HYPOTHESIS ONE: The trope in Language
"The film, then, making its appeal to the perceiving senses, is free to work with endless variations of physical reality. “Literature on the other hand,” Mendilow points out, “is dependent entirely on a symbolic medium that stands between the perceiver and symbolized percepta…”…Where the moving picture comes to us directly through perception, language must be filtered through the screen of conceptual apprehension.” (Novels into Film; George Bluestone, p.20)"
Can language be purely perceived by the viewer in the way images can? As a graphic designer who deals primarily with typography, and the relationship between type and image - are there ways to use type that allows it to bypass this 'screen of conceptual apprehension' Bluestone describes? How can the viewer be manipulated to both conceptually and perceptually experience language on the screen and on the page? Jonathan Barnbrook's animated sequences for BBC Radio Scotland explored the relationship between spoken word and type on screen in a way that seems to generate a new narrative form. Type here is both read and experienced by the viewer.
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Bluestone's discussion of how the two media can potentially deal with character is also extremely relevant to my detective fiction projects, where I am dealing with adaptation of character;
"Because language has laws of its own, and literary characters are inseparable from the language which forms them, the externalisation of such characters often seems dissatisfying."
Again questions arise around how one can adapt written language to a visual form - to typographic characters or to actual images? How can a graphic designer first understand the laws of language that form a literary character, and transform them into a visual logic? My thesis at this point is less a cohesive argument than a series of hypotheses to test out.
Can language be purely perceived by the viewer in the way images can? As a graphic designer who deals primarily with typography, and the relationship between type and image - are there ways to use type that allows it to bypass this 'screen of conceptual apprehension' Bluestone describes? How can the viewer be manipulated to both conceptually and perceptually experience language on the screen and on the page? Jonathan Barnbrook's animated sequences for BBC Radio Scotland explored the relationship between spoken word and type on screen in a way that seems to generate a new narrative form. Type here is both read and experienced by the viewer.
CLICK TO VIEW
Bluestone's discussion of how the two media can potentially deal with character is also extremely relevant to my detective fiction projects, where I am dealing with adaptation of character;
"Because language has laws of its own, and literary characters are inseparable from the language which forms them, the externalisation of such characters often seems dissatisfying."
Again questions arise around how one can adapt written language to a visual form - to typographic characters or to actual images? How can a graphic designer first understand the laws of language that form a literary character, and transform them into a visual logic? My thesis at this point is less a cohesive argument than a series of hypotheses to test out.
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