Supercuts explore key visual motifs in Aronofsky’s films

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Back in October, I posted a series of screencaps demonstrating the visual and thematic links between Noah and Darren Aronofsky’s earlier films. One of these days, if I ever familiarize myself with video editing software, I might do something similar in video form. In the meantime, “supercuts” that chart the visual links between Aronofsky’s films — up to and including Noah — have begun to surface. You can check out two of them below the jump, and I will add more to this post if any come along.

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The chronological Noah: an illustrated integration of the three origin stories in Darren Aronofsky’s film

There are two Creation stories in Genesis, and the details don’t always mesh. Likewise, there are three origin stories in Darren Aronofsky’s Noah — the opening prologue, the story of the Watchers told by Og, and the story of Creation and the Fall told by Noah — and the details there don’t always fit together all that comfortably, either.

Films, children’s books and other retellings of the Creation story sometimes integrate the two Genesis stories by omitting some details and rearranging the rest, so that, for example, Adam names the animals and Eve is taken from Adam’s rib (a la Genesis 2) before God tells the man and woman to be fruitful and multiply (a la Genesis 1).

Similarly, I thought it might be fun to take the three origin stories in Noah and weave them together into a single narrative that shows the creation and fall of the Watchers and early humans together. The screencaps below are only a sampling of the images from these sequences, but I have kept every word that accompanied them.

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Watch: A new ILM video on the visual effects of Noah

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Noah wasn’t nominated for any Oscars, but it was nominated for a Visual Effects Society award — and since the winners of those awards are being announced tonight, it might not be coincidence that Industrial Light & Magic released a three-minute video yesterday showcasing some of the work that they did on this film.

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Exodus: Gods and Kings: Blu-Ray bonus features revealed

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Exodus: Gods and Kings comes to Digital HD four weeks from now, on March 3, and then it comes to Blu-Ray two weeks after that, on March 17. And now, via High-Def Digest, we have more information regarding what will be on those Blu-Ray sets.

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Noah, Exodus: Gods and Kings make the Razzies shortlist

exodusgodsandkings-141110 noah-posterThe nominees for the next Razzie awards won’t be announced until January 14, i.e. one day before the Oscar nominations come out, but the Gold Derby website got its hands on one of the ballots — and, perhaps surprisingly, Darren Aronofsky’s Noah, which has a “fresh” rating of 77% at Rotten Tomatoes, has been shortlisted in four categories while Ridley Scott’s Exodus: Gods and Kings, which has a “rotten” rating of 28%, has been shortlisted in only one.

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Sound editors give Aronofsky a special award + interview round-up with the sound editors and designers of Noah

NOAHSound plays a key role in Darren Aronofsky’s films, and Noah is no exception. From the sudden silences (one of which highlights Ila’s sobbing after Noah announces his plans for her child) to the unexpected sound effects (such as a giant breath shutting the door to the Ark after Noah stumbles inside), Noah relies on its sound design as much as it does on its strong visuals and its edgy, provocative script.

So it makes sense that the Motion Picture Sound Editors announced today that they will be giving Aronofsky a special award at the Golden Reel Awards on February 15.

This does not necessarily mean that Noah is a shoo-in for any of the more competitive awards, either at the Golden Reel Awards or at the Oscars. Recall how Exodus: Gods and Kings was left off the Academy’s shortlist for the visual-effects award even though the Visual Effects Society is giving director Ridley Scott a lifetime achievement award at its next awards ceremony on February 4. But it’s a nice nod just the same.

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