“It's a Fake!”: Early and Late Incredulous Viewers, Trick Effects, and CGI

Bode, Lisa

doi:10.2979/filmhistory.30.4.01

Cited by 6 publications

(3 citation statements)

References 14 publications

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“…Contrary to Stephen Prince's discourse, some directors who have proven themselves with their work have also expressed their negative opinions about computergenerated images. One of them is Martin Scorsese, who uses effects extensively in most of his movies (Bode, 2018). It can be mentioned here that computer technology is needed, but at the same time it comes with the suspicion of being tricked and can create insecurity for the audiences.…”

Section: The Use Of Effects In Cinema Historymentioning

confidence: 99%

The Use of Digital Effects on Storytelling in Turkish Cinema

ORKAN>

2022

MEDIAJ

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Digitalization and the use of digital effects have an important place in the world and also in our country in many different disciplines. The transition from analog system to digital has affected all mass media. The use of digital technology in cinema also occupies an important place. American cinema was a pioneer when many movies switched from analogue to digital and started to use digital visual effects. The use of visual effects in Turkish Cinema, especially in action and drama genres, is remarkable. Although the words special effects, visual effects and CGI are used interchangeably, they have different characteristics. In these study, whether the use of digital visual effects supports storytelling or not was investigated by discourse analysis method. The most watched movies in Turkish Cinema between 2004-2017 were analyzed. With this method, it was also tried to determine how often popular movies use effects and which types of effects they use more. While effects supported the story in some movies, they caused negative impact on others. One of the important reasons for this reaction is that the effect is not included in the movie in a natural way. Possible economic difficulties in accessing technology can also lead to falling behind.

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Section: The Use Of Effects In Cinema Historymentioning

confidence: 99%

The Use of Digital Effects on Storytelling in Turkish Cinema

ORKAN>

2022

MEDIAJ

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“…She states, 'Yet the "material gravity" of human existence, agency, and self-expression is, for those who can afford it (Schradie, 2011), now thoroughly situated within, and lived through the screens and surfaces of an expanding media ecology' (Purse, 2018: 153). Lisa Bode (2018) similarly notices that, as audiences are exposed to more perceptually real CGI imagery, they become less inclined to believe anything they see. She states, 'A broader viewing culture of incredulity has reemerged due to a combination of production publicity, cult viewing of bad cinema, online forums, editorial photoshopping, and image hoaxes' (p. 1).…”

Section: The Legacy Of Prince's Perceptual Realismmentioning

confidence: 99%

Reanimating the Master Narrative: How They Shall Not Grow Old Curates the Perception of Common Truth through CGI Animation

Woodworth-Hou

2022

Animation

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In 2014, the British Imperial War Museum (IWM) contracted New Zealand-based filmmaker, Peter Jackson, to use their audio and video archives to create a media-based memorial to the men who served in World War 1. The documentary film, They Shall Not Grow Old ( TSNGO), released in 2018, was the product of this collaboration. Jackson took on the project to better understand his own grandfather’s experience as a soldier at the Battle of the Somme. Weta Digital Studios, founded by Jackson, converted the standard WWI newsreel footage into a product that aligned to a modern audience’s perceptual sense of truth. Weta Digital redrew and colored each frame, a process that is strikingly similar to CGI animation. Curiously, Jackson, a filmmaker whose career has hinged on his ability to collaborate with CGI animators, does not describe his new historical film treatment as animation. This article first argues that TSNGO is following in the footsteps of previous CGI animated films, in particular those that have re-edited historical footage, but more importantly asks: why would Jackson prefer to keep the word ‘animation’ out of the discussion about his new historical documentary? The answer to this question leads us to a critical discussion about how animation has become both the preserver and ‘re-imaginer’ of existing historical archives.

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“…Corridor and Corridor Crew tap into a long history of illusionism and visual effects practice, built on a relationship between creator and viewer. As North (2008), Ndalianis (2015), Bode (2018) and others have argued, illusionism such as stage magic and special and VFX, is distinct from deception Its aim is to fool the eye but not the mind, and it treats image-making as an ongoing perceptual game between creator and viewer, where the illusionist adapts each trick to test and circumvent the viewer's evolving perceptual limits and knowledge (North, 2008: 13). This interplay of knowledge between illusion creators and their audiences has operated in different ways at different times.…”

Section: Deepfake Contextualisation: Youtube Corridor Digital and Platform Vfxmentioning

confidence: 99%

Deepfaking Keanu: YouTube deepfakes, platform visual effects, and the complexity of reception

Bode

2021

Convergence: The International Journal of Research into New Med

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On July 14, 2019, a 3-minute 36-second video titled “Keanu Reeves Stops A ROBBERY!” was released on YouTube visual effects (VFX) channel, Corridor. The video’s click-bait title ensured it was quickly shared by users across platforms such as Facebook, Twitter, and Reddit. Comments on the video suggest that the vast majority of viewers categorised it as fiction. What seemed less universally recognised, though, was that the performer in the clip was not Keanu Reeves himself. It was voice actor and stuntman Reuben Langdon, and his face was digitally replaced with that of Reeves, through the use of an AI generated deepfake, an open access application, Faceswap, and compositing in Adobe After Effects. This article uses Corridor’s deepfake Keanu video (hereafter shorted to CDFK) as a case study which allows the fleshing out of an, as yet, under-researched area of deepfakes: the role of framing contexts in shaping how viewers evaluate, categorise, make sense of and discuss these images. This research draws on visual effects scholarship, celebrity studies, cognitive film studies, social media theory, digital rhetoric, and discourse analysis. It is intended to serve as a starting point of a larger study that will eventually map types of online manipulated media creation on a continuum from the professional to the vernacular, across different platforms, and attending to their aesthetic, ethical, cultural and reception dimensions. The focus on context (platform, creator channel, and comments) also reveals the emergence of an industrial and aesthetic category of visual effects, which I call here “platform VFX,” a key term that provides us with more nuanced frames for illuminating and analysing a range of manipulated media practices as VFX software becomes ever more accessible and lends itself to more vernacular uses, such as we see with various face swap apps

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“It's a Fake!”: Early and Late Incredulous Viewers, Trick Effects, and CGI

Cited by 6 publications

References 14 publications

The Use of Digital Effects on Storytelling in Turkish Cinema

The Use of Digital Effects on Storytelling in Turkish Cinema

Reanimating the Master Narrative: How They Shall Not Grow Old Curates the Perception of Common Truth through CGI Animation

Deepfaking Keanu: YouTube deepfakes, platform visual effects, and the complexity of reception

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