“Neither created nor destroyed”
“Neither created nor destroyed”
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2016
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Research committee, Albert Laurence School of Communication Arts, Assumption University
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eng
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6 pages
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The 2nd CA Creative Work Faculty Showcase 2016 "Sufficiency", 62-67
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Last year, my creative work was about
“complex illustration”. I tried to apply
complex design theory, often used to cre-
ate inseparable combination marks (em-
blem), to an illustration instead of a logo.
The result is a “complex illustration” where
each parts cannot be separated from one
another. Since my favorite medium has al-
ways been film, I contemplated since last
year how to apply this complexity design
theory to motion pictures.
The differences between a design that is
complicated and complex, according Ju-
rgen Appelo, is as follows. When some-
thing is complicated, it has many parts,
but each parts can be taken out to examine
(a car, a computer, a network of roads),
but something that is complex cannot be
taken apart without disrupting the whole
thing (crowds, cooking process, a detailed
rug). So a complex film should not be able
to be taken apart and must always come
with the full chunk or else it lost its mean-
ing. The “parts” in context of film I think can be applied to the “shots”.
Film is something that is unique from oth-
er types of 2 dimensional medium (paint-
ing, photograph, illustration, etc.) in that
it is not just the composition and design
elements within the frame that contains
the meaning of the work, but the order in
which the shots are arranged must also be
considered. Series of shots edited in a dif-
ferent way can tell an entirely new story,
as demonstrated by a Russian filmmak-
er Lev Kuleshov. He came up with what
film students know as the “Kuleshov Ef-
fect” where a meaning of a shot change
depends on the content of another shots
that come before and after. For example,
let say I have Shot A, showing an ABAC
student sitting on a bench, looking straight
at a camera, smiling and nodding. Now, if
a shot that came immediately afterward
shows another student accepting an award
from the school’s president, then Shot A’s
meaning is that the boy was happy for his
friend. But, if shot B is a clip of a girl trip
and fell, and her skirt flew open. Shot A,
still the same clip of a boy smiling and nod-
ding, would change the meaning of who
the boy is entirely. So for this research, I
decided to focus on the sequence of the
shots rather than managing other elements
within the frame.
Before finding a way to connect an en-tire movie inseparably, I wanted to start
by focusing on two shots. How do I make
two shots inseparable? The first and easi-
est thing that came to mind was to use a
cutting technique called a Cross-dissolve,
where a shot slowly loses its opacity as the
next shot become clearer, and of course,
the two shots are seen overlapping at some
point. By doing this, no one can cut out
the shots completely from another. I am
tempted to use this technique, but it has
become a clichéd in the digital film era
to use cross dissolve. I decided to look at
another types of shot transition called a
Match Cut, when happened when a move-
ment that occurred in a shot continue into
another shot that is actually a scene change.
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