Computer-Generated Images and Narrative Construction - Essay Example

?CGI and Narrative Construction Introduction In recent years, films have taken major strides towards the digital genre. The movie Avatar has especially gained notice for its impact on the film-making industry with its innovative and extensive use of digital technology. Technically, it has gained major notice for its visual mastery and it has pushed the limits of digital developments as it has also prompted other film-makers to make the transition to the rich digital format. The digital genre however has not been widely accepted, especially among filmmakers who value the more subtle and more cerebral narrative construction in film. Nevertheless, film-makers, including the viewing audience have accepted that the current developments in technology have made the transition into computer-generated images (CGI) inevitable. This paper shall discuss the extent to which I would argue in the fact that technology drives change in narrative construction. It will evaluate the relationship between technology and narrative, using the central argument that CGI has not really made any difference to narrative structures. This discussion will demonstrate relevant theories and establish a clear relation between theory and practice. The films of James Cameron – Titanic, Avatar, and Terminator 2 shall be used in order to explore this subject matter. This paper is being carried out in order to establish clear relations which would help viewers and film-makers assess the impact of current film-making technology and the narrative construction. Body Contrary to popular belief, CGI is not a recent technology as it can actually be traced back to the mechanical techniques in creating graphic images in the 1940s and 1950s (McClean, 2007). James Cameron is considered one of the pioneers of CGI through his films The Terminator, The Titanic, and Avatar. Cameron always loved films and one of his earliest exposures to the digital genre was through George Lucas and his Star Wars films (Johnson, 2010). He was prompted to study film and to enrol at the University of Southern California in order to secure a better understanding of the filming process. He learned as much as he could about special effects, optical printing, as well as front and rear projection (Johnson, 2010). He went on to purchase the tools he would need in order to start a film career. He also borrowed money from friends in order to finance his ambitions (Hamen, 2011). His conceptualization of visual effects was primarily based on what he was able to watch from other movies with subsequent visions on how to make the most realistic look for films, allowing the viewers to be transported to a different world, a different planet, or even a different character (Hamen, 2011). The move from analogue to digital has also been a significant development in film, one which Cameron has been a significant part of (Keegan, 2010). Before the movie Avatar, the analogue format was the common format used, however, the digital format gained much strength and popularity after the movie Avatar was released. This move is advantageous for the film-making world because it provides a more life-like movie experience for film-viewers (Keegan, 2010). Moreover, the viewers would also relate better to the digital format, as the digital format provides more texture and life to the movie being depicted. As a tool for film-making however, directors and other film-makers have the burden of ensuring that the shift between analogue to the digital format would be a necessary shift (Keegan, 2010). Even as something is popular, does not necessarily mean that it ought to be used by everybody. In effect, directors need to understand that they do not have to use the digital format for their films; they can use the genre most appropriate for their films. Directors also have the responsibility to be true to the narrative construction and to ensure that the message of the film would be depicted honestly through the digital format (Sickels, 2011). His first venture into film-making was with the movie Piranha 2 which was not well-received by the viewers. It was the first Terminator movie which soon cemented his place as a respected film-maker (Yasuda, 2010). The sequel the Terminator was also able to secure achievements in digital technology, mostly seen in the morphing of the faces of the characters. CGI and its proliferation in film-making has become an area of interest for audiences and film-makers (Manovich, 2001). The technological shift to the film-making process which developed as a result of the introduction of digital technology is a major concern for various film-makers. These concerns are based on various reasons, but most of these are based on issues over the perceived elimination of the photography-based qualities of film-making (Bernard, 2011). In effect, the idea that film has mostly been a medium founded on “photographic realism is in crisis with the advent of the ability to create unreal images” (Bernard, 2011, p. 17). The power to digitally develop images which were never part of real life is considered to be a major departure from the photographic medium and realism. Cameron soon started to develop Titanic after a series of movies ripe with visual effects including Alien and The Abyss (Crothers, 2012). Titanic was a remarkable movie on both the technical and the emotive aspects. While the movie represents the doomed maiden voyage of one of the largest ships ever built, it also represents digital technology which is seamless, an aid for the narrative progression of the movie (Crothers, 2012). The digital technology for this movie was completed with the help of the Digital Domain, a company founded by James Cameron, Stan Winston, and Scott Ross (Robb, 2002). The digital technology here was a continuation of the work already started in Cameron’s previous movies. Finally, in 2009, his movie Avatar was released and it completely revolutionized the existing digital technology at that time as it created a very realistic world known as Pandora inhabited by blue humanoid creatures (Robb, 2002). This film was deliberately shot with the ultimate goal of showing it in 3d in the films. Computer generated performances for the actors were captured, allowing for the lifelike and dynamic imagery onscreen, very much assisting the development of the story (Robb, 2002). In considering the above movies, it would be prudent to argue that technology impacts on the narrative construction and CGI does not really make any difference to narrative structures (Mak, 2003). It is undeniable that the visual effects or tricks of attractions when improperly used in narrative construction make the viewers seem like gawkers who are in awe of the images they are watching (Mak, 2003). In the older and earlier films when technology in film was in its infancy, the technology actually established the reality of the images, distracting the audience’s empathy to the entire narrative structure; and in some ways, also providing amusement. According to Gunning (1990), the attractiveness of film is its power to capture the attention of the audience through visual effects; and showy film-makers often use visual effects to block the audience from the narrative. In effect, the visual effect becomes a style of entertainment and even with the audience’s understanding of the narrative, it focuses on technical cinematography (Gunning, 1990). Technology therefore becomes more attractive than the actual themes which the story wishes to narrate. In relation to such technological advancements, early film-making has similarities with current filmmaking trends (Mcquire, 2000). The powerful CGI in movies like X-Men or Spy Kids seems to overpower the narratives in the film as the CGI completely fascinates the audience. For some film-makers who glory on the spectacle of the visual effects, they may take the stories lightly, as a staging ground for visual effects and for tricks (Mcquire, 2000). For these film-makers, storytelling is a tool and a background for special effects and the film would be based more on technological processes. Terminator Terminator 2 marked a significant period in James Cameron’s life as well as the development of CGI. This movie exclusively applied digital technology or CGI in order to create the two main character Terminators (Keegan, 2009). CGI was incorporated for the T-1000 Terminator because of his liquid metal body; his morphing represented moments which needed digital technology. The ILM provided the special effects for the movie (Keegan, 2009). The process of creating the visual effects required the work of many experts and technicians. With the assistance of Stan Wilson, the necessary effects to create the digital images for the film were established (Keegan, 2009). As temporal elements change the attraction of narratives, the audience is able to momentarily escape from the overall tension of the narrative or story line (Pierson, 2002). There is however also an immediate dramatic understanding of the frame before the effects and the frame which follows creates a visual spectacle. The earliest films which applied visual effects tried to embellish the screen and as a result, they were able to establish a richer narrative (Pierson, 2002). Under these conditions, if the entire narrative of the cinema can be associated to the entire reality of documentary films, the time where the visual effect is created can be said to establish a psychologically perceived reality (Pierson, 2002). In effect, the moment where Cinderella’s torn dress is transformed magically into a beautiful gown, the audience is drawn away from the tension of the narrative through the visual fascination which the special effect has presented (Prince, 1996). In the same vein, the morphing moments in the film represent moments when the people are drawn away from reality and from the narrative construction. Therefore, the visual effect establishes attraction, in the same way as it alienates from the narrative process. It is important to discuss Andre Bazin and the classical realist theory in order to understand psychological realism and ultimately the reality created by dramatic spectacles like those seen in visual effects and CGI (Prince, 2004). Bazin indicates that film is highly based on reality and that viewers often reconstruct the reality established by films. In other words, realism in movies is not founded on themes or narratives, but on space (Bazin, 1967). Movies manifest reality based on the space where the tools or resources are seen in relation to the spatiality which these resources have (Bazin, 1967). Watching a film is therefore not the same as seeing what is real, but feeling the actual realities of the movie. The important aspect of reality is not based on the actual representation of reality, but the extent to which the film can support the understanding that the object being presented is the actual reality (Bazin, 1967). Bazin discusses that realism is founded on the psychological understanding which can be attained via the camera. Therefore, reality created by special effects is founded on psychological realism (Bazin, 1967). There is an element of relativity and contextual analysis related to this discussion, mostly because of the fact that the use of digital technology is also based on each film-maker’s goal (Smith, 1994). For film-makers who use the narrative or the story as a template for visual effects and CGI, there would be a marked impact of the CGI on the narrative construction. On the other hand, for film-makers who use the CGI to provide a smoother transition between frames in shots requiring dramatic scenes, the CGI actually does not impact significantly on the narrative structure (Mak, 2003). In fact, when used appropriately, visual effects can make the narrative construction easier to translate for the viewer. Inasmuch as special effects can aid narrative construction, it can also dominate the film process as it synchronizes the narrative through a healthy synthesis of external elements and the internal narratives. Visual effects can indicate man’s goals, or an “appropriation of mechanical perception for the purpose of fantasy (Cubitt, 1999, p. 119). The cinema of attractions where special effects can dominate and also harmonize with the narrative construct also highlights technology from the time period, as seen with the films which are released at various time periods. In the film Terminator 2, the visual effects provided a basis for the reality and the narrative construct, which was founded on future elements including cyborgs and time travel (Duncan and Cameron, 2006). The reason for the movie’s success was not on the narrative structures of time travel or nuclear war; in fact these were cliche themes in science fiction (Ryu, 2007). The main setups were also not specific and the only change in the story line was that the villain now became the protagonist. In effect, the main goal of the film was to move toward the spectacles of movie-making. The issue was not based on what the story would express, but how they would tell the story (Ryu, 2007). The solution applied was the use of the morphing technique. The establishment of the computer program and the rise of digital effects supported the spectacle and established the narrative construct based on a favourable power of attractions (Duncan and Cameron, 2006). In effect, the cinema of attractions is managing and changing into the impact of attractions in the digital age. Digital effects overwhelm and support the narrative. Time travel from the future highlights a possible future of robot technology (Ryu, 2007). The morphing indicates the narrative progression as well as ends the general narrative construct of the story. When the enemy robot’s truck is burned, the villain is able to survive, transforming and then reforming into its metal state. The morphing continues the storyline (Ryu, 2007). In the scene where the villain appears at the hospital, the scene unfolds with the villain rising from the floor. These visual effects support the narrative progression of the villain’s actions. In the final scene, the villain is shot and falls into a vat of chemicals where it proceeds to transform into various shapes in order to survive; however it fails (Ryu, 2007). The end of the narrative is apparent then. The diegesis of the movie is overwhelmed by the digital effects of the film. Digital effects are the tools seeking the absorption of the audience (Ryu, 2007). Under these conditions, the visual effects of the movie overwhelm the narrative and induce the viewer’s support into the diegesis through the reality effect. Titanic In the movie Titanic, the narrative construct was not significantly affected by the high-technology visual effects used in the movie (Kimball, 2002). The story is rich with irony and concurrence and James Cameron has artfully managed the script with these elements. The irony of the story is on how Jack luckily wins a sit on the Titanic which then allows him to meet Rose on board the doomed maiden voyage of ship (Leong, 1998). James Cameron focuses on their journey and their story, not the sinking of the ship. Under these conditions, Cameron has always placed the relationship of his characters at the very middle of the story (Leong, 1998). This emotional foundation was able to overshadow the technology and visual effects of the film and such relationship was able to draw in the audience into the destruction and mayhem aboard the ship as it sank into the sea. James Cameron was also able to apply juxtaposition with much effect in the movie, relating to the past and the present, the life in the upper and the lower decks, as well as the restrictive elements of the Victorian era and the liberal qualities of the incoming 20th century (Leong, 1998). The narrative has enough depth which can be understood on different levels. It is also encouraging to note that the movie implies the importance of taking advantage of each moment and seeking fulfilment in life (Leong, 1998). This is seen in Rose’s dilemma – to either choose a long life based on loneliness and self-deception or a short one filled with the joyful exploration of happiness. Aside from a rich script, other qualities seen in similar Cameron movies are seen in the movie. The writer-director has always gloried in strong female characters; Rose exemplifies such strength. She boards the ship as a spirited woman; however, as her voyage unfolds, she displays more resolved qualities in her own person (Leong, 1998). The fast pace of the movie apparent in James Cameron movies keeps the viewers absorbed in the entire three hours-running time of the movie. Cameron pushed the limits of special effects to exemplify the experience of being in a sinking boat with much realism (Leong, 1998). Via scale models of the ship and significant CGI effects, it is actually difficult to detect where the reality ends and the visual effects begin. All in all, from the dramatic depiction of Titanic’s sinking to the drums of water rushing into the ship’s bulkheads, the movie testifies to the impact of technology and how such technology can be used to support the story-telling process (Leong, 1998). The movie is well-balanced as it supports most everyone’s requirements in the movies they watch. It has strong performances, levity, humour, pathos, and visual effects (Leong, 1998). The story of doomed love affairs has long been depicted on screen, however with James Cameron’s guidance, the depiction has been brilliant, laced with strong narrative and images which are likely to stay with the viewer long after he leaves the theatre. Avatar This trend in film-making was also seen in the movie Avatar by James Cameron. Many critics of the film find issue with how realistic the world of Pandora looked (Prince, 2011). Its realism was such that it took away from the relatability of the fantasy established by the movie. Under these conditions, the narrative elements and qualities of the movie were not necessarily enhanced by the visual effects (Duncan and Fitzpatrick, 2010). In earlier movies involving animation, the audience is not surprised by the magical elements of the story, but they are in awe of the technology which allows such magic to be manifested on screen. The amazement is based on the spectacle created by the person’s imagination. The amazement in the images establishes an escape from the narrative construct (Brown, 2012). However, the psychological narrative is based on the frame morphing into the next frame and the audiences see such tricks as a manifestation of the magical element of the story. In contrast to these tricks, The Matrix movie which depicts scenes of Neo dodging bullets is hardly a part of reality (Ryu, 2007). It is created by CGI and is very much apart from the images of the human world. Even as the CGI images appear to be real, the reality of the digital effects cannot drift away from the internal meaning of the scenes. These realities are based on the difference in the level of technology (Ryu, 2007). Since technology during earlier days was not advanced, the camera did not have much choice but to consider the actual event. In the current context however, there would be no need for the characters to change clothes as the morphing techniques in CGI can support the tricks (Ryu, 2007). Under these conditions, the level of technology secures the quality of the reality and the assessment of the images created by the special effects. In further understanding the narrative construct, the importance of the viewer understanding cues is highlighted; there is a reliance on the viewer to understand cues, anticipate actions and recall data (Kimball, 2002). In the current applications of CGI or visual effects, images and events are brought to life for the viewer. At present, the current technologies for CGI and visual effects have become so advanced that creating realistic pictures have now become the norm (Kimball, 2002). In terms of the narrative construct, these visual effects have now provided a more seamless transition from reality to fantasy. For some movies, the visual effects have been valuable additions to the story-telling process – the morphing into each frame and each “reality.” For these movies, the visual effects were a significant part of the narrative construct (Ryu, 2007). In some other scenarios however, visual effects break away the viewer from the narrative construct. The visual effects may not fit into the narrative construct based on how the filmmaker seeks to utilize and apply technology (Geraghty, 2005). Where the visual effect is used as a tool of storytelling, then the narrative construct would not be interrupted. However, for filmmakers who focus on the visual effects more than the narrative construct, such visual effects actually detract from the storytelling process. Conclusion Based on the above discussion, it is apparent to note that visual effects have their role to play in film-making. Visual effects help embellish and support the story-making and telling process. 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