Gondry's work is almost that of a childs perspective and outlook on life. All of his films have that certain direction taken to them. Some of his work is made from cardboard cuts out, shadow play - it has a homemade aesthetic to it, how a child would go about playing. In one of his films he is driving in a cardboard car in a cardboard world, it's dream like and there is an innocence to it. His work has autobiographical roots to it and because of this, there is something terribly nostalgic about watching his films. I suppose it could be questioned with his work, if this is his chance to reclaim his childhood, one that was lost. This type of work could perhaps be expected from someone who as a child had to be the adult of the family and grew up too fast, and now they need to repress back to how things were/ could have been.
Neoteny: is the retention of childlike attributes into adulthood.
Childhood is a time free of judgement and a time where you don't have to be careful what you say or do, no editing over your actions or personality is needed.
When watching Gondry's film work allows for chopping and changing, just like child's play, he makes the unreal and fictional real, again like a child's imagination. One of his most notable films "Eternal Sunshine of the Spotless Mind" has camera screws in it where at times, the main protagonist is made to look as small as a child, Gondry sets up rooms at certain angles to allow for deception. He is also clever in this film with his specifically chosen sound. It helps show the dissolution of memories through its morphing into other things, and again using nostalgic sounds.
I was reading through Samantha WIlliams Dissertation, entitled Forever 12: Recovering and Rejecting an 'inner child'. She found an interesting piece of writing which i found helpful in relation to my writings.
""While there may be a coherent plot, events do not unfold in any steady progression; rather, there are sudden changes in scenario, or scene shifts, which are sometimes baffling. Ordinarily logic is suspended. One can fly. People can turn into animals. We encounter people who have been dead for years, or improbably have converstations with film stars or royalty" (Empson 2002:71). I would like to note that children's fantasy play flows in a similar nature to the narratic of a dream, for example: jumping from one strong emotion to the next, moving through layers of narrative with rapid time and scene changes, reassembling past experiences to blend personal dialogue with fantasy and temporal mobility by means of flashbacks and flash forwards (Paley 2005)."
My writings involve these sudden shifts, changes, but all the while, my film displays her to be lying still - hardly moving. When we look at adults, they seem to be following some sort of monotonus pattern, but perhaps, inside, their mind is still jumping around like a child and finding there inner child - but not that others would know or realise.
Why does the adults inner child have to die? Or pretend to not exist? This fast pace world seems to hold the setting that in order to get anywhere, you need to be an adult. Children spend time wishing to be adults, and adults spend time wishing to reverse it all back. But i hope in my piece to bring these two together. The adult is lay dreaming/ dying, and writings tell of childhood fun where time sped and death collided with childhood.
Neoteny: is the retention of childlike attributes into adulthood.
Childhood is a time free of judgement and a time where you don't have to be careful what you say or do, no editing over your actions or personality is needed.
When watching Gondry's film work allows for chopping and changing, just like child's play, he makes the unreal and fictional real, again like a child's imagination. One of his most notable films "Eternal Sunshine of the Spotless Mind" has camera screws in it where at times, the main protagonist is made to look as small as a child, Gondry sets up rooms at certain angles to allow for deception. He is also clever in this film with his specifically chosen sound. It helps show the dissolution of memories through its morphing into other things, and again using nostalgic sounds.
I was reading through Samantha WIlliams Dissertation, entitled Forever 12: Recovering and Rejecting an 'inner child'. She found an interesting piece of writing which i found helpful in relation to my writings.
""While there may be a coherent plot, events do not unfold in any steady progression; rather, there are sudden changes in scenario, or scene shifts, which are sometimes baffling. Ordinarily logic is suspended. One can fly. People can turn into animals. We encounter people who have been dead for years, or improbably have converstations with film stars or royalty" (Empson 2002:71). I would like to note that children's fantasy play flows in a similar nature to the narratic of a dream, for example: jumping from one strong emotion to the next, moving through layers of narrative with rapid time and scene changes, reassembling past experiences to blend personal dialogue with fantasy and temporal mobility by means of flashbacks and flash forwards (Paley 2005)."
My writings involve these sudden shifts, changes, but all the while, my film displays her to be lying still - hardly moving. When we look at adults, they seem to be following some sort of monotonus pattern, but perhaps, inside, their mind is still jumping around like a child and finding there inner child - but not that others would know or realise.
Why does the adults inner child have to die? Or pretend to not exist? This fast pace world seems to hold the setting that in order to get anywhere, you need to be an adult. Children spend time wishing to be adults, and adults spend time wishing to reverse it all back. But i hope in my piece to bring these two together. The adult is lay dreaming/ dying, and writings tell of childhood fun where time sped and death collided with childhood.