Cinema Graph

I. Practice

I recorded a short clip from one of my favorite films, <Sympathy for Ms. Vengeance>, and made a bad cinema graph. I wanted to freeze her mysterious face in the middle of a busy winter day. Her head moves a little bit towards the right, so her ear breaks off and her head loses its normal shape. If I froze her entire figure, including her head and hair, it would’ve looked organic.

I remade it by freezing all of the character in the middle. It looks way more organic, but the background still breaks a little bit because the people in the background are constantly moving. Also, a reverse seems necessary to make the graph smoother.

 

II. The Infinite Moment: Interview

I referenced the psychological impact as a result of neurological/biological sensation during crisis, which is discussed in the interview below:

 

III. My Video

I chose to use a short film <Redemption Day> (2016) that I co-created as assistant director. The film itself is about terror, danger, and an attempt to overcome them. I wanted to capture the intense imagery of the film and psychological effects it can evoke.

 

IV. Cinema Graph

I made a cinema graph of a scene in the dirty dining room that used to be a farm cage. I chose a moment when the pastor is sitting in extreme fear and tension while the frantic human-hunters are eating the pastor’s food, not knowing that he’s hiding the girl they’re hunting down. I froze the pastor in frustration to contrast the hunters who are devouring the food at ease.

I was happy with my first work, but unsatisfied with how abruptly it ends, and how unnoticeable the pastor’s lack of motion is in comparison to the big motions of the hunters. So I picked another shot in the same scene. I chose a very short moment of a shot with less characters in the frame but more zoomed in motions of the characters. I did so in order to present a clearer, more focused motion. I froze the characters on the right and the paster who’s looking at the hunter on the left. The hunter on the left makes a big motion of turning around, in the spotlight, because the pastor’s looking at him. I duplicated the layers and reverse them to make the hunter’s repeating motion smooth and in a loop. To improve it further, like to improve it by eliminating the robotic motion in-between the original and the inverse halves.

His blurry image and big motion evokes curiosity about what words of the pastor he’s reacting to and what he’s going to do next.

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