SCREEN THOUGHT: PROCEEDINGS FROM THE 1st NORTH BELLARINE FILM FESTIVAL SYMPOSIUM Volume 2, Number 1, 2017
We would like to thank the North Bellarine Film Festival for their encouragement and staging of our academic symposium and especially pay respect to the festival committee and participating film makers.
Mira Thurner: Part of the Legend: Myth-making and Storytelling in Anime and Live Action Film
Many western tales have been appropriated in the anime genre and much has been written on the actualisation of English language fantasy and science fiction stories by Asian films makers. Recently, however, there have been a spate of live action adaptations of well-loved anime films and series and not all are made in Japan. The west has adapted existing anime films such as Ghost in the Shell (dir:Sanders, 2017) with non-Asian stars to mixed critical and popular acclaim. Stories are changed in the retelling with varying levels of sophistication and success. This paper will look at examples of live action adaptations of anime by both western and eastern film-makers and some of the original stories, myths and legends that contribute to the canon. With the release this year of Tokyo Ghoul (2017) and Attack on Titan (dir:Higuchi, 2015), and the proposed live action adaptation of the more lyrical, science fiction romance, Your Name (dir:Sinkai, 2016), the 21st century is fast becoming the age of cross-cultural screen appropriation. This cross cultural, redefinition of stories and film open up a new discourse, at times contentious, for exploration.
This paper examines the ways in which narrative responds to the concept of the future, and how the future has been dis/enabled by the 21st Century. It explores the relationship between the concept of the future and the concept of the past, and considers how one often embodies the other through the concept of the present. This exploration is considered through examples, such as Robert Zemeckis’ Back to the Future trilogy (dir. 1985-1990), and Justin Roiland’s and Dan Harmon’s Rick and Morty (dir. 2013–), where time-travel is employed as a narratological device that blurs the lines between what is past, what is present, and what is future.
John Power: Generative Media for Ambient Screens in Public Space.
Keywords: Ambient screens, public screens, generative media
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Large video walls are increasingly prevalent in public space. In an age where digital screens dominate our attention, Malcolm McCullough suggests that we are at ‘peak distraction’, which is to say we might be the most distracted humans in history. With this in mind, this presentation will explain research developing Ambient Media for large public screens designed to ‘return attention’; that is, help people find calm and focus as they take a break throughout the day. Part of PhD research being conducted at RMIT University, this presentation will also discuss ways that film making and cinematic language have informed new media approaches to creating ambient screen works.
Shaun Wilson: Designing Meta-Immersion for Cinematic New Narrative
This paper is the first of two parts which considers the idea of Meta-Immersion in context to new narrative by examining cinematic contributions framed through Metamodernism. The design of this will consider the films Blade Runner 2049 (dir:Villeneuve, 2017), Hard to be a God (dir:German, 2013), The Turin Horse (dir:Tarr, 2011) and the VR film The Deserted (dir:Ming-Liang, 2017) by establishing a conceptual working model using Meta-Tonic Design which attests to the indicators of new narrative with the additives of Metamodernism. The results of this method will be analysed and discussed in the second paper Modelling Meta-Immersion for Cinematic New Narrative.
Shaun Wilson: Modelling Meta-Immersion for Cinematic Narrative
This paper will model data into Meta-Tonic Design by a method which examines and locates meta-immersion. The data will be drawn from the films Blade Runner 2049 (dir:Villeneuve, 2017), Hard to be a God (dir:German, 2013), The Turin Horse (dir:Tarr, 2011) and the The Deserted (dir:Ming-liang, 2017) by considering the state of each artefact and how these elements behave in the presence of a formula prescribed through calculations made from specific indicators and additives.