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Blind Chance’ 19

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Blind Chance’ 19 Thesis submitted for the degree of doctor in the arts at the University of Antwerp to be defended by Ali Baharlou Promotors: Prof. Dr. Philippe Meers Dr. Tom De Smedt Antwerpen, 2021 Prof. dr. Paolo Favero, University of Antwerpen, Belgium Prof. dr. Philippe Meers, University of Antwerpen, Belgium Dr. Tom De Smedt, Sint Lucas Antwerpen, Belgium Dr. Ruth Loos, Sint Lucas Antwerpen, Belgium 2 Introduction 5 ‘Blind Chance’ 19 ‘Lock, Wallet, Write, Park’ 27 ‘Bezoeker’ 39 ‘What would you do?’ 65 Bibliography 81 Filmography 87 3 The subject discussed in this research is parallel narratives in film and branching narrative paths that can lead to different destinies for the protagonist. We design parallel narrative videos, show them in different formats, record the audiences’ gaze and interview them about what they understood and how they felt, to explore the audiences’ perception of this sort of narrative. This data will be used to design an artistic end product, an interactive narrative in which the audiences decide what happens next. The questions raised are how the audiences perceive parallel narratives and to what extent implementing diverse narrative forms of presentation can change the audiences’ perception of the narrative? And is there a relation between the audiences’ gaze and which character or branching they prefer in such a narrative? Keywords: Parallel narratives, Audiences’ gaze, Eye tracking, Multi- screen, Audiences’ perception. 4 The subject discussed in this research is parallel narratives in film, series of multiple parallel destinies crucially affected by contingent encounters, interactions, simple changes and choices and how these choices can lead to different destinies for the protagonist. The content of these narratives discusses topics of choices in form of exploring the effect of what might have happened. As a filmmaker and engineer, I try to explore these issues with existing feature films of such structure and my own short films and videos. My aim is to create something that the audiences can relate to and think about outside the frame of the film and cinema and into their normal everyday lives. In this thesis I not only make the narratives, but I have the opportunity to hear and document the feedback of the audiences and interview them about the narrative and how they perceive it, and how it can affect them in their lives. This text is a documentation of my experience as a filmmaker and an artist and it documents my artistic process and my progress in making my artworks while searching for answers to the questions I have. This text goes hand in hand and chapter by chapter with my artistic practices and contextualizes them. It reflects on my thought process and my progress as I try to create new video pieces in each chapter. Although it may not seem so, each chapter is in fact a part of my artistic process and the combination of all chapters brings me closer to the end artistic work in this thesis. As for the audience’s perception, while most linear narratives cue the viewer to closure, adopting a closed state of mind, some films open the mind to thoughts of choice and possibility, through the presentation of alternate narrative paths. Optional thinking is a process by which the audiences cognitively interact with the narrative and explore other choices, probable narrative paths and other hypotheses, on screen or off screen (Ben-Shaul, 2012). Hence, through discussing other possibilities in parallel narratives, optional thinking and the perception of the audiences about different endings can be amplified. By the will of the filmmaker, the audience’s engagement and the direction of their active attention are guided or manipulated with cinematography, editing, use of color psychology, lighting techniques, mise-en-scène, use of different lenses, different angles, time of each shot, etc. These manipulations are aimed to control and direct viewer's attention, allowing the director to control the perception and the visual priorities of elements within a scene which can be the source of multiple interpretations (Hochberg, Peterson, Gillam & Sedgwick, 2007). As for my argument, to what extent can implementing diverse narrative elements, techniques or forms of presentation change the audiences’ perception of parallel narratives? For example, can 5 showing each parallel narrative next to each other rather than chronologically change the audiences’ perception about the equality of these narratives? In the following chapters, the audiences’ reception will be explored. As previous studies have stated, our response to a film is shaped by the structure of our brains, and instinctive responses to a film are qualified by cognitive factors such as personal experience and culture (Grodal, 2009). Hence, what the audiences see depends on their experiences, preferences, beliefs and how visually literate they are. As for the audiences’ gaze, when making decisions people tend to choose the option they have looked at more, a psychological gaze study with eye trackers has stated (Smith & Krajbich, 2018). There have been numerous studies on gaze tracking for film and video using single screens. The difference is that I want to explore the usage of gaze tracking among several narratives. The argument that I want to explore here is to what extent there is a relation between where the audiences’ gaze accumulates and which version they prefer, in a multiple version narrative. In order to delve into these questions, processes will be put forth using parallel narrative films shown on multiple screens using methods such as gaze tracking and audiences’ interviews to examine the audiences’ reception. On a personal level and for the artistic motivation, I have to explain where the initial idea of this thesis is coming from. Born and raised in a religious country, Islamic Republic of Iran, and being taught mandatory religious courses during fifteen years of school and university, the issues of free will, choice, fate and destiny have had a great impact on me and have always fascinated me. “Qadar” is the Muslim belief that Allah has decided everything that will happen in the world and in people’s lives and fates, which is also called predestination (Lecomte, 1977). The phrase reflects a Muslim doctrine that Allah has written and measured out the span of every person's life, their lot of good or ill fortune, and the fruits of their efforts. Again God does not need to force anyone to do good or evil by interfering with his will, and a person's actions are not caused by what is written, but rather the action is written, because God already knows all occurrences without the restrictions of time (Fleming & Smith, n.d.). The main question in predestination in Islamic theory is whether man has power to act or free will to choose his action. If he has no power or free will, it means that his actions are caused by another power. If he has the power or free will, it means that God's omnipotence is challenged (Mohamad, 1985). In Christianity, as in Islam, there is also discussion about the concept of predestination. Some verses of the Bible mention that man is predestined by God, for example, “who can produce some one clean out of some unclean? There is no one” (Job, 14:4). Besides, there are some verses which point out that man is not subject to the predestination of God. For example, 6 “So that they may indeed see but not perceive, and may indeed hear but not understand” (Mark, 4:12). Most Shi'a Muslims believe that Allah has ultimate control of the world but that people’s lives are down to their own free will. They believe that God knows what will happen, but this doesn’t mean that he decides it. God knows what choices people will make, but they still have the free will to make these choices for themselves. Therefore, Shia Muslims reject predestination (Pohl, 2010). Some Sunni Muslims believe that God has already determined everything that will happen in the universe. Muslims often say Insha’Allah, which means “if God wills”. This highlights that life has already been planned out by Allah and he has determined how each person will behave. Some Muslims like this idea and find it reassuring that if a bad thing happens it must be part of God’s plan (Fleming & Smith, n.d.). On a social level, this belief that whatever that has to happen will happen, has passed from generations to generations in my country and is strongly rooted in our culture. This concept and belief has always fascinated me, and I have always sought it in any narrative and storytelling form. My aim is not to enter into these issues from philosophical, religious or social point of views, but simply to make clear where the idea of my narratives and different choices leading to changing destinies come from and how I can implement it in my videos. Many artistic studies have been conducted on gaze tracking, manipulating audiences’ attention and perception. What makes my research distinctive from previous research is that it facilitates the existing method of eye tracking, to focus on parallel narratives shown next to each other or on multiple screens, to explore the audience’s perception on parallel outcomes and emotions towards different paths and endings. This study will be able to add other aspects and viewpoints to previous studies on audience’s gaze and perception. While other studies with eye tracking (e.g., Rassell, Stadler & Robinson 2015, Redmond & Sita 2013, Rayner et al. 2009, Kawaze & Obata 2016, Smith 2015, Brown 2015) and several studies conducted by Dr. Tim. J. Smith mostly focus on one screen narrative, my study focuses on gaze tracking in multiple narratives.
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