Silicon spirit : the impact of digital visual effects on storycraft in filmmaking
- Publication Type:
- Thesis
- Issue Date:
- 2004
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Since 1984, there has been a growing use of digital visual effects in feature
films. However, because the scope of digital visual effects and how they work is not
widely understood, the primary focus of discussion has been on the spectacular nature
of effects, an approach that follows from considerations of traditional optical and other
special effects. Implicit in these discussions is the view that digital visual effects are
self-reflexive and spectacular in some manner. However, in "Silicon Spirit: the impact
of digital visual effects on storycraft in filmmaking", I argue that digital visual effects
practice extends beyond apparent effects usage and I examine the narrative implications
of the full range of digital visual effects practices.
To do this, how digital visual effects work, the scope of their application, and
their relationship to classical narrative storycraft, are examined. Issues such as the role
of the hero, remakes, genres, and franchise filmmaking are used as paradigms for
examination of the impact of digital visual effects. Steven Spielberg's body of work is
also considered in order to assess how a filmmaker considered to be 'an effects director'
has used effects throughout the period of film history under review. Finally, the
traditional applications of effects - the creation of imaginary worlds and images of the
future - are looked at in light of the implications of using digital technologies to create
these images.
It is my argument that digital visual effects practice offers more than self-reflexive
and spectacular use of technology. While not dismissing those usages, my
thesis examines the issue of spectacularity and expands upon these theories, drawing
attention to other usages and their narrative applications. The argument that classical
narrative cohesion and spectacular images are a point of tension, where digital visual
effects has skewed the emphasis toward spectacularity, is shown to be an overestimation,
with flaws in narrative structure proving to be the primary reason for
'effects-laden' films. Further, the argument that effects are particular to the genres of
science fiction and fantasy is shown to be an increasingly less common practice with
digital visual effects becoming an integral part of storycraft and an effective means of
presenting fundamental story information for all genres of classical narratives.
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