Narrow

Narrow

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‘Narrow’ seeks to question our complete comprehension of the objects we interact with, when in reality our understanding is heavily shaped by our experiences and environment

The film ultimately endeavours to confront audiences about how they view the world and whether this ‘view’ is all encompassing and all accepting. Principally constructed through the notion of frames within frames, these physical constraints symbolise how individual’s perception of items/things importance is often narrowed and tunnelled by their individual beliefs and experiences.
This experimental film is predominantly inspired by famous Hong Kong director Wong Kar Wai and in particular his movie ‘In The Mood for Love’. Wong Kar Wai similarly uses this notion of frames within frames to communicate narrative and character implications. Perhaps just as influential was WAYFARER by Tiffany Tan, a Swinburne student. Utilising frame by frame drawings, she was able to animate and construct a digital landscape by referencing the real word. In a similar way, ‘Narrow’, utilises this animation technique to illuminate the plethora of connotations associated with the key objects.
Furthermore, ‘Narrow’ manipulates the colour space to reinforce the questions it seeks to pose – desaturating and oversaturating images that are framed by other objects and constructing a naturalistic rendering of colour for the images that are not narrowed. The final aspect of ‘Narrow’ centres around the flicker/the montage. Through adding framed flickers into the hero shots, the film attempts to reinforce the idea that whilst we may think we understand the full perspective, that idea is ultimately trivial in reality. The specific items shot will be a representation of life necessities such as food, water and communication. Narrow aims to shine a light on their importance to different people and perhaps how sometimes those in more privileged positions overlook these aspects as they are almost a given in their lifestyles.

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