Monthly Archives: April 2012

4/12/12

The moment of conflict is when TJ recognizes herself as Enrique, the entity that is holding her back from mental and physical freedom. A semi-new idea came to me as I was listening to a song by Radiohead called “Where I End and You Begin,” as the title relates to what TJ experiences in the story. My idea is that instead of telling the story linearly, I am going to begin post-climax, with TJ running away from her captivity toward the camera. This shot will be in slow motion.

A series of flash backs will come to TJ (interspersed with shots of her running, and others that I will explain later) of past moments (pre-climax) that portray how she came to the conclusion that she was Enrique. Her memories escalate in the severity of antagonization. The shots will vary between slow motion, fast motion, and possibly still frames.

Shadows play a large role, portraying the cliche, “afraid of one’s own shadow.” Shadows embody the song that I mentioned earlier that will play over the entire video, because they change shape according with the progression of time. For this purpose, I will also be including shots of city traffic at dusk, to push the feeling of movement, shadow, and escape. All of the city shots will be in fast motion.

After the flash-backs have been shown, a shot that is (intended to be) of TJ’s future will be shown. The angle is from low to high, which depicts her new found power. The shot will be when it is sunny out and she will have clouds behind her. This angle and lighting causes her to lose some of her color, making her appear like a shadow. This shows how her real self, and shadow self which she thought was Enrique, are now one. The shot combines both TJ’s true self and her metaphorical chains, which she broke free from at the moment of conflict.

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4/5/12

The narrative in my adaptation surrounds the inner conflict of TJ (Psyche). She struggles to make her own decisions. Metaphorically, TJ is like magma, dormant for a long time but eventually builds up enough energy to burst free from what once trapped her. For this reason, I want to use the poetic device of frame length.

In the beginning when TJ is passive to her surroundings, I will use long length shots to which cause discomfort in the viewer. They will feel trapped in this shot as TJ feels trapped in her mind’s projection of a false reality. As TJ begins to make actively change her reality the length of the shots will shorten in length. This makes a more face-paced feeling, which elicits anticipation from the viewer, building as the climax nears. Once TJ takes her life into her hands by confronting the projection of Enrique, the shot immediately following will be in slow motion because it symbolizes TJ’s clarity and reflection on her life. The final shot, where TJ looks back on how she used to live the shots will be normal length, because she has finally broke into reality.

This motif is a combination between how Eisenstein’s use of montage and the prolonged first person shot in The Diving Bell and the Butterfly. The length of the shots is a very important component in the success of montage, but the purpose I am using the varying lengths for is to create a certain feeling, which is the principle behind the first-person point of view.

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