Between Live Action and Puppet Animation:The Stop Motion,Doubling and Multiple Liminalities of the Quay Brothers' Cinema
| Autor: | Fan, Ting-Ting, 范婷婷 |
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| Rok vydání: | 2015 |
| Druh dokumentu: | 學位論文 ; thesis |
| Popis: | 103 Since 1979, the Quay Brothers (Stephen and Timothy Quay) have adopted the puppet as the subject in transit. The complexity of these animated works was deepened by integrating the reasoning and dialectic qualities that exist in painting and photography, thus expanded the range of interpretation for stop motion animation. Quay Brothers’ series of puppet animations,live-action movies and film installations were derived from observations within the field of literature, sound, painting, and the ontology of photographic images. With anamorphosis, or distorted perspectives, the center of the representation model was re-constructed, or at least transposed. Image is also the depiction of such a perspective construction. In Quay Brothers' films, the puppet is like 'the Other' of the liminality, who wanders between reality and virtuality, realism and animation, as well as in between the present and history. Besides the duality, by employing the third puppet as the perspective/audition of the camera, the odd and mysterious atmosphere lingered with the video/audio stylistically. This study attempts to elaborate on the Quay Brothers' texts De Artificiali Perspectiva, or Anamorphosis (1991), The Cabinet of Jan Švankmajer (1984), In Absentia (2000), and Institute Benjamenta (1995) painterly illustrated the parametric narration of David Bordwell from the third puppet’s point of view with the camera. By means of analyzing the segments prudently, the texture and the process of style formation through the inner mechanism of narration were explored. Furthermore, to interpret the messages within the stylistic events, the reference materials such as Street of Crocodiles (1986), the PianoTuner of EarthQuakes (2005), and large-scaled mixed media installation, Eurydice—She So Beloved (2007) were cross researched by applying transdisciplinary theory. In conclusion, the Quay Brothers dug into the secret archives erased from history and constructed liminal spaces connoting La Pensée du dehors through the third puppet's reflexive liminal body. In addition, the free indirect subjectivity of the third puppet becomes attached to the viewers in the process of intermediate media experience, leading to new connections in the institution of cinema. |
| Databáze: | Networked Digital Library of Theses & Dissertations |
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