It seems stupid that I would even consider writing my hypertext text on Word, I’m gonna blog it. Just a reminder that my allocated pages are the “weather page” and the “introductory page”.
HEADLINE: In todays news we’re seeing the developments of spatial montage spread to a global scale.
“Manovich’s text surrounding the language of new cinema argues that individuals’ familiarity with dense information surfaces, particularly multiple graphic user interfaces on a computer will eventually result in a new form of multiple narrative cinema called spatial montage. Contemporary society’s adjustment and subjection to viewing multiple screens, as demonstrated through playing video games, watching televisions news reports and using computer desktops illustrates how we are now accustomed to “switching our attention rapidly from one program to another, from one set of windows and commands to another” (Manovich 2001). Manovich (2001) argues that by similarly incorporating multiple streams of audiovisual information into cinema this may be more satisfying than the single stream of traditional cinema we’re witnessing today”.
HEADLINE: Todays forecast is predicting a strong spatial montage with a top of 25 degrees.
“Manovich argues that because of individuals’ subjection to multiple screens, the notion of a split screen cinema experience will be acceptable amongst audiences. He suggests that the interactive screen has become a dominant cultural paradigm, experienced by individuals when playing video games, watching television news and music videos, reading graphic novels, and perhaps most importantly, when using a computer desktop (Manovich 2001). As a result of this, Manovich proposes that our adjustment to reading “the many windowed visual screen” (Bizzocchi 2009) has the power to reshape our expectation of cinema.
In her article, Malte illustrates how “the emphasis upon fragmented and multiplied display relates largely to the cinema’s demonstrated capacity for negotiating the meaning and significance of media change to a wider audience” (2008). Since the development of television, cinema has consistently aimed to seek new and invigorating ways of maintaining its audience. Bizzocchi (2009) outlines that “in order for cinema to exist in [contemporary] popular culture, amongst the video games, internet and variety of mobile phone platforms, it must employ a hypermediated aesthetic to keep up with developing trends.” If audiences are “capable of switching among multiple screens of the computer desktop’s Graphic User Interface” then it is perfectly understandable that they’re capable of “parsing a controlled and well crafted multi framed cinematic narrative” (Bizzocchi 2009). he fragmented and multiplied display
Furthermore, spatial montage enhances a viewer’s interactive experience with a film. A “multi-framed film offers a visualised version of increased narrative bandwidth” (Bizzocchi 2009) that works on a narrative level, a structural level and on a visual level making a viewer more actively engaged with a film given they’re offered the opportunity to piece together the narrative presented. Manovich (2001) illustrates how “images do not replace each other in spatial montage, but remain on the screen throughout the movie, with each new image juxtaposed not just with the image that preceded it but with all the other images presented on the screen”. As a result of this “time becomes spatialised, distributed over the surface of that screen” (Manovich 2001). From this we can infer that everything on the cinema screen is presented to the viewer, enabling them to channel through a non-linear narrative where nothing is erased. Essentially the viewer is offered the flexibility to construct their own narrative or re-wind the film’s story, similarly to how we engage with other forms of digitalised technologies”.
Technological advancements in cinema have consistently shocked audiences through the creation of impossible realities. Since the establishment of the Kinetoscope in 1892, early directors such as George Melies and the Lumiere Brothers saw cinema as a new technological means of astounding audience members. Film technology’s illusionistic capacity formed as a means of luring individuals into an illusion. Whilst spectators were captivated by this illusion they were simultaneously aware of the artifice employed, making viewers marvel at the methods used to construct film.
Much like the Kinetoscope, contemporary computers also possess the ability to create films that shock spectators and draw them into a constructed reality. Film industries, particularly that of Hollywood aim to “fool audiences into believing that shots were produced with live actors on location” (Manovich 2001). Manovich (2001) suggests that “while embracing computers as a productivity tool, cinema refuses to give up its unique cinema-effect, an effect which, according to Christain Metz’s penetrating analysis made in the 1970s, depends upon narrative form, the reality effect, and cinema’s architectural arrangement all working together.” More specifically, the reality effect a film has on spectators often becomes ambiguous when computers are used to generate effects used in a scene. Whilst computer technologies work primarily to create depth and force a focus amongst audience members, the artifice employed is never far from the minds of the spectators. In his article, Metz (1976) outlines how the “spectator lets himself be carried away – perhaps deceived, for the space of a second – by the anagogic powers belonging to a diegetic film, and he begins to acts; but it is precisely this action that awakens him, pulls him back from his brief lapse into a kind of sleep, where the action had its root, and ends up by restoring the distance between the film and him.” It is through “3D animation, compositing, mapping, paint retouching and other technical elements requiring computers that filmmakers are able to submerse viewers into a familiar reality that is physically impossible their normal world” (Manovich 2001). Filmmakers rely on technologies to heighten the realness of the fictional world that has been created”.
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