Assessment of the Use of Cosmetology in Video Film Industry: a Study of Make Up Artists in Lagos State
CHAPTER ONE
AIMS AND OBJECTIVES OF THE STUDY
The general aim of this study is to assess the use of cosmetology by make-up artists in the video film industry in Lagos state. The study was further guided by the following minor objectives:
- To assess the perception of make-up artists on the current use of cosmetology in the Nigerian film industry
- To determine the major factors that cause artists to put up a design
- To assess the perception of make-up artists on the qualities of a good make up design
- To assess the challenges of make-up artists in the course of carrying out their duty in Lagos state.
CHAPTER TWO
REVIEW OF RELATED LITERATURE
INTRODUCTION
This chapter will be focusing on other scholars’ view and commentary on make-up in film productions. It will also look into different types of make-up, effect of makeup, as well as genre and make-up. The state of makeup in Nigeria will be examined in this chapter.
CONCEPTUAL FRAMEWORK
TYPES OF MAKE UP
The use of makeup is divided into three categories:
- Basic – designed to compensate for undesirable changes in appearance introduced by the television process.
- Corrective – designed to enhance positive attributes and downplay flaws.
- Character – which introduces major changes in appearance.
Although people might think that make-up is reserved for people “who just want to look better” on TV or in film, in actual fact, make-up may be required to just retain a subject’s normal appearance. This is because the television and film processes to some degree can introduce (or make obvious) undesirable attributes to skin tones and features. As we noted in the information on digital camera setup, modern digital cameras have skin enhancing setup options that can reduce, but generally not eliminate, the need for makeup. In particular, they can appreciably smooth out wrinkles and conceal minor blemishes. Video engineers may not always want to apply these techniques, however, since they have to some degree degrade optimum video sharpness, color, and quality.
With the advent of high-definition television, the need for people skilled in the application of effective but subtle makeup has increased. As in most areas of television, makeup is an element that is best when it goes unnoticed.
This brings us to our first type of makeup:
Basic make-up
In both film and video work, makeup on the face and possibly even the body is needed — especially for people who will be on camera any length of time. For starters, normal skin contains a certain amount of oil that generally goes unnoticed until viewed in a close-up. This shine can be exaggerated by the heat of studio lights and personal tension. At the very least, subjects should use a face powder that matches their skin tone. After this, we move to so-called basic makeup. For this, the skin should first be cleaned with mild soap or cleansing cream prior to the application of a makeup base or foundation. Both are available in either oil or water base, but the latter has the advantage of not requiring face powder and being easier to remove.
Corrective make-up
Through corrective makeup procedures it may be necessary to play down undesirable facial features and emphasize positive attributes through contouring and highlighting. In corrective makeup we are starting with the base or foundation and then blending in shades or makeup that are either darker or lighter. In contouring, a darker shade of makeup than the foundation or base is used to downplay features, such as a high forehead or an overly prominent nose. Contouring can also be used to bring out the classic jaw line that’s seen as desirable for women. In this case, a darker shade of makeup is carefully blended into the foundation or base. To achieve this “classic look,” the darker makeup will go from the chin line up to the earlobes and into the hollows of the cheeks. In highlighting, the object is to reverse this effect — to emphasize or pull the eye toward certain facial features or areas.
CHAPTER THREE
GENRE AND MAKEUP
There are different types of makeup which are used differently depending on genre of film. These genres may include; horror, soap opera, African movies for example those of Nollywood. It is important to note that each of these genres may require makeup totally different from the other genre.
Horror or rather scary movies require scary makeup that of prosthetic makeup as mentioned above. This type of makeup uses a lot of fake blood which over the years, makeup artists have come up with impressive recipes on how to make fake blood which looks just like real blood. This is believed to be one of the hardest makeup of all as it requires the makeup artist to be really artistic in trying to create characters with injuries or rather faces with deformity. This type of makeup helps create certain monsters according to the script come to live. In horror movies the audience seek the adrenaline pleasure of feeling scared this is hence made possible by the appearance of the monsters, or characters in the film due to the extensive scary makeup applied by the makeup artist.
Horror film makeup is different from that of soap operas as both genres tell a different story altogether. Soap operas unlike horror films focuses more on stories of day to day living. It does not involve a lot of fantasy world with imaginary monsters but rather it tries to represent the everyday reality of societies that people live in. Corrective makeup and basic makeup is mostly used in soap operas on female or male characters. It is also used to change the sex of an actor depending on the role that has to be played. An example of that is Nigerian actress Chiedza Mhende who landed a role on one of South Africa’s popular soap opera Generations the Legacy to act as “Wandile”, a male struggling with his sexuality hence resulting in trans gendering into a female. This was therefore made possible through the use of makeup. Below are images of how she looked as a man then as a woman.
CHAPTER FOUR
THEORETICAL FRAMEWORK
The study shall use various theories in order to succeed in getting results. These theories include the Stuart Hall (1980) audience reception theory, Bertoit Brecht’s 1950s epic theatre theory and Konstantin Stanislavski’s 19th century theory of realism to conduct the study.
AUDIENCE RECEPTION THEORY
Stuart Hall (1980) stated that relevant codes of communication assisted in active interpretation of a message. Each and every consumer has a different social standing or personal background hence this determined how one will read, receive, understand or interpret certain information. In other words it is impossible to get the exact same reaction to information from every type of audience.
Each period in history will affect a reader in a different way hence influencing the way the information is interpreted. The Effects model also known as the Hypodermic model states that the consumption of media texts definitely has an effect on the consumer. This is so because the audience is powerless and the power lies within the message conveyed by the text. This is why media influences makeup, dressing, eating habits, and accents only to mention a few. Hence media is like a drug which is hard for a consumer to resist.
EPIC THEATRE THEOTY
Bertoit Brecht’s 1950s Epic theatre transformed theatrical performances into more audience inclusive acts. He encouraged audience interaction on stages so as to recreate the relationship between audience and actor. He called it “Breaking the fourth wall’’ meaning that actors would be realistic by frequently addressing the audience.
This however relates to make-up in films as well as a theatrical act done live on a daily basis, which requires audience interacting. Unlike years back whereby audiences would just listen and wait to be informed, make-up in films and theatrical performances has over the years enhanced its visual and creativity and allowing audience to easily identify with the characters at play or portrayed.
CHAPTER FIVE
CONCLUSION
In summation Makeup in films is very effective in storytelling and through the different types of makeup mentioned above in which all of them serve a different purpose when it comes to film production. It is also notable that though it is highly popular in other nations there is a dearth of relevant literature on the topic of make-up in the film industry. This gap is what requires scholarly attention.
REFERENCES
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- Cash, T.F., & Cash, D. W. (1982). Women’s use of cosmetics. Psychosocial correlates and consequences. International Journal of Cosmetic Science, 4, 1-14.
- Cash, T. F., Dawson, K., Davis, P., & Bowen, M. (1989). Effects of cosmetics use on the physical attractiveness and body image of American college women. The Journal of Social Psychology, 129(3), 349-355.
- Essman , S. (2000) Jack Pierce: The Man Behind the Monsters. Visionary Medi
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- Brecht,B.(1949) A Short Organum for the Theatre. USA Edition. New York
- Essman, S. (2000) Jack Pierce: The Man behind the Monsters. Visionary Media
- Hall, S . (1980) Encoding/Decoding. Culture, Media Language. London
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