This movie condenses the content of my dissertation and summarizes the critical points in the essay respectively. My research topic is ‘Realizing the Possibilities and Trends of Future Technology: The Case of Science Fiction Films and I want to discuss the trend of future technology through the statement and the science that is likely to come true.
Science fiction and science are inseparable and will change with time, which makes science fiction works attractive. There are still many things in this world worthy of our exploration.
This week the teacher asked us to discuss the topics we wanted to write about in our essay and gave us a tutorial. The suggestion I got was to narrow the scope so it would be easier to express what I wanted to write. I consider exploring the feasibility of future technology in science fiction films, but not limited to movies or literature. I am a sci-fi fan, and I also consider making a concept animation or short film related to sci-fi for my graduation, so I chose this theme as a preview. I hope to make a work like ‘Cyberpunk -Classic of Mountains and Seas’, which integrates cyberpunk into an oriental culture. I think it will be fascinating.
The original quote: The authenticity of a documentary is ‘deeply linked to notions of realism and the idea that documentary images are linked to notions of realism and the idea that documentary images bear evidence of events that actually happened, by virtue of the indexical relationship between image and reality’
Horness Roe. A. (2013) Animated Documentary. Basingstoke: Palgrave Macmillan.
The authenticity of a documentary is ‘strongly related to conceptions of realism and the idea that documentary pictures convey proof of events that happened, under the indexical relationship between image and reality,’ according to the definition.
Horness Roe. A. (2013) Animated Documentary. Basingstoke: Palgrave Macmillan.
In this week’s practice, I chose to analyze Love, Death & Robots Season 3 Episode 1 ‘ Three Robots: Exit Strategies’. The story stage structure is set in a post-apocalyptic world, where humans no longer exist. Three robots of different sizes and styles lead the audience Take an interesting Room Tour, the robot examines the consequences of modern humans’ rapid development of AI, technology, and space programs in a humorous tone.
Warrier, V. (2022) Love, death + robots season 3: Three robots: Exit strategies ending explained: What was the elon musk reference?, Sports News. Sportskeeda. Available at: https://www.sportskeeda.com/pop-culture/love-death-robots-season-3-three-robots-exit-strategies-ending-explained-what-elon-musk-reference (Accessed: January 6, 2023).
Waltz with Bashir (2008) is a work of courage and creativity. It bravely faced the massacre in the Beirut refugee camp in Lebanon in 1982 and broke the barriers between animation and real life, records and plots. Suppose animation is the form of expression he adopts. Interviewing them one by one will belong to the category of documentaries. In that case, however, those past events that are told in their mouths through the simulation of animation have the dimension of drama films. On the other hand, Honess Roe believes that one of the main features of animated documentaries is the (often pleasurable) ontological tension between textual, extra-textual and referent. In my opinion, this work perfectly interprets this sentence.
In this week’s animation documentary discussion, I chose ‘Waltz with Bashir’, because he portrayed the cruelty of war very realistically, and let the audience deeply feel the current atmosphere through animation.
Bradshaw, P. (2008) Film review: Waltz with Bashir, The Guardian. Guardian News and Media. Available at: https://www.theguardian.com/film/2008/nov/21/waltz-with-bashir-folman (Accessed: January 6, 2023).
Categorisation: The Afternoon Grid (1943) is an avant-garde experimental short film that stitches several poetically interesting images with music. It tells about a woman’s multiple dreams in the afternoon, reflects the female’s psychological state and survival situation, shapes the character’s thoughts from the background of the character’s growth and the conflict between the characters, and forms a climax.
Form and Function: Maya Deren uses films to create temporal and spatial artworks, using the relationship between space and time to create an experience and feeling for the audience.
Process: Filming and editing techniques that deliberately alienate the audience from the image, such as quick editing, intentional out-of-focus, collage juxtaposition, and even painting and scratching directly on the film.
Formal Elements: In the short film, the actress’s ideologies can simultaneously appear in the same space and time. This is Deren’s manipulation of time and space in the way of film editing to create an incomplete reality, which is not only a kind of imagination but also expresses the actual state of the spirit.
Marin, D. (2022) Analysis: Meshes of the afternoon (1943): A Spiralling Lucid Nightmare, Maya Deren, & A dialogue with the unconscious, DIANA MARIN. Available at: https://dianamarin.com/2019/12/19/meshes-of-the-afternoon-1943-spiralling-nightmare-maya-deren-dialogue-with-the-unconscious/ (Accessed: January 6, 2023).
Riebe, C. (2019) A quick look at Maya Deren’s meshes of the afternoon, ScreenAnarchy. Available at: https://screenanarchy.com/2019/07/a-quick-look-at-maya-derens-meshes-of-the-afternoon-contrib.html (Accessed: January 6, 2023).
The application of VFX in film: the case of ‘Blade Runner 2049’
‘Blade Runner 2049’ won Academy Awards for Best Visual Effects and Best Cinematography in 2018; this proves the perfect VFX technology in this work. In this week’s homework, I will analyze how Blade Runner 2049 uses CG technology to blend and shoot virtual scenes. In the film, composition, camera movement and colour correction has an outstanding performance.
VFX, Cyberpunk, Memory Implant, Concept art, 3D formats
references:
King, G. (2020). Blade Runner 2049 and the ‘quality’ Hollywood film. Science Fiction Film and Television13(1), 77-96. https://www.muse.jhu.edu/article/750564.
Ransom, A.J. (2020). The director’s cut: Denis Villeneuve before Blade Runner 2049. Science Fiction Film and Television13(1), 119-127. https://www.muse.jhu.edu/article/750558.
