It starred Lin Yi and Xu Lu in the leading roles. Divorce the workers from their production and the quality of everything suffers (not least the workers).Love Scenery ( Chinese: 良辰美景好时光 pinyin: Liángchén měijǐng hǎo shíguāng) is a 2021 Chinese television series directed by Qin Zhen, adapted from the novel "A bright spear is easy to hide, but a secret love is hard to prevent" ( 明枪易躲,暗恋难防) by Qiao Yao. Safety also suffers, and whilst Hollywood has its fair share of tragic stories of set deaths, they are nearly always more commonplace when producers and the credit card holders are looking to cut corners. Break the bond of solidarity that comes with unionization and you also break the bond with the work produced. The VFX houses are one of the last non-unionized workforces in Los Angeles, which is precisely why Hollywood has come to be so over-reliant on CGI, because it lacks the protections and stringency that come with unionization. The creative, problem-solving labor that comes into dressing an on-location set, cheating angles for the viewer’s benefit or laying down a dolly track on uneven ground is still present in modern filmmaking, but it’s in conflict with the “we’ll fix it in post” attitudes of many a production philosophy.Ĭliffhanger Essay: Related - Know the Cast & Characters: ‘Air’ But very few can make a living from it unless you subsume yourself to the content machine, leaving the personal stuff for yourself and only yourself. Sure, anybody can become a writer, a musician, a filmmaker today. She played a normal girl who falls for a president. Perhaps this comes down to a wider societal disrespect for creative work that has partly emerged with the internet. Xu Lu starred Chinese romance drama Sunshine of My Life in 2021. Ĭliffhanger Essay: Related - Soundtracks of Cinema: ‘Scream VI’ Somehow, over the years, we’ve separated out the grit and grind of good special effects work - be they stunts, models, prosthetics or even CGI - into the unholy, all-suffocating space of the green screen, and amputated the artistry that creates this ever-so special movie magic. The only film to use any digital effects in the Forbidden Worlds lineup is Starship Troopers (1997) - a mixture of animatronic, prosthetic and digital work, mixing and matching the tools for the shot and the scale. It’s harder to feel the effect of that work - the satisfaction of it - when it doesn’t “exist” in real space.Ĭliffhanger Essay: Related - Know the Cast & Characters: ‘Ghosts of Beirut’Īt the time these industry changes started happening, they were barely perceptible. The shift to a digital era has made our relationship to our work so much less visible (I can count on one hand the amount of my work as a writer that has appeared in print). One of the key sticking points and major challenges facing the film industry is the encroaching presence of AI in film, be it writing scripts, deepfaking performances or unimaginable mutations. The good thing about this drama is that it’s nicely packaged to be what it is and not more than what it is. by cynlynn First Impression (Ep1-8) I say this is about 10 story and 90 filler. That tangibility is also vital for the filmmakers’ sense of ownership over the work: on a philosophical level, it strikes at the heart of the reasons why the WGA are striking, as well as the director and actors guilds. Love Scenery concludes with Lu Jing and Liang Chen singing a duet of his favorite song, You Have Me. There’s a certain tangibility to the process of building something, executing it and knowing that there’s little space to repeat such a routine, all of which gets lost in the digital era. Effects and stunts that once had to be performed by real people are now relegated to the digital world, and whilst this is not to denigrate the excellent work of (non-unionized) VFX artists, the fact that CGI is now the ground zero of special effects and not an addendum is, frankly, a tragedy.Ĭliffhanger Essay: Related - Soundtracks of Cinema: ‘Heat’ Yet, as a festival, Forbidden Worlds provides an evocative example of what we, as an audience, have lost since the industry-wide shift to digital. I’m wary of pretending that #ThingsWereBetterThen. What links all of these films is that their sense of spectacle is derived from reality: real stunt people jumping out of real things, real craftspeople building real models and figures, actors acting against props that are physically there in front of them, filmed originally on a strip of 35mm film that had to loaded and unloaded into the camera, before being developed and then physically shipped around the world. At the center of Forbidden Worlds Film Festival 2023 lies a simple observation about the cinematic experience: aren’t things much better when we film and record real things that exist in three-dimensional spaces? The festival, which takes place over a sunny weekend in Bristol, prioritizes schlocky 80s horror, Hong Kong martial arts films and 90s Hollywood blockbusters.
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