A Study on The Fantasy in Digital Cinema

Abstract

With the advent of the movie, the theme of fantasy has been persistently presented. Roger Caillois classify fantasy on fantasy of bias and fantasy of institution. base on this fact, he presents a perspective which states that while that the fantasy embraces ordinary things, he also generates issues with the ordinary and they interfere with each other. By retaining the characteristics of the same, the movie can create scenes of fantasies that reflect the other. In fact, as the expectation of fantasy movie increased, the movie shifts from analog to digital, the possibility of creating fantasy is also diversified. Digitally processed computer graphics images gave new possibility to the movie while fantasy expanding. Cowie Elizabeth emphasized that the subject is not defined since fantasy scenes provide various positions. Therefore, this study unfolds the fantasy of movie realized by digital technology based on the three fantastics of the movie proposed by Cowie Elizabeth. The work for analysis is Disney’s <Beauty and the Beast>, produced in 2017. This is a digital movie composed of virtual characters and Live action characters. Going beyond traditional fairy tale and the animation of 1991, The work of 2017 revealed a new level. The researcher analyzed the <beauty and the beast(2017)> in-depth and the fantasy of bias digital that cannot be realized by analog. The conclusion is as follows. First, in terms of the narrative, the digital has realized the possibility of fantastique by contributing realism on imaginary scenes at the literary level. Second, in the equivalence between characters, the digital lets characters that cannot exist in a real world to be accepted as actual characters by giving realistic realism to the characters. Lastly, the visual substitution achieves fantastique unifying characters by transforming a scene of imagination into a fantastic space. Thus, the digital has been remarkably expanding the fantastic nature of cinema toward the fantasy of bias from the fantasy of institution, and this invites spectators into the space of fantastique. However, Cowie’s characteristics are not the absolute factors to determine the fantastic nature of cinema. Since fantastique can be created through various factors like unconsciousness of spectators, identification, and context in image interpretation. the research aim to discover further characteristics of digital and fantastique in the cinema, from various perspective other than Cowie’s theory.