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  • Screen Architecture and Emotion Cuing

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    Catalin Brylla
    29 vues14 pages
    The Truman Show

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    The Truman Show

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    29 vues14 pages

    Screen Architecture and Emotion Cuing

    Transféré par

    Catalin Brylla
    The Truman Show

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    sur 14
    SCREEN ARCHITECTURE, FILM THEORY, AND EMOTION CUING Sea, Sun, Small Town USA in The Truman Show Parmicia KRUTH Unasité dealt 3 In this paper, | propose to examine dierent tools that can be uaed to study sereen ardhitzeture, and I will focus on the representation of an American ‘small towa, Seahaven in The Truman Sha (Petee Vets, 1999. My main tool s recent research on the emotions by cognitivist ‘lm theorists Film cOgnilvicts work on the links between emotions and structure, yet for dein Shhuctuse’ enna the architecture of the film sather than nr the film. They hud nagration and how filme evels emotions in audiences fn other words if, 25 believe, film cognilviem can be used az an inspiration for my research fon scteen architectare — because s1 opens fascinating visias— I need to ‘daplil fo my needs and exstomize s1by combining stiwith other methods. Filutc Emotions Cinema studies have long agglected emotions ae a topie of stdy, but they. were not alone a5 from the flies to the seventies few acadeiue diseiplines {gave al altention to this (opie. Interest in cognilive theories of emotions iced moteur ose 10643 and these eos snapeed icine the ld of cinema. Wilhun the last ten years or £0, 1n the English-speaking world, a number of books and articles have been written on the aubpect of ‘alm, cognition and emotion by cognitiviste such ar—to name ‘come prominent scholars in the field — David Bordwell, Nos] Carrol), Toaben Grodal, Greg M. Smith, and Ba 5. Tan. Cogritivsen’ se moe of payehology ‘and philosophy. Casvollwtee “Throughout the eights. [.] there wns an atemet by people ike me fd Bae! Bncdoel kr eld an appeonch ta fm theaey tht les ltemauve @ the peyshoanalyae baearcsemiase thecy whch har Deen cissemurated ost sonbly by Streen and vie 1 epeaaly ‘ten amplified by Laeanian temunem te comunact sppreset Theory inthe Enplichrspeetng ved tainy ‘This eltesative approach Ins bem Hbded ‘copauaviem Deouse of the emphases tat ie places cn the etency ofmoiel tat exploit he role of eopnisve PrO“ese3 23 Sppared to unconscious processes (MTS) Patricia Kruth, « Sevean Architecture, Film Theory, and mation (Caing », Cocles 18, 32-45. Paiticia Krath / 33 FHlmic emotion’ is a difficult notion 10 define, First of all, whose ‘emotion are we talking abox!? The viewer's (ir is mostly what the cognilvisis are concerned with), or the emolions expressed by the character —or even, as has been'atgued, the emotions of the film itele* Personally, to study the filmic representation of the town in The Pruner Shao, 1 find t necessary to focus Both on shots concerned vith architecture ‘and see how they aéfeet the viewer, and on the protagonist's einotions in so far as they ave ned to the urban sething and shed light on Secondly, who) exactly 56 an emotion? Vasious defintions con be sound, fequenly opposing ah einotcn’ 10a feeling The ain distinctions between emotions and feelings are offen made sn terms of duration and sinters: emotions ate baefer and more violent than feelings In L-Eypresse i sounod 1 cone, Glee Menegeldy provider helofal dete of bork notions, mresaing thet diverencec® Dominique sipiere for hs pati diaws typology OF aetve, pasaive, postive and negative emotions an fxplaing fat emotions occur dna conlest where the mid loses conical aver theboty. Cognsivsi ike Grodalinalude yet another characterise ‘The tee ane wed wo diguish Deaneen cbjetedstd and am Gyectdrested quakes. Bellet often nonebjet dered fed fad hoppy and co on) wheres empuong ofte have an ect ‘treed gully oeng eos ike bve ele tr jalcy eee isclewed ou oman feng as tn nobel air ‘Adin a pinch af ml, Carroll for one, does at mat a dstinction between ‘emouon and “feeling. and wove the terms inletchangeablyz he pests of ‘alec? whece sveryday apeech might ‘all “emohon and feceves the Term ‘emotion or 2 cubelags OF afets,samely ‘cognitive {oson’, ey afoot tht include cognitive clemenis (FEC 2). For aun ‘sespense 1 also an emotion (FEG 42045). As for Tan, fe thinks of emotions © aeiow-tendenses, and to ham the cenual emotion in Bim viewing “terest (ESN). Despite thooediferences in dfitions, what ie ulinately tac apt catg tn Ep or tn Chae Me ee Beco ei wut: ome ‘tna’ ogee dn SRSSESE soaslcc nah siapaitan akan milage aetpaoppes a SSS QD Es poe annaone noe noes pills oe SESLM cece gape Deegrmstn gine recap awed pate SERIE wc ea ps aera Sa Stecnaieien lane des maricatons entire veble, fesent CSTE. hae Maa ES ae Pues meta oe mend Sas cua de at opine) ie mae Enpogue en povears plas mon rpede stadvintalesacln Sane Slnt gue! onan et SE Eye pls apuee prc sumedaement atockee senate! prea th in dina guy x sation quae ope ps ude de x gure do Somme d etstss sation desl, pique ie Fanation Palticia rath / 31 {important to bene in mind is that today in a cognitive perapective, emotions ‘ye not anaschical feelingebut en the contrary cietured slater of mud, Architecture wud ewotions “The twa climaxes of The Truman Shew are the father-son reunion [56 2, and the extended. storm at sea foliaved by Truman's tease and his fealzation tha the sky ie Uterally, the Tint [21 20.00. The iasial lntmotis play a mapar part in the emotional appeal ofthese segments and would deserve an indepih study otueh te beyond the ope ofthis paper. The tivo sequencer pesfcly eveinpliy dideren! eogrtvit Uwosieg fot inslance what Tan calls sentiment ‘sesimental emation 42 'an emation ‘Garaclerzed Dy an ge to ery ofa state ofbeing moved with suength in fxcen othe importance we attach fails essen) [Il] mosly ocous a 4 fespence to the feof otters...) [lt ho. cerium myeaoure of Graudtousnes’ (GEV 49. Tan Menisies es maporeutionl theines that Se particularly conducive to paovolang sentimental emotions. and the Seiettion-eanton thee io one of ther. To im. these themes appeal to ‘pomibly iealized, paradisacal culdhood memories of being completely Keepted or being port of come abonlste, sncorapted purity, or a last deaies foe such 8 Sate (SEV 4. This conrsoponde to what Freud in The Fatare of x Iason calls the “oceanic teeing’ The separation reunion theme fe seimal to Dom imme Troman finally meeto hie two fathers rt his digong genito, and then Chisto, the eestor of ihe television show of which he the sting str. In the frst lima, the reunion occurs on a foggy Bridge, at night Visually, thir piece of architecture is a mere background, a nondescript siructuté which is par of an almost abstract landseape where the two ‘Agures stand; al the same ime, the bridge plays a most signifiant role ac what [ would call an emational poo that symbolically condenses the ‘meaning of the scene. Indeed the dreamlike aimecphete invites ws ‘analyze the segment like dream sequence where, in Freudian (radilion, the bridge Iiteralizee ine emotional link and— than to the moving musica) sro — the overwhelming joy wnitisg father and con. The editing, Wiel consists in a crosreutling between the meeting and the televiaon crew fSiming and watching alternatively constructs snd deconsiricts the Tandavape, thereby miuodweing a distante which farther stiles the spectaler to analyze hisor her emotionsin front ofa shaw. Jn the second sequence, what seemed an outdoor location (the sea and the sky) events itzlf a anihung move than a TV studio (Ihe sty is painted wall hich functions ae a froupel'eal) and, when Truman fealty bows his Way Gut, it turns into the siage of a theater. Because of the presence of 2 construcied sel, we could speak: of architecture Reve ten, even though in 2 looce sense I ould be interesting to analyze Truman s fatal expsesnione ‘and hie bodily gestuces when he hte the wall in the terune of Tan who distinguishes "F emotions, se. filmclicted emotions, reopanses to the ‘etional world that ‘consist mainly of ‘witness emotion’ (they are ‘empathetic ematicnd) fom A emotions which are evoked by admiration ff the film as.a flm, asa man-made arhfact (SEV 52) — which ts the enae Paticia Keath / 35 dete In fie sequence, indeed, Treman’ worl i shattered when the seta fe literally deeonstcled and sedueed toa oe: ship's mas! perce a Hole inthe shy vtuch is nating but a parion tat breaks live an egg sell. The otagantat Silent cies hc faces and dramatic gectateounderstred bythe Efcane of the muscal lsimtiy evele a pantenamey wat we mtiees is Bete artisic deapait — A emotions —~ chareogeaphed fr the age and ‘mid, alternatively im close-up an lng chat by aeamera. In these to climaxes the sting which isin facta sl is used as a backarop. This seme contrary to what happens inthe ea ofthe li, where Sreuletaral stuctures (ide Noon or bridges ae quite prominent viovaly but owhere the emotional appeal on the viewer 18 Wester. This would Biggest that oong emotions in the specatar do) rot coexist wih, the Teplecentaion of aehtechure— at least to! in Pie Pruman Shaw since other ‘eames con found, ike the house in Alsed Hitchcock © Payeho (1360, twnero archsteetze i proenly the lores of tong emotion, To study the relaionship between wha, in the ces of the Gm, amounts 0 the representation of US small ova szchtectuze T pzopene 13 isan to Gieg M, Smithy a cogntivin dm theorist who offers what he ells ‘mood-sue approach (S23) Ta prepare the ground, et me hs have aloo althe American small own movie aid focus on Seahaven American Suatl-Town Movies Kenneth MacKinnon apens Hollywood's Small Tours: Ant fntroiuctot tothe Ameria SmaliToen Movie with ihe diseussion of a puzzling quote from Leis Hallovell:Filmgoer' Comp aioe Sal towne were for many yeas the sagle ofthe Amenean cinema Moet ausienees were ema-tovan tale and tastes to see shghtiy Hleclized vertore of thomeslves Ths the populaty oe be ‘ats, he Hardye and the foarte hae Gur Tour, Tie Bes CComaiy, ds Hiltons The Mase Mow and The Dave atthe Top f he ‘Star The darker de of salltovm lie wna choom in The Che, “ngs Rou, Pejew Pasoand The Dron of Bay Sader (-) Haliwels exphnatia forthe populasity of smalbtown movies — movies airacing inaaly small fawn auGhences-~ seems raher debatable, tay the lesa. Te ne the example of the seventies some of the most commercally ‘siwsotul Alms of the decade — American Craft (George Lucas, 1573, Care rian De Palma, 1979 and The De Ht (Michael iin, 1975) — (were small-town movies but it dubious that thet infertational sue Tat much todo wi the ural angin af ther audiences Another, more convincing explanation for the attractiveness of these ‘Aime could be found in ihe feeling oF nostalgia for a somewhat idealized Amerean past that pervades them, Idealized past should be speriied ‘nee, abvigusly, the small tua, both in tality and in ite representation, 12 Place of contradicions; 15 at the sune tune 2 shrine of fundamental ‘American values —the ileal New England village ia the voildemnezs that waz ‘designed by the Englich settlers with a ehurch at its heart, a homogensous Paiticia Krath / 36 community base on principles of egaltarianm, modeay and simplicity — Sd a place of conforms and hypostny, whe Ick of olsun fo: one’s ieghboars helps il he emptiness ef provineal ie In has essay, « La“pele Tile’. Uae aobalgie amesigune», ean Kempe, waiting about Photgsaphy, Thenlcns tht It heyday of te Assets Ena te comeepun WG years 190-1910 he explains hatin the Is20 sand 20 the small twa wasn Fall desi an that sullancoudly a nostalgia forthe anal town appeared an the fied of representation (02, 69. Nostagia can be faund in ciher ait forms, cuch as the theater vith or instance, Thornton Wilders play Our Tour (1989, and ebviously nese, where he mos famous eamiple ofan ideal smalhtawn commarsy i undoubtedly Bedird Falls in Feank Capes's Mee Wiontoplije lsis. Alter the Second World War a umber of small towne weve ‘owalioived up by sites and Became subatbs. in the late apcies and early, fswenties, ag patt of a back-iotheland movement, small towns became pels: agai but ths reback wat mnor (Mactannan ©), Overall he oP contary has witnessed what loos like the slow death of the arall toxcn Jet, mdging by the sumer of novels, plays, television series or lms on the fopis, this demise seems to have fot sather than sffstod the American smagination, The Trang Show ie yet another Glin that feeds on small-town nostalgia (o1 would not exist without #1), however [would argue that it does anol indulge in it. 102 not a nostalgic im, contrary 10 Plowantaille (Cazy Resa, alm dating from 1956 im which the ¢ponpinous setling 1 a recycled Diack-and-white fies TW-avtcom town’ which contesste with the ‘conlemporary world showa in color — » flim whose interest he presieely in the gap between past and present, fiction and the teal vronld fhat can be bridged thaslis to what could be called visual metalepoes.. Theze are a0 ‘sich devices in The Truman Shaw in yruch fwe cepatale welds so-exast — Christof ¢TV studio, and the oven of Seahaven. Postcards fom Seahavn/ Seaside Ea fiat anus tonne tom cia eof oc ia 8. ss fae ee 1S alum Sa Ts ay Paiticia rath / 37 elevated porch. Birds are chirping away. A feeling of beauty, peace and harmony prevails, 207 1] Lang shat, Day. It ig an aerial view of Truman's aeighbothood with tee inthe foreground. Truman pale yellow howse in the mid of the frame. The shades of gee) ana whit, the pastel aes are Eeothig fo the eye. The protagonist ss moving he lawn, The noi of the motor dioslves ito ane ofthe musial themes Sour bridge tole reunion Sequence featuring the bridge, Seakaven iz shown as an organic and iarmonious town hat Dreathesbetveen the greenery and the 27 3.2706} Exireme long sho, Aerial view of Seabaven, the beach and the sen al night large man ss shining inthe aby, sts ight fected on the waters surface, The revolving beam fom alighiNouze ade anor source flight. Theve are only ciege fe sounds the tde anda screeching might cL ‘The mood i mysteniousand somewhat ominous 4. [2950] Dawa, Bcteme long shot, Aeval view ofthe tow with the sea in te foveground 1 can be avetaa the severse shat 3 completing out View of the ate of Seahaven. Spectacalae clause move in the sy cmavte Tho; he eolor are blue, pink snd grey. Mozatt's Powe Soude #22 0A igor. Movement “Alia Fares. Seahaven snd ie beaches se shotmn 39 paige by the sea Caveize and jaya mood. 5. (37 38) Long att. Sunrise in fast mation, Aerial view fom an elevated porch evealng a panorema of ters and roaltopa It canbe ee {she severae shot of 1 Coupling our athuteturl overv er The aes are pink and giey. Mozart sont Cawcate #1 nD Major mes wiih ebullient Fira song. Chtetul perky mood. 6 [2h OF 06] Long shat, Summise aver the soottope by the sea with a wweathseuane dolphin. His imi to stot 5 in se point of view fom 9 frstand alone Pato cords om Chopin 2 Pate Comat mE Me, us 11, 2 Mavement “Romance ~ Larghels') ean be heard mixed wih the sou ofchitping birds Thee isan atmosphere of avtetneas peace and annony. The shel sets a& a tension anda sound bridge between the preceding ssqaence where Chit ic stoking asreen vaitha gant image OF ‘raman acleep ana Touma in bathroom, 7.09 02 It ea scene of dialogue between Truman andthe tine in the towne center Truman appeais in sont of a poser advertinng Calton Fite Colonial Home’. Th the last (high-angle) shot the thies facts a ng and ing onesie the gst hth 0 the cotter af the fame It san aw’be sen in it entcely. 1 chow aro Of beach collages with ugh porches stmiar tothe ones in Seabaven. Mie 01 ‘Bye and eleospectively, entrapment of fe protons. 6. (40 49) Truman has decided fo leave Seahaven. The scene atthe travel agency apens on a postr ornining would adventurers of potential dngots snd avian temo aks ou owns gun errs dae wild animals street gange. The caption teads: Travellers Bowatel Thus (Hesuastve poster i the companion piece to anather one Which catches ‘Truman c worsied eye and adéeto thé tension. t sons a plana in mid-ait Paiticia rath / 38 cnnuck by flash of lighting, sn bears the insertion costa happen 12 you The fits anc shat depict the tonya at ferent times of day and night. They fave a aarative fancion — they help bieak up the sory ino 3 anuuber of sequences corresponding to duifrent days, and they har. the begroning (1, 34.9, 8 or he ena 2 of ench spice — and as nove al thay have a descriptive funetion, Weare faced with toa panoramas Som of the shots are (tally stl and loo. like photographs or posteatds (1 thers are animated by mavements iin the same tha teneorce the ha Datteen the own and ature the sual gure of Trumaa iowing the lawn Grthe revolving beam of a lighthouse over the sex), fastmaving clouds {Gora speeded up suntoe (3) Disgei spun ie the rattering of bids, SS well a classed score, fogelher-or separately, confbute fo umn these hots into beautiful timeless ciches ‘We cee what looks like genesie emall-town agchitectuse: out-of time woottensirame softages with elevated porches averloaling tne asa. There © ‘ao monument that would dictinguich this town from any othee Tawa by the ‘ova, While thece choto portray the flional town of Seahaven, they alsa advert the real estate af Seaside, Flosida. If you check: the Seasde and Seanide Insitute Internet ss, you See that the town looks exactly the way :t appeats in the film, Unlike Tim Burton, who shot Eduard Scisserhanis (1990) ‘on jocation i a subuso on which he did some cosmette paint ob, Peter Weir ddid nat lave lo tefuabich the hougve for The Trumau Shoo, The pactel huge ot the beach cottages are the orginal colors, and the setting of the zealty choo within the flm i real, Seagide, which opened in 1581, vas conceived, planed and developed by Robert and Daryl Davie vrhoce dosam vraz {2 Build a pedestan-enendly commnsty oF cottages with picket Fences and elevated porches to watch the sun set on the Gulf of Metica, Cur present hole are in Leepang valh the founders ideas an fous of thein we saa waleh the san and the ea fom the point oF view ofa fictional innabitant an an slevated porch. Besides having a documentary quality, these imagee show 2 scenic ovation at le mast Veautifl, The eiies Of INE limes of day — fous tines at dawn and once at night — soninbules to mals st a landscape of the ‘imagination linked to sleep and to the world of dreams; it 3 the sepreceniation of the idea of a(n ideal) small town. These isolated

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