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Representing the Hero: a Comparative Study Between the Animated and Gameplay Cinematic

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Representing the Hero: a Comparative Study Between the Animated and Gameplay Cinematic Representing the Hero: A Comparative Study between the Animated and Gameplay Cinematic Trailers for Overwatch By Stella Kerr Date 15 March 2017 Supervisor: Hanli Geyser The University of the Witwatersrand Student Number: 559823 Course Number: WSOA 7036 Master of Arts in Digital Animation i Declaration I hereby declare that this dissertation is my own work. It is submitted for the degree of Master of Arts in the field of Digital Animation at the University of the Witwatersrand, Johannesburg. It has not been previously submitted for any degree or examination at any other university. Stella Kerr 15 March 2017 ii Acknowledgements I would first and foremost like to thank the University of the Witwatersrand for enabling me to pursue my academic career, with professional facilities and supportive staff. To my supervisor, Hanli Geyser, if it were not for your invaluable assistance and encouragement, this research would have not been possible. The effort and time that you have devoted to helping me during this long process is something I will always hold dear to me. You have succeeded in helping me realize my own potential and abilities, your knowledge and professional guidance is one of a kind and is extremely influential. To my editor Genevieve Wood, Thank you for improving my research and assisting me in the finality of my research. I would like to express my gratitude towards my three close friends, Chantelle le Bron, Emma Kerr and Tanya Blaeser. The determination I see in all of you has inspired me to follow my dream of completing my research report, thank you for being true friends along this path in my life. I am grateful to my family, my mother Louisa Kerr, my father George Kerr, my brother Gareth Kerr and to my aunt Victoria Scourfield. Along this journey you all urged me to push myself to do better, to be better, and to stay motivated no matter what issues I am confronted with. For your emotional support, your reassurance and your concern in my research, I love you all. Lastly, and most importantly, to my late grandfather, Professor Malcom WJ Scourfield. I know you are proud. Thank you for giving me the financial security to allow me to focus on what is important in my life. I know this is what you would have wanted me to do and I know iii you would be content to see me accomplish my goal of writing my research report and completing my academic career. iv Contents Declaration...................................................................................................................................... i Acknowledgements ....................................................................................................................... ii List of figures ............................................................................................................................... vii Introduction ................................................................................................................................... 1 Animated trailer .......................................................................................................................... 5 Gameplay Trailer ........................................................................................................................ 8 Chapter One: Theoretical Framework ..................................................................................... 12 Heroism ..................................................................................................................................... 12 Identification ............................................................................................................................. 13 Representation ........................................................................................................................... 16 Chapter Two: The use of Narrative Structure in the Development of the Heroic Character ....................................................................................................................................................... 19 Linear/Nonlinear ....................................................................................................................... 20 Character identification ............................................................................................................ 21 Narrative Energy ....................................................................................................................... 22 Narrative Structure ................................................................................................................... 22 Active/Passive Viewer ............................................................................................................... 24 v How does cinematography effect the narrative?....................................................................... 24 Application to animated trailer ................................................................................................. 26 Act I ....................................................................................................................................... 29 Shot type ............................................................................................................................ 30 Camera Movement Type.................................................................................................... 31 Act II ...................................................................................................................................... 32 Shot type ............................................................................................................................ 33 Camera Movement Type.................................................................................................... 33 Act III .................................................................................................................................... 35 Shot type ............................................................................................................................ 36 Camera Movement Type.................................................................................................... 36 Application to gameplay trailer ................................................................................................ 38 Act I ....................................................................................................................................... 40 Shot type ............................................................................................................................ 41 Camera Movement Type.................................................................................................... 41 Act II ...................................................................................................................................... 43 Shot Type ........................................................................................................................... 45 Camera Movement Type.................................................................................................... 45 Act I Repeated ....................................................................................................................... 47 Shot Type ........................................................................................................................... 49 Camera Movement Type.................................................................................................... 50 Act II Repeated ...................................................................................................................... 51 Shot Type ........................................................................................................................... 52 vi Camera Movement Type.................................................................................................... 54 Chapter Three: Characterisation of the Heroic Character .................................................... 56 Composition of the Setting: The Golden Ratio.......................................................................... 59 Composition and lighting: Personality and abilities of the character ...................................... 64 Symmetrical Signifiers of Heroism: Costume/Appearance and Character Behaviour ............. 66 Character Costume/Appearance ............................................................................................... 68 Character behaviour ................................................................................................................. 73 Character Behavior: Personality ............................................................................................ 75 Character Behavior: Abilities ................................................................................................ 76 Asymmetry as a signifier for vulnerability ............................................................................ 77 Comparison and Conclusion ...................................................................................................... 80 Animated Trailer ....................................................................................................................... 80 Gameplay Trailer ...................................................................................................................... 81 References ...................................................................................................................................
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