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Obstacle as inspiration: Producing "...
~
Gemetta, Jeremy.
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Obstacle as inspiration: Producing "Imago Dei".
紀錄類型:
書目-語言資料,印刷品 : Monograph/item
正題名/作者:
Obstacle as inspiration: Producing "Imago Dei"./
作者:
Gemetta, Jeremy.
面頁冊數:
52 p.
附註:
Source: Masters Abstracts International, Volume: 51-04.
Contained By:
Masters Abstracts International51-04(E).
標題:
Cinematography. -
電子資源:
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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Thesis (M.F.A.)--Rochester Institute of Technology, 2012.
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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
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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.
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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.
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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.".
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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.
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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.
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