วันพุธที่ 29 มิถุนายน พ.ศ. 2554

"It 's an element of self-justification goes into gaming at the moment," said Raymond Boyle, a professor of communication studies at the University of Glasgow' s Centre for Cultural Policy Research. "As the industry and to prove its commercial value and their influence on political decision makers, they want to accept the people that they're not just a sausage factory, that it '\. S an integrity check and an art, what to do you begin to crave acceptance, a place in the broader cultural table. The Nintendo generation has grown up, and annoy them about the general perception of a player to be incomplete, geeky teenager. "

Brooker is obviously not alone in believing that with the atmospheric thriller LA Noire publishers Rockstar has succeeded not only in competition with mainstream Hollywood quality, but "embarrassing" it. But the console-centric lobby to play their hand, with a view of the elements of the film, in artistic terms, can not keep up with video games? Geoff Andrew, head of the film program at BFI Southbank thinks so. "It 's sad but true that a number of recent Hollywood product is on the level of play increased, simply offer an exciting graphics set piece after another," he says. "But when you look outside the box, you will find films that do not just think about the production of excitement, but the people in new ways about the world in which they live, asking how the story it tells what the authors try to tell them or what questions they ask 're \. "

When Andrew sees the equation is simple, and their implications clearly. Turning a film into a game requires "cut" to the conversion of a game to a film requires "concrete it". Andrew says: "Hitchcock knew how to push buttons, his idea of" pure cinema '\ was frightening about us But he went beyond, why has a movie like Vertigo a sense of mystery and poetry, we \. . trying to understand why this man so he thinks someone with rebuilding is dead, not only how he can do it, that's what the game would be obsessed.

"From a movie like The White Ribbon -... Think It 's quite impossible to think of this as a game, if so, it would probably be a thriller or something worse, a game where you kill people off, but their whole resonance comes from its political importance, its historical associations, the ambiguity and psychological complexity of IT. you couldn 't find that in a game. "

The argument that plays a unique immersive experience is a relatively old, but it 's won praise as a game such as heavy rain and LA Noire have got smarter, in both intellectual and emotional intelligence. (While we 's not get carried away: LA Noire' s manual contains information such as:. ". A person who lies often avoid direct eye contact" Duh)

This voluntary disarmament, the artistic equivalent of what Boyle likens to "being on a plane and putting your life into the hands of a pilot", is a crucial aspect of cinema's power, particularly if we are in the hands of a master film-maker of the commercial idiom, such as Christopher Nolan, who can combine mainstream flash and nudge us not just to think, which games such as LA Noire or Portal 2 can certainly do, but to reflect over time. Nolan's dark, difficult Inception is also the 25th highest-grossing film of all time, a poke in the eye for those who contend that smart, challenging films don't make big money any more.

"We recently revived The Big Sleep, a classic film noir, at the BFI," says Andrew. "It has a very strong, eventful narrative, but that's not the joy of the film. It's not just a thriller, it's also a love story and a comedy. And that sheer chemistry between Bogart and Bacall – that's something you could never get in a game."


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