Cinema Mythica: Orphan Arianne's extraordinary adventure in the mysterious cinema by the sea. (English subtitles)
This is the story of Orphan Arianne’s extraordinary voyage of
self-discovery in the mysterious cinema by the sea. A voyage that
takes her to strange landscapes and encounters with mythical beings,
that prove to be the key to unlocking the mysteries of both her own
and the cinema’s true identity.
Starring the prestigious talents of Ruby Hermon, Madeleine Swift, Juliette Rajak, Mark Daniels, Dagmara Rudkin, Mia Mengqing and many more.
Embedded in the techniques of theatre and early cinema, this work is set amidst a transitional landscape of period design, historic locations, fictional characters and mythologised forms of nature. Set in the fictional seaside town of Brightsea, inspired by Brighton's long history of Picture Houses and filmmaking.
This film has English subtitles.
Richard ClarkeDirectorFortescue's Finest Hour
Richard ClarkeWriterFortescue's Finest Hour
Richard ClarkeProducerFortescue's Finest Hour
Ruby HermonKey Cast
Mark DanielsKey Cast
Richard ClarkeKey Cast
Juliette RajakKey Cast
Madeleine SwiftKey Cast
Project Type:Short, Student
Runtime:16 minutes 16 seconds
Completion Date:October 1, 2015
Production Budget:2,000 GBP
Country of Origin:United Kingdom
Country of Filming:United Kingdom
Film Color:Black & White and Color
MAC Underground Film FestivalManaus
October 29, 2016
South American Premier
Best Music Award
Woodengate Film FestivalBaia Mare
February 5, 2017
Date of Birth: 14th March 1966
Richard is an award winning student filmmaker and graduate Master of the Arts at Brighton University in the UK. Director, writer, production designer and performance artist; his work has been described as theatrical, odd, imaginative and comical. His interests include the work of early C20th film pioneers, early cinema film techniques, theatrical set design, dystopian worlds, the voyage of the hero towards self-realisation and early to mid twentieth century science fiction/ adventure films and TV series.
Cinema Mythica: Orphan Arianne’s extraordinary voyage of self-discovery in the mysterious cinema by the sea. 2015.
Tells the story of a female orphan’s heroic voyage towards self-discovery and dénouement. A voyage that takes her to strange landscapes and encounters with mythical beings, that prove to be the key to unlocking the mysteries of both her own and the cinema’s true identity. Embedded in the techniques of theatre and early cinema, this work is set amidst a transitional landscape of period design, historic locations, fictional characters and mythologised forms of nature.
Brighton University MA Show September 2015. (Private View)
Fortesque’s Finest Hour. 2013.
A 5 min film based on the art of the spectacle, this multi award winning film is Richard’s BA Degree final project. Inspired by early 20th Century Filmmakers such as George Méliès, this is the story of Fortesque, alone and unhappy, who goes on a metaphysical journey to discover his heart.
Awards & Exhibitions for Fortesque:
- Brighton Big Screen Student Selection Nominee June 2014.
- Latitude Film Festival Final Selection Runner-up Feb 2014.
- George Eady Prize June 2013.
For demonstrating strong conceptual and creative thinking.
- The Nagoya University Honourable Mention Award June 2013
Recognition for the Outstanding Art Work.
- The Seoul National University Korea Prize June 2013
Outstanding Degree Show and Academic Achievement.
Other Short Films
Showtime for Mr Grimm. 2014.
A 2-minute experimental film combining scale models and live action, with theatrical performance and song.
Vishnu’s Golden Chippie. 2014.
A 1-minute short comedy Indian mythology.
The Marriage of Fenghuange. 2013.
A 2-minute short comedy Chinese mythology.
Voyeurism Parts I, II & III. 2012.
A series of 2-minute shorts on the subject of voyeurism and identity roles.
- University of Brighton Alumnus Award Nominee 2014.
- Brighton & Hove City Achiever Award October 2010 for Art Foundation.
The University of Brighton 01/10/13 – 30/09/15
MA Arts & Design by Independent Project (Film) Distinction.
The University of Brighton 27/09/2010 – 16/06/13
BA Hons Illustration (Moving Image) First Class Honours.
Brighton & Hove City College 20/09/2009 – 07/2010
BTEC Art & Design Foundation Diploma – Distinction.
Shene School Comprehensive, London 1976 - 1982
GCE Art, Geography, English Language.
CSE Biology, French, Social Education and Chemistry.
Richard Clarke Directors Statement 24.09.15
Talking about Early Cinema Film Techniques.
When looking at films by directors such as George Méliès or Charles Chaplin, the viewer may note that certain visual effects, such as vignettes, directional lighting and inter-titles, appear to be intentional early cinema filmmaking techniques. Other effects, such as flickering, film damage and degradation appear less intentional, due to a variety of film quality, projection standards and the natural aging process of cellular film. But whatever their causes these effects, to the modern viewer, collectively represent the visual techniques of the early film genre.
As a modern filmmaker, I am interested in exploring the notion of whether I can use modern technology to create these effects in a contemporary visual style. Not as a recreation of early cinema film, but as a modern film incorporating these techniques in a way that appeals to modern audiences.
I decided to do this by making a sequential sixteen-minute film that embeds and develops techniques throughout the whole production process, from screenplay to on-set lighting and direction, from placement of sets in mise-en-scenes to the final stages of editing.
For the screenplay I aimed to write a short film exploring the theme of loss and reclamation of identity and family, using period design, historic locations, fictitious characters and mythologised forms of nature.
I realised, however that this was not exclusively what I was investigating as a filmmaker, this was the story structure, not the paths of my technical exploration. This was an important delineation to make, because as a visual narrative synopsis the above description is correct, but essentially the film is a practical exploration of early cinema film techniques.
I can put this distinction into greater perspective using another well-known film as an example, Director Victor Fleming’s 1939 Film The Wizard of Oz. This early 20th Century American mid-west story describes a lost girl’s quest to find her way home and resolve personal family conflicts through a series of adventures in a magical land. Technically, however, it could be described as an exploration of new film production techniques known as Technicolor, using the film’s transition from black and white to full colour and back again as a showcase of newly developing colour film technology.
This distinction became important considering all the roles I needed to fulfil as an independent student filmmaker: Director; producer; editor; cinematographer; designer; writer; set and costume maker; actor; cameraman and technician.
Writing and investigating film techniques established a screenplay and visual style. Other influences on my work included the guerrilla style of direction and filming of Mike Figgis and Walter Murch’s editing Rule of Six; my preferred form of editing that places emotion as the most important element to capture on screen.
My mise-en-scenes aim to combine all the above elements. As well as incorporating theatrical staging, expressionist lighting and certain rules of cinematography, both conventional and broken, such as my manipulation of the two-shot, in order to help develop the visual narrative.