User:Emily/Thematic Project/Trimester 02/04: Difference between revisions

Revision as of 16:12, 18 March 2015

This book production stores images and texts(subtitles)taken from Roman Polanski's film, The Tenant. The images and texts are extracted when characters mention "know", and then (they) are reassembled into a form of book. Some of the pages are designed to be shorter than the rest, which provide the opportunity for the reader to read crosss pages, and may also with different reading paces.

The Tenant is a psychological horror film directed by Roman Polanski. The main character Trelkovsky confronts on mental conflict after he moves into the new apartment. The relationships among him and the other neighbours become weird. He himself goes into a transformation to be the previous tenant. In the end, he dresses up again as a woman and throws himself out the apartment window in the manner of Simone who is the previous tenant and he ends up with being bandaged up in the same fashion as Simone in the same hospital bed, but we see his and Stella's own visit to Simone. I was obsessed by the whole transposing from one to the other. Not only the main characther but also the other charaters talk exactly the same thing transposing from one to another. These triggers the production of my book with which I provide all the comprehension from people involved in this story by juxtaposing their dialogues contains the word "know". Each sentences extracted from the film was under the construction of storyline about their understanding of the situation inside the film. But here in my book, I want to present an external way of reading the film with all the existing images and texts.

As André Breton pointed out the suggestive power of the arbitrary juxtapositions of words in the game of Exquiste Corpse. Here with my book project, I want to indicate the suggestive power of the juxtapositions of sentences, and more important of deconstructed narratives.

@@ Line 5: / Line 5: @@
 "mentally interesting" but "emotionally dry"
+seeing the know in different context - orginising principle
+overall structure text and image create, orgnise in a sequence
+keep the combinations as the same in the film, because you read in different pace
+the relation, database,
+why choose this film, in relation to cimema, how film works (the time machine)
+sharpen and clarify
+why do you choose the film
+how do you reorginise the film
+what the elements you use for them, subtitle(the term)
+core of the consturcturen, the character is forced to become sombody else
+deconstructure of the film - the structure of the film has other potential
+in digital age, people pretend to read fragments rather than whole story.
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+This book production stores images and texts(subtitles)taken from Roman Polanski's film, The Tenant. The images and texts are extracted when characters mention "know", and then (they) are reassembled into a form of book. Some of the pages are designed to be shorter than the rest, which provide the opportunity for the reader to read crosss pages, and may also with different reading paces.
+The Tenant is a psychological horror film directed by Roman Polanski. The main character Trelkovsky confronts on mental conflict after he moves into the new apartment. The relationships among him and the other neighbours become weird. He himself goes into a transformation to be the previous tenant. In the end, he dresses up again as a woman and throws himself out the apartment window in the manner of Simone who is the previous tenant and he ends up with being bandaged up in the same fashion as Simone in the same hospital bed, but we see his and Stella's own visit to Simone. I was obsessed by the whole transposing from one to the other. Not only the main characther but also the other charaters talk exactly the same thing transposing from one to another. These triggers the production of my book with which I provide all the comprehension from people involved in this story by juxtaposing their dialogues contains the word "know". Each sentences extracted from the film was under the construction of storyline about their understanding of the situation inside the film. But here in my book, I want to present an external way of reading the film with all the existing images and texts.
+As André Breton pointed out the suggestive power of the arbitrary juxtapositions of words in the game of Exquiste Corpse. Here with my book project, I want to indicate the suggestive power of the juxtapositions of sentences, and more important of deconstructed narratives.