfromaphotographof an actualjarwith illustrations

depictingtheoriginalPandora's Boxstory.

The ManwasdrawnfromanotherMemorial Art_Gallerysculpture_called,

"The_Falling

Gladiator,"

byWilliam Rimmer. Heisamuscled warriorfallen

twodrawings into_Photoshopand_easilycompositedthembothontoa_rock,

strewn withbroken bitsof an ancient city. WiththatI hadalarge Grecian hall

with authenticGrecianstatues, and onethatrepresentedtheoriginal_story of

Pandora's Box.

Themain

characters'

animatedformsprovedtobeataskmoredifficult. It

was_{my desire}tocreate romanticized versionsofthetwostatues inasimple

blackandwhitelinethatretainedthedetailsoftheirrespectiveGrecian dress.

Myoriginal sketches costumedthemanina stripedtunic withlotsoffoldsand

intricatehemlines,shoes anddetailsofhis face. Pandoraalsohada more

elaboratetunic-dress and shoes withleathersashes _{windingup her}calf

muscles, aswell as_{fabulously wavy hair}and_big eyes withlotsoflashes.

Animatingthesedetailedcharacters provedtobe_extremely time-consuming,

whichIwilldiscuss further inthenext section. _{Simplifying my}charactersto

therudimentsoftheirfeaturesand clothes worked muchbetter forme,allowing

Section V

Methods

Theanimation provedtobethebiggestchallenge. With littleprior

animation_experience,Imovedforwardwith_myambitious characterdesigns

andfoundthat_they were_incrediblytime_consumingand_frustratingfor many

reasons.

Animationrequires_{many different}stagestoseeitthroughto thefinal

vision. _{I began my}work_{starting from}thelaststep! Insteadof_beginningwith

a rough sketch andonward to_keyframes, in-betweensandfinalclean-ups, I

started_myanimationswiththefinalclean-ups. This wayof_working showed

very littleprogressto_mythesiscommitteemembers and made me certainI

would never_{seriously finish}thefilm. _Ready togive_{up from}serious

unorganizationandtime-management_issues,Ileftschoolforayearandahalf.

Workingat a commercialanimation_company and at asoftwarebusiness helped

mebecomewellorganized,as well astaughtmelessonsinproblem_solvingand

howtocreatelarge-scaleprojects with shortdeadlines. Upon returningto

schoolIre-evaluatedwhatI had donewith_mythesis workinthepast andwhat

Ineededto dotocomplete it. Iabandoned_{everything but my backgrounds}and

mystatue_drawings, andIalso alteredthe_storysomewhat.

I beganwithadetailedstoryboard of_everyscene. _{A story board is,}"... a

seriesofdrawn imagesthat_{graphically portray}theactiondescribed inthe

script.

"4

After_creatingthe storyboard,Imade a_moving onewiththe

approximate_timingoftheentire_film,shot_byshot, called an"animatic."

4

White,Tony. TheAnimator'sWorkbook. Watson-Guptill Publications. NewYork, New

Thenext_stepwas_creatingtheroughanimationforeach scene. _Byusinga

small_{laptoplighttableI did}not needtheanimationpapertobepunchedand

attachedtoa registration_device,the traditional_wayof_utilizinganimationbond

paper. Becausethepaper was as small asthe_{laptoptable, I simply}re-adjusted

thesmall stack of paper_byhand. Ineveranimated morethanfive framesat

once, soInever_{found my way}of_workingtobeahindrance.

Scene_byscene, Itimedouttheanimationwitha stopwatch andthenlaterin

my head. Inanimationthereare severalways toestablishtime. Forexample,

Pandora_fallingto thegroundtofollow her brokenvase neededtobequick.

Therefore Icreatedthe threemain poses ofthe action, orrather, threemain

keyframes: Pandoraup,falling, andfallen. As I wantedhertostart off_slowly

thenfallquickly,Imadefiller drawings in-betweenthemain poses. More

"in-betweens"

fortheslower_movements,fewer forthefastermovements.

Accordingto_TonyWhite, authorof, The Animator's Workbook: Stepby Step

Techniques_ofDrawn_{Animation,"...inbetweening producing}thedrawings

inbetweenthe_keydrawings isoffundamental importanceto thesuccess or

failureof animation

technique."5

I didnothavethe time-based_luxuryof

makingmyanimationlook likea scenefroma_Disneyfilm. _Theymay use a

thirty-frameinbetweenfora character_{moving its hand from its}chintoitslap,

creatinga_{very fluid} movement. _Fortunatelyfor_me,Iwanted a_jerkylookto

complimentthemovementof statues_comingalive, and whenyouuselimited

inbetweens, that_{is exactly} what youget.

WhenI createdtheframesofthe_animation, Iwould_flipthrough thepapers

toget afeel forthemovement. When Iwas satisfiedthe_timinglookedabout

right, Iscannedin thedrawings formanipulation in Adobe Photoshop. From

thereI would usethelayerand_transparencyfunctionstolineall of_my

5

drawings_upto make sure_theylookedalike and werethesamesize. If_they

didn't lookrightIwould use one ofthe_{many sizing}and_imagingoptions

Photoshophas,orinthe worstcases,_literally gobackto the_drawingboard.

OnceIwas_happywiththe_drawings, Iwouldexporteachindividual frame into

theanimation softwareprogram,Macromedia Director. An_industry standard

foranimation_testing,it issimpletocompiletheindividual framesina_row,or

'score'

asit iscalled,and adjusttheframeratetodeterminethedesiredspeedof

theanimation. Once Iwas satisfiedwiththemovementIwouldcreate amovie

ready for editing (that originallywouldbetheend of_it), after_{adding in}the

desired background. _{But, my backgrounds}were_lengthy forthedesiredpans,

and_they werealso large in filesize. Not only didtheseissuescausethe

programto shut_down, butalso the open-lined,sketchy qualityof_my animation

drawingssometimes causedthebackgroundstobeseenthroughthecharacters.

Itried to_digitallycutthemout ofthewhite 'paper'color_theywereimagedon

and placethemontothe_background,butthiscreated a_quirkypaper-dollfeel

thatIdidnotthinkwasappropriateinmeaning. Coupledwith all ofthese

problemsIconsultedafew _industryprofessionals who advised metousea

post-production software program calledAdobeAfterEffects. Withthis

programIcould use_extremely largefileswithease,andIwasabletoplace_my

characters onthebackgroundwithaspecial effect called

"masking."

By

importingmyanimatedQuickTimemini-moviesinto After_Effects,Icould use a

pen-liketoolto_digitallycutthecharacter out ofthewhitebackgroundand place

itontothemuseumhall background:this methodis_technicallyreferredtoas a

mask. Toavoidthepaper-doll_effect, Iadjustedthe softness ofthe_mask,

allowing forasoft glow aroundthe_characters, insteadoftheharshpaperdoll

Iwantedthe characterstoflashwith various colors. Itwas_easytoadd an

animated color effectto_mymasksinAfter Effects.

Ialso usedAfter Effectstomake_myvideo composition. After gatheringthe

clipsIwanted,Iadjusted_{their colors,}sizes andframerates easily. Thisaspect

ofthefilmturned_{into myfavorite,}asitwas experimentalandeach_{clip I}chose

added more_meaningto thecharacters'

outside world. Iwantedtocreatea

visionthatwas not_{only full}of color and_sounds,butalsoone ofstrife,

arguing,death, anddestruction. Aworldthatwasfullofthe_beautyof_life,

Section VI

Score

and

Sound

Effects

Itwasimportantformenottoletthemusictelltheaudiencehowtofeel. I

wantedto_keepthesoundtrack odd andotherworldly,yetatthesametime

express theemptinessofthemuseum_hall,andthatallisnotquite rightinthe

environment. Icalledupon a peer of_mine,StevenPalmer,forassistance. He

understoodthe_{meaning I}was_tryingto convey,andisalsoan animatoraswell

as amusical composer. Throughtrialand_error, we puttogetherasoundtrack

thatwascomprised ofvarious synthesizer sounds. I lateradded_many sound

effects.

Mysourceforsound effects wastheInternet. _{Not only did}Ifindavast

array ofcopyrightfreesounds,but I alsofound it simpleandfasttodownload

themand _keeptheminadigitalform. FromthereIimportedtheminto a sound

effects manipulation program called Sound Edit 16. Itallowed metolengthen

or shortentheclips inaccordance to_{my QuickTime}movies,aswellasto

changethe sounds_entirelywith an_array of effects_{like,reverb,distortion,}

Section VII

Final Production

With my finalshots and sound effectscompleted,Isaved all of_{my files}

onto a portable 100 MB Jaz diskandtransferred_{my data into}asoftware

program_{called,Avid Media Composer. The Avid hardware setup is} apowerful

digital editingsystemthatcan_{play back QuickTime}moviesinrealtime,without

typicalcomputer animation problemslike frame_dropout,(wherethecomputer's

compressionsystem_literallydropsoutvarious_frames),or_bandingimages.

Bandingwas a problemIencountered quite abitwhile still_{using Director. I}

tried to_{keepmy images}underathousandcolors sothefilesremained_fairly

smallandthecomputerdidnot crash. But Ifoundthiscompromisedthe

aesthetic ofthebackgrounds: whereinwhichthecolors ofthepalette_actually

combinedintosolid stripe-like patterns. _Luckily Ifound After_Effects,andwas

abletoworkinmillionsof colors. Iwasthenable tousetheAvidsystemfor

Section VIII

Conclusion

This story hastranspired_{from Pandora ending}theworldtoPandora

creating anewone. Liketheoriginal_storyofPandora's_Box, sheisstill

responsible for_bringingaboutthe_chaos,but it isa chosenone. Irealizedfrom

theaudience reaction atthepremiereofthe_film,thechoiceisperceivedaseither

a good chaosorabadone: as oneviewerput_it,"Youcan seehowterriblethe

worldwe_{live in really}is." _Myintentionwastoshow shewas_leaving a_quiet,

blackand whiteworld ofstatuedstillnesstoaforeignone of_color, noises and

vibrancy;onethatwas_truly alivewithgoodness aswellasbadness. The

differentreactionsdonotbother_me,insteadgivemean _interestinginsightasto

how differentpeople perceivetheirrespective worlds.

Formeitmeans sheis_free,and althoughit ispainfulfor hertoleavethe

worldsheknowssowell, shehasgoneontoexperience a greaterlife inall of

Section IX

Bibliography

1.Faludi, Susan. Backlash: The Undeclared War Against American Women.

Random House. NY, NY. 1992.

2. Hesiod,Theogony(English). The Homeric HymnsandHomerica withan

English Translation _byHugh G. Evelyn-_{White. Cambridge, MA.,Harvard}

UniversityPress; London, WilliamHeinemannLtd., 1914.

3. The New Oxford_DictionaryofEnglish, Oxford_UniversityPress, Oxford,

England. 1998

4.Memorial Art_Gallery ofthe_Universityof_{Rochester, Rochester,}NY. Iused of

twostatuesfromtheircollectionforreference:

"The _FallingGladiator,"_byWilliamRimmer, ca. 1860. Bronze. On Extended loan

fromthe Metropolitan Museumof_{Art, NY,} NY. 10.87L.

"The West

Wind"

byThomas_Ridgeway Gould,ca. 1876. GiftoftheIsaac

Gordon EstatethroughTheLincoln RochesterTrust Company. 66.18.

5. White, Tony. TheAnimator's Workbook. Watson-Guptill Publications.

Appendix A

PANDORA

ADAPTED BY KATHERINE MERVINE

Submitted inPartialFulfillmentoftheRequirements fortheDegree MasterofFineArts

MFA_{PhotographyProgram,}SchoolofPhotographicArtsandSciences

Rochester Instituteof_Technology

Rochester,NewYork

H0WARD LESTER, Chairperson

Professor

SchoolofPhotographicArts andSciences

RochesterInstituteof_Technology

STTPHANIE MAXWEi

Professor

SchoolofPhotographic ArtsandSciences

Rochester Institute of/Jjechnqloey

JA<

Professor

NTID

Pandora

by Katherine Mervine

Treatment

One day, two Grecian marble statues (a man and a woman) ,

located in a museum begin to move when the morning sun

touches them.

The woman moves first and falls awkwardly off her

pedestal. The ancient jar she is _holding falls to the ground and smashes. _Falling down her arms _{flail, hitting} the man's

face in front of her.

He falls off his pedestal and follows her throughout the

museum. Their faces react with fear and _curiosity about themselves and the other still statues around. them. Both

stumble, roll and _try to balance as _they to walk down

the museum hall.

When _they reach the end of the hallway, they find a

large, Gothic door. _Pushing it open _they are bombarded _by the

colorful and _blurry sights and sounds of New York City.

Recoiling from the sight, they slam the door shut and race

back to their pedestals while color _slowly seeps into their

gray bodies. Movement is now easier for them. She falls but

manages to crawl _up to her pedestal.

At their stands, _they attempt to hold their poses but

their limbs fall. _Reacting with _{surprise, they} see _they have

become flesh and blood. The woman looks at her _body and plays

with her new flexibility, then sees the man is flesh as well.

Stepping down from his pedestal, the man reaches for the

woman's hand. _{They timidly} touch each other and discover

skin, hair and cloth.

Pandora

by Katherine Mervine

FADE IN. . .

INTERIOR OF A MUSEUM EARLY MORNING

LS of a _large museum hall. The room is marble with 50 foot

ceilings and 10 foot Gothic windows. It is somewhat dark except for the _shifting of the morning light across the

marble _floor.

LS THE CAMERA SLOWLY MOVES RIGHT. Light moves and reveals

Greek sculptures in various forms. Several statues _depicting

Greek Gods in their natural poses are in the room, including ZEUS, ATHENA, HERMES, APHRODITE, AND HEPHAEASTUS . Each hold

unique accessories _telling of their individual gifts. After the light passes each, a shadow cascades across the floor. At

the extreme right of the hall are two statues that are not

Greek Gods. One is a MAN in Greek attire _simply standing

across from a WOMAN (also in traditional

garb),-holding a

jar. Both eyes are focused on the jar.

MS When the light reaches the unknown couple and passes over

the _jar, the Woman statue appears to move.

EXTREME CLOSE-UP of the Woman's hands. Fingers _slowly curl.

Elbows move back. We see her neck move and head tilt.

MS of Woman. The jar falls to the floor and smashes. She

twists and turns like someone who has been asleep for a _long

time.

LS Stretching her arms out, her body arcs in a backwards "c" like curve. The Woman falls off her pedestal. Her arms flail

and whack the man as she falls. Crawling up shakily, she

stands.

POV She looks down at her hands, through her fingers, to her

feet with wide-eyed curiosity.

MS The man stretches longer and slower than the woman. He

falls off his pedestal and lands with a *thudT on his backside.

LS HIGH ANGLE The Woman walks in-between the Greek Gods with

her arms going from outstretched to close at her sides. The

man follows her and moves with _difficulty, as if there is too

Pandora

by Katherine Mervine

FADE IN. . .

INTERIOR OF A MUSEUM EARLY MORNING

LS of a _{large museum hall. The room is marble with 50 foot}

ceilings and 10 foot Gothic windows. It is somewhat dark except for the _shifting of the _morning light across the

marble floor.

LS THE CAMERA SLOWLY MOVES RIGHT. Light moves and reveals

Greek sculptures in various forms. Several statues _depicting

Greek Gods in their natural,poses are in the room, including

ZEUS, ATHENA, HERMES, APHRODITE, AND HEPHAEASTUS. Each hold

unique accessories _telling of their individual gifts. After

the light passes each, a shadow cascades across the floor. At

the extreme right of the hall are two statues that are not

Greek Gods. One is a MAN in Greek attire _{simply standing}

across from a WOMAN (also in traditional garb) holding a

jar. Both eyes are focused on the jar.

MS When the light reaches the unknown couple and passes over

the jar, the Woman statue appears to move.

EXTREME CLOSE-UP of the Woman's hands. Fingers slowly curl.

Elbows move back. We see her neck move and head tilt.

MS of Woman. The jar falls to the floor and smashes. She

twists and turns like someone who has been _asleep for a _long

time.

LS _Stretching her arms out, her body arcs in a backwards "c"

like curve. The Woman falls off her pedestal. Her arms flail

and whack the man as she falls. _{Crawling up} shakily, she stands .

POV She looks down at her hands, through her _fingers, to her

feet with wide-eyed curiosity.

MS The man stretches longer and slower than the woman. He

falls off his pedestal and lands with a *thud' on his

backside .

LS HIGH ANGLE The Woman walks in-between the Greek Gods with

her arms going from outstretched to close at her sides. The

man follows her and moves with _difficulty, as if there is too

LS The Woman is full of fearful _curiosity as. she leads the

Man in and out of the line of Greek Gods. Her head lolls as

she looks around and stumbles.

LS The Woman and the Man push past the Zeus statue to the

left end of the hall.

POV MAN & WOMAN In front of them both is a large, Gothic

museum door. It's so tall it almost reaches the ceiling.

MS The Woman goes to the door slowly. Her hands caress the

carved, wooden surface. He follows.

CLOSE-UP of their hands _pushing the door. It opens an inch.

JUMP CUT

HIGH ANGLE WS of the Man and Woman standing stunned in front

of the museum door. The left panel of the door is open and

reveals a _city street.

EXTERIOR AFTERNOON CITY STREET.

POV MAN & WOMAN

New York _City is seen and heard in full color.

Buildings tower hundreds of feet above. Cars rush past and honk, a sledge hammer is heard. People are yelling. The scene is blurry.

JUMP CUT MS _They both slam the door shut, and stare ahead

with shock. Their backs are against the door.

LS WIDE Both run back to the pedestals. As _they move, color

slowly overtakes their grayness . They lose their awkwardness

as more color enters their bodies.

LS The woman runs with her arms in front of her. She falls on

her face, then pushes herself back _up to her pedestal and

stands in her original position.

MS Climbing up, the Man and Woman pose in their original

positions. After some time of _trying and _finding that their

limbs fall weakly, they realize _they cannot become stone

again.

CLOSE-UP of the Woman _opening one eye, then the other. She

looks around.

POV WOMAN. She looks at her colorful _hands, tunic and legs.

She turns her hands over and brings them close to her face.

She looks up at the Man. He is _looking at her.

MS They look at themselves and see that _they have absorbed

the color from outside the door. The Man steps down and

LS WIDE-THE ENTIRE HALLWAY CAN BE SEEN. THE ROOM IS WELL LIT WITH THE AFTERNOON SUN. Both are off of their pedestals. _They

timidly reach out to each other. Both are loose and gestural.

They shift from linear to _blurry with color.

She moves _left, he moves left. This continues for sometime until their rhythm _{builds up} to depict dancing.

Methods

I plan to draw on animation _{bond paper,}

using soft,

dark, 4-6B _drawing pencils. The statues will be drawn

realistically, with various _{shading appropriate to their}

respective materials. When the man and woman come to _life,

they will be drawn in a loose style. When _{they move,} their

gesture lines will _{stay behind,} as after images. When the characters find that _they have become human- _{flesh, they will}

be depicted with colored _pencils, and _they will remain

sketchy.

Using the "Adobe Photoshop"

program, I will draw

in-betweens with the program's Layer _function, this will allow

me to _essentially draw on computer _"tracing paper"

with _my

pressure-sensitive computer pen.

The color images will be animated in "Fractal Painter."

I plan on _importing all _my images into the animation _program, "Macromind Director"

.

The _city and sound effects will be taken from RIT's sound library. I intend to utilize talent from the Eastman

School of Music for _my soundtrack.

The complete movie will be saved on _{Zip disks,}

transferred onto an optical _disk, recorded onto SVHS video,

and then digitized to the AVID system for final edit.

Budget

Task cost in kind

Storyboard 500 .00 500.00

Script 1,500.00 1,500.00

Animation 20,000 .00 20,000.00

Editing 1,000.00 1,000.00

Sound effects 100 .00 100.00

Musical score 3000 .00 3000.00

Optical disk 400 .00 0

SVHS tapes 60 .00 0

Zip disks 50 .CO 0

Bond paper 75 .00 0

Pencils 5 .00 0

26690. 00 26100.00

Timeline

Spring Propose _thesis, draw storyboards, draw _backgrounds,

plan summer animation with advisors.

not _officially enrolled in thesis

Summer Do as much rough animation as possible. Create NYC

scenes.

not _officially enrolled in thesis

Fall Do initial _animation, meet with committee

6 credits

Winter Compile movie. Meet with committee, make edit

4 credits

Spring Finishing touches made to movie. Write thesis paper

from journals kept _during the entire process.

Design thesis _screening poster.

2 credits

Thesis showing at the RIT Film & Video Department

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Appendix E

Original Pandora

_Story

"...Forthegods_keep hiddenfrommenthemeans oflife. Elseyou would

easily do work enoughina_day to_supplyyou forafullyear even without

working; soon would you put_away your rudder overthe smoke, andthe fields

worked_byox and _sturdymule wouldrunto waste.But Zeus inthe anger of

his heart hid_it, becausePrometheusthe_{crafty deceivedhim;} thereforehe

planned sorrow and mischief againstmen. He hid_fire; butthat thenoble son ofIapetus stole again formenfrom Zeusthecounsellorinahollow

fennel-stalk, sothatZeus whodelights inthunderdidnotsee it. But afterwardsZeus

who gathersthe clouds saidtohim inanger:

"Son of_{Iapetus, surpassing}allin cunning,you aregladthatyou have

outwitted me and stolenfire-agreat plague toyou yourself andto menthat

shallbe. But Iwill give men astheprice for firean evil_thing inwhich _they

may allbeglad ofheartwhile_theyembrace theirowndestruction." So said

thefatherofmen andgods, andlaughedaloud. Andhe bade famous

Hephaestusmakehaste and mix earth with waterandtoputin itthevoice and

strengthofhuman_kind, andfashion a_{sweet,lovelymaiden-shape,}like to the

immortal goddesses inface; andAthena to teachherneedlework andthe

weaving ofthevariedweb; andgoldenAphrodite toshed grace upon her head

and cruellongingand cares that_wearythelimbs. And he chargedHermesthe

guide, theSlayerofArgus,toput in hera shameless mind and adeceitful

Forthwiththe famous LameGodmoulded_{clay in}the likenessof a modest

maid, as theson ofCronospurposed.Andthegoddessbrighteyed Athena

girded and clothed_her, andthe divine Gracesand_{queenly Persuasion}put necklaces of gold upon_her, andtherich-hairedHours crownedher head with

springflowers. And Pallas Athena bedecked her formwith allmannerof

finery. Alsothe_Guide, theSlayerof_Argus,contrived withinher lies and

crafty words and adeceitful nature atthewill ofloud_{thundering Zeus,} andthe

Heraldofthe gods put speechin her. And he calledthiswoman_Pandora,

because all_they whodwelton Olympusgave each a_gift, a plagueto menwho

eatbread. Butwhen he had finishedthe sheer,hopeless snare, the Fathersent

glorious_{Argus-Slayer,}theswiftmessengerof_{the gods, to take}itto

Epimetheusas agift. And Epimetheus didnot thinkon whatPrometheus had

saidto _him,biddinghimnevertake a gift ofOlympianZeus,butto send it back for fear itmightprove to_{be something harmful}to men.But hetook the

gift, andafterwards,when theevil _thingwas _alreadyhis, he understood.For erethis the tribes of menlived onearth remote andfree from ills andhardtoil

and_heavysicknesses which_bring theFates upon men; for in miserymen

grow old quickly. Butthewomantookoffthegreatlidofthejarwithher

hands andscattered,allthese andherthoughtcausedsorrow and mischiefto

men. _Only Hoperemainedthere inan unbreakable home within underthe rim

ofthegreatjar, anddidnot_fly out atthe_door;forere_that, the lidofthejar

stopped_{her, by} thewill of_{Aegis-holding}Zeus who gathers theclouds. But

the seais full. Ofthemselvesdiseases comeuponmen_continuallyby day and

by night,_bringing mischiefto mortals_silently; forwiseZeustook_away

speechfrom them. So is thereno_waytoescapethewillofZeus."1

1

Hesiod,Theogony (HnglishVThe Homeric HymnsandHomericawith anEnglish

Translation _by Hugh G. Evelyn-White. Theogony. Cambridge, MA.,Harvard