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Theatrical-Release Feature-Film is Irrelevent...
A provocative statement no doubt since my readers are, by majority, filmmakers and film students aspiring to make films for a living.
I was researching and writing recently on motion graphics, compositing and the aesthetics of the layered cinematic image. Foremost in mind was music videos, advertising, TV show title sequences, promos and so on.
What struck me was that there is a perception that such aesthetics and modes of cinematic presentation and experience are perceived as somehow on the ?fringe. The ?exception to cinematic grammar and language rather than the ?norm.
This position obviously stems from the narrow ?Theatrical Release perspective of the cinematic landscape; that the penultimate cinematic form from which all others both descend and aspire is the feature-length Theatrical Release.
I find this a troubling thought.
This visual aesthetic of motion graphics is certainly not obscure and it would be an onerous mistake to assume that it belongs to the realms of video-art and fringe cinematic forms. Rather, layered aesthetics and composition embodied by compositing and motion graphics are a distinct part of the common mainstream and, indeed, dominant cinematic language of contemporary moving image media. Whilst examples can be seen throughout the myriad of genres and mediums of cinema it is music videos, advertising and television that have sort most readily to exploit the visual power and dynamism of compositing and motion graphics.