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Final Script

  Golden Tickets 15min INT. BASEMENT - DAY In the darkness, an alarm clock beeps and is promptly turned off. Frog turns on the light, sits up in bed, and opens the window. The window gets stuck after opening just a small crack. Frog reaches into the darkness and takes out an exceptionally long cotton swab. Frog swirls the swab in his mouth, then extends it out the window. Sounds of a stick breaking and files being flipped through can be heard from outside. The window is closed, and Frog touches his mouth before heading to the bathroom to wash up. In the bathroom, Frog brushes his teeth while making a phone call to his mother. PHONE: Hello, the number you have dialed is currently unavailable. Please try again later. Sorry, the number you call... Frog has no reaction. He puts down the phone and sits at his workbench. The workbench is homemade, cluttered with various tools and a large cardboard box filled with assorted materials. Frog cuts two pieces of green fabric and places them on...
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The Fiction of Truth and the Truth of Fiction（chapter 4）

关于数字融合的讨论的盛行导致了人们对电影在这种环境中的命运的明显焦虑，以及对艺术如何最好地跟上日常生活日益媒体化的步伐的质疑。 艺术、电影和新媒体成为互相影响的三角关系。 电影缪斯化？ The prevalence of discussions about digital convergence has led to palpable anxiety about the fate of film in this environment, and questions about how art can best keep pace with the increasingly media of everyday life. Art, film and new media have become a triangle of mutual influence. Film MUSES?
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The place of artists' cinema: Space, site and screen.

Connolly, M. (2009). The place of artists' cinema: Space, site and screen. Intellect. 电影作为一种过时的交流形式出现，一种可能具有救赎力量的过时技术。道格拉斯对电影的使用将其视为一种古老的媒介，但这样做是为了开辟一种新的移动影像实践，这种实践可能会反映出新颖与过时、主观性与技术之间的相遇，这标志着我们的时代。 电影在艺术空间中重塑。尽管在电影研究学科中很少被探索，但当代艺术中移动影像的爆炸式增长构成了近几十年来电影概念被重新谈判和重新定义的主要场所。 新的电子媒体的霸权日益巩固， 当代艺术中电影作为一种新媒介的动员在很大程度上参与了其运动。它打破了电影和艺术图像制度之间曾经相对僵化的界限，并象征着数字化后移动图像的新可变性和可传播性。 在上个世纪的大部分时间里，许多艺术家都坚定地努力消除他们对移动影像的使用与电影的大众文化机构之间的任何关系。从事电影和录像工作的艺术家倾向于拒绝幻觉和叙事，而是与其他媒体（如雕塑和表演）建立联盟。 人们目睹了电影比喻和惯例的明显培养，如布景、蒙太奇、奇观、叙事、幻觉和投影。 谈论电影新的本体论的不稳定性可能会冒着历史盲目性的风险，因为很明显，电影的本体论一直是多样化和可变的，从一个无声的技术奇迹发展到CinemaScope的史诗奇观和大片的出现，再到电视广播和VCR平台的小屏幕。然而，可以肯定的是，自20世纪90年代以来，广泛的数字化引发了对电影材料和电影制度命运的各种明显的焦虑。 当代不仅仅是一个融合的时刻，也是一个释放多种媒介特性的时刻，这些特殊性将电影的概念分散在不同的概念和材料空间中。 电影语言的更迭基于新旧媒体的交替。 Film emerged as an outdated form of communication, an outdated technology that might have redemptive power. Douglas's use of film sees it as an ancient medium, but does so to open up a new practice of moving imaging that might reflect the encounter between ...
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Cinema expanded: Avant-garde film in the age of intermedia

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Walley, J. (2020). Cinema expanded: Avant-garde film in the age of intermedia. Oxford University Press. https://doi.org/10.1093/oso/9780190938635.001.0001 Leaping ahead now from Copper Age Europe to 20th-century New York—specifically Tribeca on June 18, 1975. Avant-garde artist-turned-filmmaker Anthony McCall “premiered” his  Long Film for Ambient Light  at the Idea Warehouse, an abandoned industrial building  cum  makeshift artists’ space at 22 Reade Street (fig.  I.5 ). McCall’s film “ran” from noon of the 18th to noon the following day, during which time spectators could come and go as they pleased and move about the space at will. Viewers arriving to see  Long Film for Ambient Light  encountered a large, bare, industrial-looking room with a bank of windows along one wall covered by diffusion paper; by night, a single bare bulb hanging from the ceiling provided the only light. A timeline marking off 50 days in one-hour increments ran along one wall,...
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Exhibiting cinema in contemporary art.

Balsom, E. (2013). Exhibiting cinema in contemporary art. Amsterdam University Press. Chapter One - Architectures of Exhibition site Today, as Francesco Casetti says, the question today is not just Bazin's "What is cinema?" But it's also "Where's the cinema? "Cinemas have migrated to many new exhibition venues, transforming these venues through their presence and by their turn. The discussion of analog/digital conversion is very important, but it must also take into account the fact that film exists in a wider space, and that advanced projection technology and the digital technology of images (AR and VR) have transformed the old medium of film into a new one. If you ask "Where is the cinema?" Answer: "Soon, everywhere!" " Michaud once said: "Today cinema goes beyond the habit of presenting images in the screening room, and that is the legacy of theatre: from now on it is a way of conceiving and presenting images." I...
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From silent screen to multi-screen

Hanson, S., & Manchester University Press. (2019). From silent screen to multi-screen: A history of cinema exhibition in britain since 1896. Manchester University Press. By the end of the 1980s many of the features of the cinema were beginning to find their way into the domestic sphere. The traditional television screen format of 4:3 ratio began to be supplemented by the 16:9 widescreen format, which was able to show many feature films without the need for cropping (known as ‘pan and scan’). Many manufacturers are now offering back-projection, plasma and LCD (liquid crystal display) television sets with screen sizes of up to 60 inches, which offer substantially improved picture quality and clarity. Two-channel stereo has given way to five, six and seven-channel surround sound, such as Dolby Digital and Dynamic Theater Sound (DTS). These developments, coupled with the advent of digital broadcast technology, as typified by Sky Digital, cable and Freeview digital services, offer the p...
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Production record

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Editing idea · Slow narrative pace · Reduce camera cuts · Try to use synchrony · Differences in radio dubbing style and character presentation · The color palette is blue, which sets off the character and living environment Insufficient The lighting is not good, the suitable site is not found, and the overall mirror space is limited. property 
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