What we’ve got here is what Jake likes to call “VUE craziness”, and I guess I’ll have to give him that on this one.
At this stage in the game, I’ve gotten to the point where I “know” all that I need to include in this site, now the trick is simply linking it all together in a cohesive-yet-still-not-overwhelming sort of sense. I really want to display the information, as it is within the movie, but also outside of it. Analyzing each symbolic narrative to weigh its conceptual merit. It is an extremely delicate balance, and one I’ve teeter-totterd for months.
When I view the shot of the Grady girls within the games room, I see a sort of Renaissance painting.
During one of my many Art History classes, a professor talked through this Dutch painting by Van Eyck, and it’s probably one of the starting seeds that has led to this project. He explained that every element within the painting, right down to the gesture of the male’s hand, the introduction of the dog + shoes on the floor, the color of the woman’s dress, and even the porthole behind them, had a purpose. Not just a purpose, but a clear-cut message painted straight for the viewer to see and glean knowledge from. Of course now the paintings are taught in Art History classes, but Kubrick’s films are not.
When I see the shot of the Grady girls in the Games Room I see so many composed messages embedded within the layout. I’m not necessarily focused on what it all means, as I don’t know if anyone will ever know for certain, but where they all connect and overlap– in the hopes that the greater context of the symbols will give some insight, that is something I will definitely be sorting out.