The viewing of the film made me reflect on factors than have a surface deep appearance and reaction particularly on interpretations and original intent of the film maker. Films are like windows which transcend the viewer to the film-maker's world of imagination. Governed by philosophical value, current cultural, societal and regional change, these become external factors that for a normal viewer take less for granted. This maybe because of the length of the film, its space where it is being shown, the subjective intent of the exhibition.
However whatever the original intention is, the reactions are relative to the viewer's social class and breeding, regional origin, cultural and societal status and other associated demographics that may conclude but not necessarily predict the reactions. Such stimuli of senses does not guarantee the same effect in reaction and behavior, or does it predict the general interpretation of the film in concern.
For this, I came across the idea of relativity, where the viewer may have different reactions and interpretation of film, not constraint even to time, but driven by external factors like the accompanying audience, frequency of views and even space it was delivered, the reactions would differ. Thus unless the viewers have the same demographics, it can be said the majority reaction or interpretation can be generalized or predicted but neverless not exactly the same. Difference in thought processes, individual belief and value, affiliation to community can be the attributes that constitutes part of the external factors.
I want to give note on particular elements of the film that gives me new perception in appreciating the film and its intent.
1. Slides instead of Film - the shots are fragmented photos in time, a snipet to give the sense of time travel and transistion, never complete, but like a memory constitutes a reality of an image that the filmmaker wants to see.
Only in one portion of the film where an eerie awakening of the eyes of a woman, sets this deliberate treatment aside, thus assuring that the delivery is intentional and with reasoning and cause. The reaction is a reflective understanding, and subject to interpretation, either its a departure from the created reality of the film, an awakening from the still world, a higher transition to a reality which the viewer is attuned too
2. Grayscale - the absence of color gives it an effect that the film's world is absolute, its moods concrete, fixated on the scenerios that gives the essence and affirms the heavy reality. It conveys the strong, resilient and bare scenes, which in terms of layout and photography, strenghtens the mood and motivation in the film. The strengh of such delivery to my vantage point, gives the feel of urgency, demise, and motivation to carry out the scenarios in the film. This hieghtens the illusion of bringing the viewer near to the eyes of the filmmaker, making him/her feel the sensation as if it is within their bound of senses.
3. The Museum - the use of the exhibit space, filled with stuffed animals and still artifacts mirrors the world within a world, delivering the audience deeper into a reality of the filmmaker, to the reality of the protagonist, to the reality of his supposed time travel. Its formation gives for me the reflection of framing, deliberate design, capturing more snipets in a scene which is fiction yet its form concretely fact.
4. Time Travel - the most prominent concept I have from watching the film and genres. I am deeply fascinated with the concept, which bounded by laws of physics and our perception of the real world, impossible in todays terms. However thanks to the film, we can experience the sensation of time travel, by watching into the films, delivered into the space or world, removed from our current time and space, touching the possibilities laid upon its maker. The conception is in some truth, time travel itself, since our thought processes goes vis a vis with that of the film, which is in turn not bounded by our current realm of time and space. The senses travel to infinite possibilities, which in the segmentation of possibilities of what we percieve as reality, is broken by the thought of dream and imagination, of perception.
Design Application for the Creative Process
Looking at how the narrative is, and relating to current design practice, my observation of detail has moved from the physical to a more metaphorical relation of how things came to be, or the purpose or the original intent. Realizing this, the details are not supposed to be always derived from form, but move to a relationship of association, properties or attributes that fall, in either direct or diverse considerations.
A figure of a cobra can be be interpreted a number of ways, such as a symbol of death, a symbol of cure, a symbol of threat, a symbol of warning, a symbol of revolt. Things can be viewed in difference of aspect, since the cobra may have poisonous fangs, its medicinal use for different cultures is still apparent. Thus the choice of the symbol by popular sense can be broken down to its many representations and dissected for further association, depending on cultural and social differences.
An additional facet for symbolic representation or association confined to the audience can be made, to further determine its direction of original intent and effectively seen or reflected upon by audiences.
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