with ideas and find out of the box comes a classic tale told in a more modern
Pupazzoni digital frames taken from video games, often the integration of technology and cinemas are reduced to these two possibilities. Fortunately, then they go out even as film Coraline that remind us that another way of calling into question, update and enrich the language of cinema is possible.
The new animated feature film by Henry Selick of the same name it tells the story of Neil Gaiman moments using more gimmicks, tricks and narrative languages \u200b\u200bborn to tell stories in the world (interactive) video games. Selick takes them, bends them, adapt them and repeats them in a non-interactive tool like a movie. But not only.
At first glance it seems not yet in Coraline is rooted much more technology than it is seen in the movies of recent years, which is only used with a transparency comparable perhaps only to that of Gondry. Technology in the broadest sense of the term, so both tools for the making of the film (very clever use of 3D to aid applied to digital stop motion animation) that new forms of expression that rely on new means.
A tale of film and video game innovators
always breaks some rules and so did Henry Selick when he decided to make the last part of his Coraline adopting a style and a series of solutions typical of the visual world of video games to tell the passing of a series of tests by the protagonist.
In fact, it happens that story by Gaiman Coraline must race against time to find objects scattered throughout the house and should be done with the help of a tool that allows you to see reality differently, thus identifying what they are looking more easily. To put in pictures and can easily tell the unfolding of these actions, and especially to empathize with the audience in the sense of research and overcoming of its limits (which is the essence of the game), then Selick has chosen to use way of story video game.
To mark the passing of time In fact the moon is partially obscured by a button (a recurrent element in the film and traditional idea of \u200b\u200bvideo games), Coraline has to find objects that are one in every room in the house (annexe, garden, underground and so on), need to find another object (similar in function to the object of analysis of the typical magical fiction classic) which will allow it to see them and that is given by some allies. Each area also includes a clash with an entity set up to monitor the object, defeating the boss of the area and recovered the object becomes monochrome to indicate how it was "completed" and therefore no longer of interest to the resolution of the objective final.
As in video games so there is a "world" precise, limited and restricted areas (the house, including interior rooms, some outbuilding and a garden which is also well-defined) in which one can carry out the action, there is a helper vivo (the cat) and an inanimate object (which allows a viewer to see the same reality differently in order to identify what would otherwise be hidden), there are enemies at first instance and then to be addressed in a bigger house (the main room ) once in possession of objects hidden in each area. Finally there are the characters going to see who can give useful clues to victory.
Selick's strength is, however, in having taken these dynamics and have them fully integrated into the story so that they are intelligible only to gamers but also to those who have never picked up a video game. His account of the final series of tests is understandable to everyone just because it inspires and uses elements of the gaming world of the story that are the most universal and are the modern evolution of modes of eternal story. A 3D
learn from
The third era of 3D (perhaps the final one after so many failures) has begun and yet we had not seen a movie with a good third dimension, a film that not only gives us interesting pictures in 3D, but also know and make a functional use, in one word, "profit"! To do so came hours Coraline.
the adversaries of the new technology will go to the movies and realize for themselves whether the third dimension may or may not have a future in cinema. The 3D Coraline it is not the state of the art or a point of arrival but something very good, used to give an idea of \u200b\u200bwhat you can do a rough start to an important speech.
differences with the past because they are primarily technical Coraline in a word "clearly see" something as simple and obvious as far having little (if we exclude the technical spottone Journey to the Center of the Earth 3D ) there are imperfections, there are no errors in perspective no irritating to the eyes, the 3D is invisible and unobtrusive.
addition to not bother, however, the third dimension is used here to give shape and structure is a substantial difference between the two worlds in which it plays the movie (the real and the "behind closed doors") with just with different depths and then , at an unconscious level, strongly separated. Selick also
although never let out objects from the screen every now enjoys a fully exploit the concept of "depth" and you can clearly see in the scenes of the tunnel that connects the two worlds, a long cord that you just "stretch" in depth by taking advantage of the effect glasses. There are details, but that make sense to a technology that can still improve a lot and be integrated even more.
We have not the words and terms appropriate to analyze the 3D cinema and we must also understand what effect a greater depth may have on the involvement of the audience when used with invisibility, that is used without the viewer being aware of But now we know that Coraline is a good place to start.
Pupazzoni digital frames taken from video games, often the integration of technology and cinemas are reduced to these two possibilities. Fortunately, then they go out even as film Coraline that remind us that another way of calling into question, update and enrich the language of cinema is possible.
The new animated feature film by Henry Selick of the same name it tells the story of Neil Gaiman moments using more gimmicks, tricks and narrative languages \u200b\u200bborn to tell stories in the world (interactive) video games. Selick takes them, bends them, adapt them and repeats them in a non-interactive tool like a movie. But not only.
At first glance it seems not yet in Coraline is rooted much more technology than it is seen in the movies of recent years, which is only used with a transparency comparable perhaps only to that of Gondry. Technology in the broadest sense of the term, so both tools for the making of the film (very clever use of 3D to aid applied to digital stop motion animation) that new forms of expression that rely on new means.
A tale of film and video game innovators
always breaks some rules and so did Henry Selick when he decided to make the last part of his Coraline adopting a style and a series of solutions typical of the visual world of video games to tell the passing of a series of tests by the protagonist.
In fact, it happens that story by Gaiman Coraline must race against time to find objects scattered throughout the house and should be done with the help of a tool that allows you to see reality differently, thus identifying what they are looking more easily. To put in pictures and can easily tell the unfolding of these actions, and especially to empathize with the audience in the sense of research and overcoming of its limits (which is the essence of the game), then Selick has chosen to use way of story video game.
To mark the passing of time In fact the moon is partially obscured by a button (a recurrent element in the film and traditional idea of \u200b\u200bvideo games), Coraline has to find objects that are one in every room in the house (annexe, garden, underground and so on), need to find another object (similar in function to the object of analysis of the typical magical fiction classic) which will allow it to see them and that is given by some allies. Each area also includes a clash with an entity set up to monitor the object, defeating the boss of the area and recovered the object becomes monochrome to indicate how it was "completed" and therefore no longer of interest to the resolution of the objective final.
As in video games so there is a "world" precise, limited and restricted areas (the house, including interior rooms, some outbuilding and a garden which is also well-defined) in which one can carry out the action, there is a helper vivo (the cat) and an inanimate object (which allows a viewer to see the same reality differently in order to identify what would otherwise be hidden), there are enemies at first instance and then to be addressed in a bigger house (the main room ) once in possession of objects hidden in each area. Finally there are the characters going to see who can give useful clues to victory.
Selick's strength is, however, in having taken these dynamics and have them fully integrated into the story so that they are intelligible only to gamers but also to those who have never picked up a video game. His account of the final series of tests is understandable to everyone just because it inspires and uses elements of the gaming world of the story that are the most universal and are the modern evolution of modes of eternal story. A 3D
learn from
The third era of 3D (perhaps the final one after so many failures) has begun and yet we had not seen a movie with a good third dimension, a film that not only gives us interesting pictures in 3D, but also know and make a functional use, in one word, "profit"! To do so came hours Coraline.
the adversaries of the new technology will go to the movies and realize for themselves whether the third dimension may or may not have a future in cinema. The 3D Coraline it is not the state of the art or a point of arrival but something very good, used to give an idea of \u200b\u200bwhat you can do a rough start to an important speech.
differences with the past because they are primarily technical Coraline in a word "clearly see" something as simple and obvious as far having little (if we exclude the technical spottone Journey to the Center of the Earth 3D ) there are imperfections, there are no errors in perspective no irritating to the eyes, the 3D is invisible and unobtrusive.
addition to not bother, however, the third dimension is used here to give shape and structure is a substantial difference between the two worlds in which it plays the movie (the real and the "behind closed doors") with just with different depths and then , at an unconscious level, strongly separated. Selick also
although never let out objects from the screen every now enjoys a fully exploit the concept of "depth" and you can clearly see in the scenes of the tunnel that connects the two worlds, a long cord that you just "stretch" in depth by taking advantage of the effect glasses. There are details, but that make sense to a technology that can still improve a lot and be integrated even more.
We have not the words and terms appropriate to analyze the 3D cinema and we must also understand what effect a greater depth may have on the involvement of the audience when used with invisibility, that is used without the viewer being aware of But now we know that Coraline is a good place to start.
by MYMOVIES.IT of 06/16/2009
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