Inspirations from Installation Art: Creating Open Stories and Using Found Works in a Post-apocalypse Animation An exegesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Huang Jifeng M.A. Art Design (SouthEast University, Nanjing, China) School of Media and Communication College of Design and Social Context RMIT University April, 2015 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis/project is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Huang Jifeng 12 April 2015 Acknowledgments I would like to thank my supervisors, Dr. Marsha Berry, Mr. Jeremy Parker and Dr. Dan Torre for their support throughout my candidature. I would also like to thank staff members in school of creative media, RMIT University. This exegesis has been edited. I would like to thank my editor, Meiki.E.Apted, for the quality and effort she has contributed to my exegesis. I also thank my friends who assisted me to finish my animation project: Hong Xiaoyue, Li Yun, Zhang Xiao, Chen Xi, Zeng Hanjing, Xu Yu, Xue XiaoYue, Zheng Beiting, Wang Bo, Mateus Caulkins, Clare Ryan, Leonie McNicol and others as I listed in the animated section. I dedicate this research to my family, especially my parents, Huang ZhengJin and Yan Lijuan. ii iii Table of Contents Acknowledgments ..................................................................................................................... ii Table of Contents ..................................................................................................................... iv List of Figures and Tables ......................................................................................................... x Figures ............................................................................................................................... x Tables .............................................................................................................................. xii Abstract .................................................................................................................................. xiv Synopsis of animation project: The Hero's Journey ............................................................... xvi Chapter 1 Introduction ............................................................................................................. 18 1.1 Research rationale ..................................................................................................... 18 1.2 Research background ................................................................................................. 20 1.2.1 Between installation art and animation .......................................................... 20 1.2.2 Found arts in digital space .............................................................................. 21 1.2.3 The post-apocalypse film and installation art ................................................. 22 1.3 Aim and objectives .................................................................................................... 23 1.4 Research questions .................................................................................................... 23 1.5 Research methods ...................................................................................................... 24 1.6 Scopes and limitations ............................................................................................... 25 Chapter 2 Literature review ..................................................................................................... 27 2.1 Installation art ............................................................................................................ 27 2.2 Postmodernity ............................................................................................................ 32 2.3 Symbols ..................................................................................................................... 34 iv 2.4 Narrative theories and the template of 'the hero's journey' ........................................ 36 1 Narrative theories ................................................................................................. 36 2 The Hero's Journey template ................................................................................ 38 2.5 Non-linear narration .................................................................................................. 39 2.6 Open text ................................................................................................................... 42 2.7 The post-apocalypse genre animation ....................................................................... 42 1 Genre theories ....................................................................................................... 43 2 The apocalypse belief ........................................................................................... 43 2 The apocalypse belief ........................................................................................... 43 3 The post-apocalypse genre on screen ................................................................... 45 2.8 The aesthetic features of animation ........................................................................... 47 2.9 Machinima ................................................................................................................. 50 2.10 Found footages ........................................................................................................ 52 Chapter 3 Methodology ........................................................................................................... 54 3.1 creative-production project ........................................................................................ 54 3.2 Heuristics ................................................................................................................... 54 3.2.1 Reading: surveying literature .......................................................................... 56 3.2.2 Making: the production practice and reflecting on my experience ................ 56 3.2.3 Comparing: comparisons to the work and experience of others ..................... 57 3.3 Research framework .................................................................................................. 57 3.4 Data collection and analysis ...................................................................................... 59 3.4.1 Observation ..................................................................................................... 59 v 3.4.2 Reflective journal ........................................................................................... 59 3.4.3 Interview ......................................................................................................... 61 Chapter 4 The foundation works ............................................................................................. 62 4.1 The practice of The Endangered Earth ..................................................................... 62 4.2 Short stories and animation segments ....................................................................... 66 4.3 The apocalyptic element in foundation works ........................................................... 67 Chapter 5 The practice of The Hero's Journey ........................................................................ 70 5.1 Towards an open post-apocalypse story .................................................................... 73 5.1.1 Creating a linear post-apocalypse story from the pre-existing short stories ... 73 5.1.2 Improving: deconstructing the story and re-assembling the plots .................. 75 5.1.3 Adapting the screenplay to a back story ......................................................... 77 5.1.4 Creating an open story with non-linear narration ........................................... 78 5.1.5 Using the epilogue to subvert the story .......................................................... 80 5.2 Constructing a post-apocalyptic world ...................................................................... 81 5.2.1 Reproducing images of real world in the post-apocalyptic virtual world ....... 81 5.2.2 Reproducing/designing installation works as the virtual space of the story ... 83 5.2.3 Using readymades art works in the virtual space ........................................... 85 5.3 Character design ........................................................................................................ 87 5.3.1 The original design: the detailed anime style characters ................................ 87 5.3.2 Developing: to exaggerate the character......................................................... 89 5.3.3 Towards ambiguity: visual connections between characters .......................... 90 5.4 Storyboarding ............................................................................................................ 92 vi 5.4.1 Using multiple cinematographic techniques ................................................... 92 5.4.2 Deploying multiple production techniques ....................................................