Blue Screened Realities
Films have influenced the human psyche in many ways, from seeing the world through rose-coloured glasses to reflecting the realities of societies. However, the unprecedented technological boom since the early 2000s has provided us with a new way of experiencing life— through the blue screen.
With the digital revolution, virtual reality (VR) and AI are etched into our minds. This has led to a recent surge in deep fake technology and interactive cinema, pushing boundaries for filmmakers and audiences alike. However, as with anything new to the club, some ground rules must be established. Will the newest members abide by them?
Connecting Cultures & Virtual Reality: Two sides of the coin
VR has created immersive cultural experiences by educating and empowering audiences without excruciating travel and tourism-related exploitation.
‘The Congo VR project’ by The Digital Nomad: provides an immersive look at the Congo Basin in which users can explore the rainforest and its indigenous communities. The intention is to raise awareness and educate people about conservation efforts and the cultural richness of the region.
However, the risk of cultural appropriation is heightened due to potential oversimplification or misrepresentation, where complex cultural narratives are reduced to easily digestible—and sometimes inaccurate—experiences for the sake of entertainment.
‘Clouds Over Sidra’ by the United Nations: to provide a virtual tour of a Syrian refugee camp, oversimplifies the complex realities of refugee life and unintentionally reinforces stereotypes.
With mediums like these, creators must exhibit cultural sensitivity by committing to the constant evolution of projects backed by research. This way, these digital experiences respect and accurately represent the cultures being exhibited. Having representatives of the culture or providing opportunities for people to portray their own cultures will be beneficial.
Democratisation of Filmmaking: Empowering Independent Creators
As a filmmaker, you can personalise your career/artistic path. The most traditional and often dehumanising method was to get the attention of executives or producers to get an opportunity to make a film, which had a high possibility of being tainted by the studio. However, online tools at the disposal of the majority — affordable digital cameras, in-built cameras within phones, editing software, and online distribution platforms— have empowered a new generation of storytellers to create, produce, and distribute independently. Platforms like YouTube, Vimeo, and social media have provided independent creators with direct access to global audiences. This has caused a surge in diverse works that bend genres, themes, traditional mediums, and formats.
Here are some examples of innovative creatives that have created their brand with social media:
Mowglee Lee (@mowgly_lee): filmmaker and creative director known for crafting visually striking, experimental short films and music videos with vibrant aesthetics.
Tati Bruening (@ilumitati): visual artist renowned for nostalgic, analog-inspired portrait photography, capturing dreamy, often liminal intimate moments.
Nadia Lee Cohen (@nadialeecohen): bold, cinematic imagery and surrealist, 1960s-inspired visual storytelling.
Zhamak Fullad (@zhamakthecat): digital artist and designer who creates surreal, futuristic illustrations, blending bold colors and cyberpunk aesthetics.
BRTHR Films(@_brthr_): a directing duo known for producing fast-paced, hyper-stylized music videos and commercials with vibrant colors and chaotic energy.
Cho Gi-Seok (@chogiseok): a photographer and visual artist whose work blends fashion, nature, and surreal elements to create ethereal, thought-provoking visuals.
Deepfake Technology: Creative Potential vs. Ethical Concerns
While digital tools have democratized filmmaking and introduced new forms of storytelling, they have also brought about ethical dilemmas, particularly with the rise of deepfake technology. Deepfakes use AI to create hyper-realistic fake videos, allowing filmmakers to manipulate images and performances like never before. This technology has been used creatively in cinema, for example, to de-age actors, resurrect historical figures, or even create entirely new performances.
However, the use of deepfakes in film also raises significant ethical concerns. The potential for misuse is high, particularly in creating misleading or deceptive content that could be used for malicious purposes, such as spreading misinformation or violating the likeness rights of individuals. The challenge for filmmakers and regulators alike is to balance the creative possibilities of deepfakes with the need to protect against these risks. Establishing industry standards and ethical guidelines is essential to ensure this powerful technology is used responsibly.
Interactive Cinema: The Future of Storytelling
Another aspect of digital filmmaking is Interactive cinema, where the audience can make decisions directly affecting the storyline, a concept not too foreign to video gamers.
Netflix’s “Black Mirror: Bandersnatch” has made this format accessible, offering viewers multiple storylines and endings based on their choices. This approach to storytelling blurs the line between film and video games, creating a highly engaging and personalized hybrid form of entertainment.
Here are some examples:
“You vs. Wild” (2019): Netflix’s interactive series stars survivalist Bear Grylls as he embarks on various outdoor adventures. The viewer makes decisions that determine how Bear approaches each survival challenge.
“Train to Busan VR" (2019) – South Korea: a VR adaptation of the popular zombie thriller Train to Busan. This interactive project enhances the horror genre by making viewers actively responsible for their survival.
"As Dead as It Gets" (2021) by Abhimanyu Mukherjee - India: Available on Hoichoi (Bengali OTT Platform), this interactive web series is one of the first from India, specifically Bengali cinema.
References:
Bolter, Jay David, and Richard Grusin. “Remediation: Understanding New Media”. MIT Press, 1999.
Manovich, Lev. “The Language of New Media”. MIT Press, 2001.
Rubin, Peter L. "The Impossible Dream: How Netflix's Black Mirror: Bandersnatch Was Made." “Wired”, 2018.
Carroll, Noël. “Theorizing the Moving ImageW. Cambridge University Press, 1996.
Groys, Boris. “In the Flow”. Verso, 2016.
Whissel, Kristen. “Spectacular Digital Effects: CGI and Contemporary Cinema”. Duke University Press, 2014.
Written by Sabrina Joseph
Animations by Anjali Swarstad
