Jack Nugent of film deconstruction channel Now You See It explores the way that sound design in cinema (most of which happens long after the cameras stop rolling) is less about creating realistic or believable sounds and more about manipulating and amplifying the emotion of scenes.
An emotional journey in the form of a mixed media short by Korean animator Seunghee Kim. To wit:
One digs beneath the surface of the other to reach the deepest place of his heart during struggles. It lightens up the darkness. They fulfill one another within the sense of oneness.
Now for yiz.
An accomplished short by director Ben Steer of London based Blue Zoo animation studio, whose brief was to show how projected CG animation might tell a human story.
The physical effects of negative emotions envisaged in the form of morphing, melting noodle people by visual artist Ari Weinkle, who sez of it:
It turns built up tension, stress, and anxiety into creative catharsis. Frozen figures – once paralyzed by moods – are reduced to heaps of flexible nothingness..
An exploration by WarmBakedBread of how director Darren Anonofsky uses his characters’ eyes to convey emotions in his six movies to date: Pi (998); Requiem for a Dream (2000); The Fountain (2006); The Wrestler (2008); Black Swan (2010) and Noah (2014).
A ‘feeling wheel’ designed to help discern the core emotion when faced with conflicting feelings.
How do you feel?
Estatic?
New York based artist Samantha Keely Smith’s multilayered abstract ‘seascapes’ that are not in fact seascapes. In an interview with Never Lazy magazine she described them as:
…not at all real places or even inspired by real places. They are emotional and psychological places. Internal landscapes, if you will. The tidal pull and power of the ocean makes sense to me in terms of expressing these things, and I think that is why some of the work has a feel of water about it. My work speaks of things that are timeless, and I think that for most of us the ocean represents something timeless.
