Abstract: Reflection on Practice

This is the abstract for my written module:

A Picture Can Speak a Thousand Composites

Filmmaking is visual storytelling, or ‘character-telling’, and the visual language of a film needs to be very precise, symbolic and effective. In today’s world, visual techniques are widened, but are people using them effectively and considering their predecessors and pioneers in filmmaking?

I specialise in the visual effects area of compositing: Brinkmann (2008) describes the area of compositing as the integration of at least two different mediums. I believe that with this process you can make a powerful, filmic or artistic image.
Visual effects is the combination and integration of live action and CG, but I believe filmmaking needs to combine these well to tell an effective story.
Sijll (2005) demonstrates many filmmaking conventions used in films, mostly modern films. Studying the early pioneers, for example, George Melies and Edwin S. Porter, the early effects and techniques are clear and simple. Alfred Hitchcock’s philosophies are more developed and practiced decades later. Modern-day filmmaker Martin Scorsese uses film knowledge extremely well, and his visual effects film Hugo addresses the same issues as my study, in plot and visual.
The focus of the study is on the particular storytelling convention of composition and the framed image, taking influence from these individuals, their films and more, while focus groups or interviews inform the perspective of general film audiences.

This study allows me to investigate the relationship between significant periods of film history through one focus: the composition. This will make sure that no-one forgets the importance of the artform and their antecedents.

Fraser Murdoch (MSc Animation and Visualisation)