Conceptual Abstraction and Formative Abstraction are both abstract schools of thought. The difference lies in their focus and expression methods. Conceptual abstraction pays more attention to the abstraction of narrative structure, while formative abstraction focuses on the abstraction of visual elements. In terms of expression methods, the former involves semiotics and metaphorical meanings, aiming to deconstruct the story and rearrange the distribution to achieve the desired result, expressing it in a rather obscure manner; while the latter mainly uses various chaotic lines, colors, etc. to express, mainly causing emotional stimulation to the audience.
Regarding Auteur Theory, it originated in France (no wonder it uses the French term “Auteur”), aiming to uncover the neglected personal style of directors. Some of these theories are also being challenged, such as Pauline Kael’s refutation of whether technical ability can be the sole criterion for judgment, etc. Secondly, discussions about AI and digital technology have been ongoing, but ultimately only humans can truly express themselves, and human spirit and imagination are also unique. Therefore, for creators, it is very important to adhere to Personal Vision and authenticity.
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“Begone Dull Care” is a film created by Mary Ellen Bute and Norman McLaren in 1949. As a landmark work in the field of experimental films and abstract animation, this 8-minute film combines images with jazz music, using unique lines and colors drawn on the film to attempt to visualize the pulsating symbols of jazz music, making it unique. The entire film is joyful, lively, and full of vitality, as if the jazz music notes were flowing freely.
Creator McLaren broke the traditional narrative function of the work and simply used some “purposeless” colors and lines to showcase the rhythm changes and emotional expressions of jazz music, achieving Synesthesia and allowing the audience to “see” jazz music. And being able to correspond the rhythm of the film with the rhythm of the music became a major challenge for this film.
This film uses direct animation technology, that is, the animators bypass the traditional shooting steps and directly draw, scratch, carve, and smear on the film, using various materials such as paints to create images on each frame of the film. This method departs from the traditional way of film shooting, which requires shooting, and directly presents the music’s rhythm on the film. The creator is both the conductor and the film itself, with the film being the score, closely linking visual images with sound, and showcasing unique vitality.
The audio relationship is the core of this film. Every line change in the film’s picture, every picture transition, and every change in the presentation form strictly correspond to the rhythm of the music, and overall, it is presented following the fast-slow-fast rhythm of the music.
