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Obstacle as inspiration: Producing "...

Gemetta, Jeremy.

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Obstacle as inspiration: Producing "Imago Dei".

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Obstacle as inspiration: Producing "Imago Dei"./
Author:	Gemetta, Jeremy.
Description:	52 p.
Notes:	Source: Masters Abstracts International, Volume: 51-04.
Contained By:	Masters Abstracts International51-04(E).
Subject:	Cinematography. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1533302
ISBN:	9781267907653

Obstacle as inspiration: Producing "Imago Dei".
Gemetta, Jeremy.

Obstacle as inspiration: Producing "Imago Dei". - 52 p.

Source: Masters Abstracts International, Volume: 51-04.

Thesis (M.F.A.)--Rochester Institute of Technology, 2012.

Connecting, sharing, breathing into life: for me these are the magic behind film-making. I strive to express more than the sum of visible parts. Movement and its absence are visceral tools to express temporality and relationship dynamic; they formed the concept for my thesis film, Imago Dei.

ISBN: 9781267907653Subjects--Topical Terms:

546522
Cinematography.

Obstacle as inspiration: Producing "Imago Dei".
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020 $a 9781267907653
035 $a (MiAaPQ)AAI1533302
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100 1 $a Gemetta, Jeremy. $3 2097973
245 1 0 $a Obstacle as inspiration: Producing "Imago Dei".
300 $a 52 p.
500 $a Source: Masters Abstracts International, Volume: 51-04.
500 $a Adviser: Jack Beck.
502 $a Thesis (M.F.A.)--Rochester Institute of Technology, 2012.
520 $a Connecting, sharing, breathing into life: for me these are the magic behind film-making. I strive to express more than the sum of visible parts. Movement and its absence are visceral tools to express temporality and relationship dynamic; they formed the concept for my thesis film, Imago Dei.
520 $a Story always captivated me: over time, I found I could engage people with it, but was frustrated by inconsistent results. My instinctive grasp of image as a storytelling tool did not help me string visual essays into a narrative.
520 $a Imago Dei would be about the magic of human connection. Inspired by Chris Marker's use of stills in La Jetee (1969), I conceived a static world where a wizard was persecuted for making the magic of motion. I would parallel emotional stagnation with lack of interpersonal connection, using stillness as a central metaphor. Still pictures would break into moving image as the story progressed. I would incorporate live-action and stop-motion techniques to layer the story with magical quality.
520 $a The main problem with my concept was that it was a nebula of form and character. Paraphrasing Howard Lester, "You can't make authentic characters serve form. You need story: cause and effect, choices, conflict.".
520 $a With this in mind, a narrative developed, and the script cried out for movement. Marker's film succeeded because he used a narrator to create external continuity and singular point-of-view. The story I had needed a diegetic voice. Once I stopped fighting to keep the form, the story was unveiled. The conventional narrative achieved subtle irony that my experimental form could not: stillness conveyed through moving images.
520 $a With the guidance of advisers and instructors at Rochester Institute of Technology, I learned to weave "image essays" into a story rather than imposing arbitrary continuity by accepting the limitations that confronted production as creative opportunities.
590 $a School code: 0465.
650 4 $a Cinematography. $3 546522
650 4 $a Cinema. $3 854529
650 4 $a Performing Arts. $3 896022
690 $a 0435
690 $a 0900
690 $a 0641
710 2 $a Rochester Institute of Technology. $b Imaging Arts/Film. $3 2097974
773 0 $t Masters Abstracts International $g 51-04(E).
790 $a 0465
791 $a M.F.A.
792 $a 2012
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1533302