University of Southern California Dissertations and Theses

The illusion of communication

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The illusion of communication

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Content The Illusion of Communication
By
Zhan Chang
Master of Fine Arts
Interactive Media & Games Division
School of Cinematic Arts
University of Southern California
August 2016

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Table of contents
Introduction..........................................................................3
Part I Initial Concept and Goals...........................................5
Part II The process ..............................................................11
Part III Prior Work...............................................................16
Works Cited.........................................................................25

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Introduction
700 to 730 is an interactive cinema piece and a video installation that allow the audience to
create montage through the experience.
One audience/player is invited in an enclosed space, a one-man theatre, with the projection
screen in the front and a control station at the other side of the space. One the control station is a
wooden box that looks very much like a vintage radio. There are two knobs on the side that the
audience/player can tune to change the shot played on the screen.
The narrative of 700 to 730 is about a 7 years old girl who lives with her grandparents in a senior
apartment.
The opening of the film starts with the girl wakes up in the morning and finds her in the
apartment by herself. As she walks around different rooms, she noticed that everything is
wrapped with white clothes. The only thing that’s revealed is a telescope in front of the window
in the living room, as she looks into the telescope, the world changed, white clothes revealed,
grandparents are back sitting in the dining room calling the girl to join them for breakfast. That’s
when the audience can start to interact with the film by tuning the knobs.
The story then lead the audience/player go through a day in the life of the three characters. Some
of the key events include: girl watching grandpa assorting pills into small colorful medicine
boxes; grandma asks the girl to take a nap at noon and tells her the story of a witch kidnaps kids
who don’t; the three of them ended up watch TV in the afternoon while the characters in the TV
shows come out and dance around in the living room.

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By tuning the knobs, the audience/player gets to see what usually considered to be the main story
that introduce what happened during the day among some other shots that’s relevant to the story
world but doesn’t necessary serve the story telling. For example, in the scene when grandpa is
assorting the pills, in the main story channel audience/play may see a medium shot with grandpa
on the right side, the pills on the table in the middle and the girl on the left observing the process
carefully. When audience/player tune around, they may see an extreme close-up shot of the girl’s
eyes looking in one direction or even the camera without any context; a close-up shot of the
grandpa’s fingers dance around colorful pills (which may not be the case in the main story); a
shot of the old man’s throat swallowing; a shot of all the medicines in display etc.
By tuning around different channels, the audience need to adjust themselves from various shot
types, objects, compositions, not to mention different perspective and alternative reality.
The interactive session ends when the girl looks into the telescope again at midnight, she turns
around when she hears a door knock. The room then restore to the setting at the beginning where
everything’s covered with white clothes.

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Part I Initial Concept and Goals
I Intent

Fig. 1.1.1 Intent patch I made for the project.

This intent patch is created when I tried to decide what to do for the thesis. Listed there are some
of the major concepts I’m interested in exploring. They are interrelated in a way I haven’t
imagine it would be before.
As an introvert and a heavy thinker who enjoys finding my own existence in the painfulness of
constant reflection and exploration, I spent a lot of time in my past life play with some notions,
interact with the inner voice. Studying inter-media art in college exposed me to various media

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technology and its potential to make art work. I’m surprised to find that “all classical, and even
moreso modern, art is “interactive” in a number of ways. Ellipse in literary narration, missing
details of object in visual art, and other representational “shortcuts” require the user to filin
missing information. Theatre and painting also rely on techniques of staging and composition to
orchestrate the view’s attention over time, requiring her to focus on different parts of the display.
With sculpture and architecture, the viewer has to move her whole body to experience the spatial
structure.

Modern media and art pushed each of these techniques further, placing new cognitive and
physical demands on the viewer. Beginning in the 1920s, new narrative technique such as film
montage gaps between unrelated images. Film cinematography actively guided the viewer to
switch from one part of frame to another. The new representational style of semi-abstraction,
which along with photography became the “international style” of modern visual culture,
required the viewer to reconstruct represented objects from a bare minimum- a contour, a few
patches of color, shadows cast by the objects not represented directly. Finally, in the 1960s,
continuing where futurism and dada left off, new forms of art such as happenings, performance,
and installation turned art explicitly participational--- a transformation that, according to some
new media theorists, prepare the ground for the interactive computer installations that appeared
in the 1980s.

Interactive computer media perfectly fits this trend to externalize and objectify the mind’s
operations. The very principle of hyperlinking, which forms the basis of interactive media,
objectifies the process of association, often taken to be central to human thinking. Mental

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processes of reflection, problem solving, recall, and association are externalized, equated with
the following a link, moving to a new page, choosing a new image, or a new scene. Before we
would look at an image and mentally follow our own private association to other images. Now
interactive computer media ask us instead to click on an image in order to go to another image.
Before we should read a sentence of a story or a line of poem and think of other lines, images,
memories. Now interactive media asks us to click on a highlighted sentence to go to another
sentence. In short we are asked to follow pre-programmed, objectively existing associations.

This is a new kind of identification appropriate fro the information age of cognitive labor. The
cultural techonolgies of an industrial society- cinema and fashion – asked us to identify with
someone else’s bodily image. Interactive media ask us to identify with someone else’s mental
structure. If the cinema viewer, male and female, lusted after and tried to emulate the body of the
movie star, the computer user is asked to follow the mental trajectory of the new media designer.

This level of interactivity shocked as I used to think communication is an effort in vain because
human is supposed to live in forever solitude. Any shared knowledge/language especially is the
block of communication. I came into the field of interactivity almost like a spy. I wanted to work
on project that address the seductive nature of interactivity.

Solitude as a state of life that I’ve been enjoying and living in for many years, is always an
inspiration for me. However, can interactivity create isolation? can we isolate the
player/audience from an interactive experience?

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This immediately reminds me of my experience growing up finding fun and interests in things
that are not by design. I’m always curious about how kids play and their ability to grab
something playful experience through thin air. Adults however, get so used to the idea that play
should be designed and with certain rules to follow, lost the ability to enjoy “nothing.”
Eisenstein Sergei, the film director and film theorist, a pioneer in the theory and practice of
montage, in his essay “film form-new problems”, talked explicitly about the ability of cinema to
render the syntax of inner speech, a syntax of image clashes and overlaps which only later was
translated and tamed into the logic of uttered speech. Jean Piaget, clinical psychologist known
for his pioneering work in child development suggested, as might be expected, that children
operate in a world of inner speech made up of a collage of images. They slowly lean to modify
their personal world when this inner speech is repeatedly confronted with an external situation to
which it does not conform. Usually inner speech is largely replaced by operative public syntax
by age seven. It is characterized by several aspects which related to Eisenstein’s film theory.
First, it occurs in “unconscious movement” from image sequence to image sequence. Second, it’s
“transductive” in that the child attribute causation to the visually associated element in
juxtaposition. Finally, it exhibits a basic “syncretism” which clusters numerous elements into a
single event. As it suggested by latter theorists:
Eisenstein employed none of Piaget’s vocabulary, but we can say that he wanted the
cinema to resurrect inner speech. He wanted the flow of inner speech to be activated by
montage and to build toward an emotionally significant event through visual
juxtaposition. In Piaget’s terms, he wanted cinema to become or to produce a “global
syncretism of individual transductive inferences.

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The convergence of “child’s play” and cinema as a self-expressive tool that can resurrect that
fascinate me, which bring me to work on this interactive cinema piece 700 to 730.
II Goals
A. Narrative: Solitude out of solidary
The thesis project starts with the question, "How can interaction aid in the creation of an isolated
experience?" The first goal of the project is to create a narrative structure that is comprised of
number of things and/or people. Each character and event will be separate yet connected to other
characters and events. The relationships between these characters and events will be forming the
whole narrative structure. The key is the fact that everything seems to be following set paths.

B. While interacting: Player/Audience/Designer/Director
The second goal of 7OO to 73O is to discuss the role of a player/audience/designer/director and
explore how one person can switch their role in creating and experiencing the project.
The film will be directed by me but edited by the audience. I will design the interaction between
the player and the game system while the interaction between the film and the player will be
defined by the player. Encouraging the player to create an experience of their own will raise their
self-awareness while they play and foster appreciation for what they can provide to themselves.
C. Explore game play through cinematic language
The approach to one story through a game form or a cinematic form can be quite different
sometimes. For instance, to talk about a hero’s lonely journey, a film would like the audience to
share the emotion, feel the solitude that the hero feels. In games, the player’s attention is usually
focused onto something, fancy world-building or a rewarding system, dismissing the fact the
hero is alone all the time. It is the nature of interaction that makes game experience tend to

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emphasize excitement, an interesting side story or celebration of an action instead of stillness or
consequences.
Film and games deal with space quite differently as well. Films don’t hide the fact that there is
always time and space hidden from the camera (say, what happened behind the camera); it
creates tension through that sometimes. The game gives the freedom to explore a whole space,
even if it’s just an illusion. The player doesn’t tend to see it as hidden, but rather a space that has
not yet been created.
I am hopeful that the combination of all these things will foster a new type of game feel.

Besides the experience goal, I set up a couple of goal for myself:
a Learn team-building and work collaboratively no matter what
b Establish a healthy, crunch-free, professional working habits
(just a spoil alert, I did manage to achieve some of the first goal and failed very hard on
the second one.)

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Part II The process
I Phase One: Prototypes and Experiments.

Fig. 2.1.1 a collage of several prototypes I built for the first phase.

The first phase of developing the project is about experiments and exploring new boundaries.

I built several prototypes each apply different mechanism, and experiment with the ways of
storytelling and how filming techniques impact on the ways people perceive it.

A. In terms of mechanism, I built prototypes that run based on button-clicking, keyboard
pressing, screen-clicking and second screen control. Among the various experiments,
using keyboard with a brief tutorial is most intuitive to the player.
B. I started to build the story based on 5 different character. One of the main influence I had
during this phase is the work of Adam Elliot’s, who is an independent Australian stop-

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motion animation writer, director. His work usually has a minimalist approach and a
spare narration to drive a very simple remembrance of small events. I designed small
dialogues and simple narrations from different perspective for the characters and film it
out, but it didn’t go well. One of the main reasons why the style doesn’t work with my
project is because Adam’s work featured clay-made animated character while mine is
using real people and props, which is too straightforward and not very fun to watch.
C. I tried to apply the philosophy of database cinema and build video database that can be
clearly categorized based purely the. And have to give up the idea because of the scope of
the project, also its metrology doesn’t help realize my goal of the project.
II Phase Two Professional Film production

i. The assets for the project is film footages. I did want to have the imaginaries looks
craft and professional. Working as a one-man band most of the time through previous

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projects makes me want to collaborate with people and get professional helps. These
are the two main reason that motivate me to reach out for film people and started to
recruit the film crew. I eventually gets composer, sound designer, production designer
and some production assistant to help making the film. The outcome of the team work
is great. We got visually compiling footages that most of the people who playtested it
enjoyed. However, something about it that is too craft and industrial like makes me
doubt if it is what the story need. Many feedbacks I got from player mentioned the
idea that solitude can be a beautiful thing. To define solitude as beautiful is not what I
want. Art is what artists do. Sculpture is what artists do with solid materials. In the
same way, film art is what filmmakers do with these tracings of reality. I in some way
agree with Andre Bazin, who had a horror of prescriptive aesthetics which dictate
what is cinematic from what is not. Always the existentialist, he believed that
“cinema’s existence precedes its essence” (what is cinema? P.71) that theorists must
describe and explain what has been done in cinema instead of deducing what should
be done from some abstract system and an artist’s vision should be ascertained from
the selection he makes of reality, not from his transformation of reality.

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III Phase Three New way of working

A. The script, based on some feedback and reflection of the project, has changed for the last
time. The parents’ roles got cut, girl and her grandparents are the only three characters in
the film. The time past in the film is also reduced from 5 years to 30 minutes (one day).
The tutorial doesn’t work well and is replaced by simple text instructions.
B. Learnt a lot from the previous film production experience, I become more selected when
approaching to people about the project and begin to take more control over the progress.
I got a producer who’s very committed in the project. We decide to do it using minimal
resources. The shooting experience is way more comfortable, inspiring and efficient this
time with better planning and everyone’s committed to it. We managed to quickly go
through almost everything and come out with a theatrical version of the film. We learn
through doing. The experience shooting the footage this time benefits the final film

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shooting in China. And the Final version is a more craft and designed version based on
Phase Three’s test.
C. We decide to build a new control panel, something we ve been thinking about for a long
time and finally made it through this phase.
III Phase Four New way of working
Phase four is the project currently at. And it’s also the version that is going to shown as my thesis
project during the IMGD MFA thesis show.
I ll keep work on building a solid and durable control panel. And tweak the control & selection
of footage to show based on playtests.

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Part III Prior Work
I Prototypes & personal work completed to Date
A. “Play.with.yourself.”

Fig. 3.1.1. illustration of the card game “Play.with.yourself”; ztnhhea.wordpress.com, self-made
; 11 Mar. 2014.
“Play.with.yourself.” is a card set that I designed to foster gameplay. The player follows the
instruction on each card to create a playful/awkward/interesting/tedious/… experience by
themselves.

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Some of the instructions are:
Pretend to be on the phone for 5 minutes in a public space.
Rib/Rub a piece of paper, say to yourself “This is delicious” while doing it.
Use your ten fingers as six of them, type how you feel about it.
Watch yourself in the mirror smelling a little tangerine.
Look at something carefully while touching something else that is completely out of sight (Don’t
use your hands.)
Etc.
During the playtest I hold in class, I got to invite everyone to play3-5 of them. It turned out to be
more about the concept instead of the play. It also reflects on an awkward relationship between
the designer and the player. Does the designer own all the rights of the instructions on the card?
Or does the player have it? Is it necessary to follow the rules when one of the rules provides you
the freedom to break it?
In the situation this game provides, the magic circle becomes more likes a magic bubble that the
player creates to include himself or herself in but they can’t (See the illustration above). It makes
me reflect on my second goal of thesis. How to keep the balance between the two roles (designer
and audience) I want my player to take?

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B. Google Form Series: A study of Human

Fig. 3.1.2. Screenshots of the google form prototypes; ztnhhea.wordpress.com, self-made; 13
Mar. 2014.

Home.less, Take a stroll down your memory path and Snail are three prototypes I create with
Google form that fall in between of research and word game. Through a series of designed
question, players are led to think of some events happened in the past and are suggested to
modify some aspect of the memory. Compare to “Play.with.yourself.”, there’s more possibility
that these forms will be filled out when the player’s not required to. Most players don’t feel the
existence of a designer behind the question; they want to take credits for their memory and
creations.
After submitting the form, the player gets to see other people’s writing/response. The concept of
memory/story suddenly becomes more abstract to people, because they haven't lived through
other people's life/story.

C. I felt a funeral in my mind
I felt a funeral in my mind is my final year project for BA in critical inter-media art.

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I felt a funeral in my brain is a generative 4-channel video installation. The work started with an
intuitive notion of making various video clips, and developed into a combinatorial video work
later adopted into video installation.
Studying the videos, I am stimulated by the discovery that every video may share some common
characteristics with others while being unique in some way. Numerous potential relations among
the videos meet the nature of a generative process well.

Gilles Deleuz’s theory of the “time-image” and “movement-image” shocked me with its
philosophical approach to cinema: “Cinema itself is a new practice of images and sign, whose
theory philosophy must produce as conceptual practice.
1
” He suggests that cinema as a
philosophical construction is consist of concepts itself instead of generating theories about
cinema.
This inspiring yet hard to comprehend idea made me curious about the experience we usually
have when watching moving image and motivated me to do a project with it.
Meanwhile my personal interests of making videos made me decide to use self-made video clips
as the objects to experiment with. I hope to learn something from my videos by the end of the
project, and gather experience from the art practice of a generative process.

The experience from working on this project is definitely something I kept referencing while
working on 700 to 730.

1

Gilles
Deleuz,
“Cinema
2:
The
Time-‐image”,
translated
by
Hugh
Tomlinson
and
Robert
Galeta,

The
Athlone
Press
London,
1985

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D. Wanderer

Fig. 3.1.3. Photo documentation of the installation “WANDERER”; ztnhhea.wordpress.com,
self-made; 13 Dec. 2012.

WANDERER is an installation specifically created for Run Run Shaw Creative Media Center in
Hong Kong.
The idea is to have paper-made human models in different corners of the building.
These models are not NPCs, they don’t talk to you or themselves, give you information of your
next task. They, in a way, are holding their stories as secrets (e.g. how they end up there, the
cloth they wear) that the audience is not able to access.
By the second day of the exhibition, people, saying things that they assume the models say, put
signs on some of the models. They want to be able to figure out what is going on with the others.

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The audience nowadays doesn't know how to deal with mysterious non-interactive installations.
Interaction is seductive.

E. Some short films.

Fig. 3.1.4. Series screenshots from the short film “Onchi”, “Tweehonderdvijftig” and “Ancient
Tune”; ztnhhea.wordpress.com, self-made; 11 Mar. 2010.

Ongchi, Tweehonderdvijftig and Ancient tune are three short films that I made (I did everything
except the acting in those films). These film projects have provided me with the opportunity to
have practice in aspects of filmmaking, understand and realize the importance of leadership and
teamwork.
Ongchi follows the day in the life of a quiet girl who has her own world, while Ancient tune
documents a group of folk artists’ performance on the New Year’s Eve, focusing on the
backstage. Tweehonderdvijftig is an experimental film inspired by Deleuze’s concept of
movement-image, discussing the role of narrating that montage may play and the tense/sense of

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time it creates, which is also something that I need to put thoughts on during the development of
7OO to 73O.
These three films set up the mood of the narratives that I’m interested in. The characters in
Ongchi and Ancient Tune are inspiring in the writing of 7OO to 73O.
II Prior Art
Various works in the field of film and interactive media have contributed to the formation of
7OO to 73O.
A. Synecdoche, New York

Synecdoche, New York is a 2008 American postmodern drama film written and directed by
Charlie Kaufman. It’s about Caden Cotard, A theatre director, who struggles with his work, and
the women in his life, as he creates a life-size replica of New York City inside a warehouse as
part of his new play. The character’s last name, Cotard is a reference to the Cotard delusion or
Cotard Syndrome, also known as nihilistic or negation delusion, which is a rare neuropsychiatric
disorder in which a person holds a delusional belief that he or she is dead, does not exist. It can
be an interesting question to ask game characters. For instance, how do the NPCs think of

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themselves? Or for a game like The Novelist, in which player plays as a mysterious party, almost
like a ghost, how should the player understand their role in the interference of other people’s
life? The fact is, however, nearly thirteen million people are living in the world, and they are all
the leads of their own stories. None of those people is an extra.

B. Songs from the second floor
Songs from the second floor is a 2000 Swedish film. It’s a film of many characters; presents a
series of disconnected vignettes that together interrogate aspects of modern life. Everything and
everyone are going somewhere but their goal and its meaning have disappeared along the way.
The film uses static camera for all the scenes, which provides a good reference to how 7OO to
73O is going to look like in terms of camera movement.
C. Magnolia
Magnolia, a 1999 American drama film, is an epic mosaic of interrelated characters’ 24 hours in
search of happiness, forgiveness, and meaning in the San Fernando Valley. The title Magnolia
refers to the Magnolia Blvd in L.A, where much of the movie takes place.
Like many films that tell the story of a bunch of interrelated characters (e.g. The hours, Bobby,
Love actually etc.), each character has their own life. It is not the relationship between the main
characters that make/composite the film, the revealing of their relationship is in the service of
something quite else.
The story that 7OO to 73O is going to tell is about everyone that somehow get to evolved in this
certain space. The player may get an idea of one specific event but doesn’t even know the
existent of another character; they may get to know everyone but cannot figured out what are the

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connections. It’s all about looking at stories/other people’s life from a distance, detached of
emotions, but to have the understanding of the ‘fact’.
D. Tango
Tango is a mesmerizing animation by Zbigniew Rybczynski set entirely in one room in which a
series of events take place. Thirty-six characters from different stages of life - representations of
different times - interact in one room, moving in loops, observed by a static camera.

Tango exploits this concept of the single off-screen space by filling it with a plethora of actions.
It soon becomes obvious that such a small space could not possibly contain all the actions taking
place. The film also makes critical use of off-screen space, exposing it for the artifice it is. Off-
screen space is the imaginary area beyond the edge of the screen and in front of or behind the
camera. There are a number of ways through to off-screen space in Tango -a window and a door
in the back wall, doors on either side of the room, and cupboard that also has its uses.
Despite the brilliant use of time&space with great precision, tango is also interpreted as a
metaphor of people having to deal with the hustle and bustle of living in a large city in the early
to mid-80’s. People keep performing the tango of social disconnection in our day-to-day life. Our
ensconcement in social media has only heightened this sensation as we try to distinguish
ourselves from the crowd with our every post, our every share, destined to fail. Sarcastically
speaking, “you are not (even) alone in feeling alone.

E. Plug & Play
Plug & Play is an interactive animation with simple interactions like plug and pull. The
animation is 6 minutes. To play through the game, you usually need between 10-15 minutes.

The Illusion of Communication Page 25 of 25

The fact that the projects have two final products (an animation short and a game) is interesting
to me. The time difference between “6 minutes” and “10-15 minutes” is also something worth
noticing. In 7OO to 73O, will it be the difference between a “director’s cut” to a “play’s cut”?

IV Works Cited
Lev, Manovich. The Language of New Media. Massachusetts London: The MIT Press, 2001.
Andre, Bazin. What is cinema? Oakland : The University of California Press, 2004.
Eisenstein, Sergei. “Film Form: New Problems” Essays in Film Theory : Film Form, New York:
Harcourt.Inc , 1977 .

Abstract (if available)

Abstract 700 to 730 is an interactive cinema piece and a video installation that allow the audience to create montage through the experience. One audience/player is invited in an enclosed space, a one-man theatre, with the projection screen in the front and a control station at the other side of the space. One the control station is a wooden box that looks very much like a vintage radio. There are two knobs on the side that the audience/player can tune to change the shot played on the screen. The narrative of 700 to 730 is about a 7 years old girl who lives with her grandparents in a senior apartment.

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Creator Zhan, Chang (author)

Core Title The illusion of communication

School School of Cinematic Arts

Degree Master of Fine Arts

Degree Program Interactive Media

Publication Date 08/08/2017

Defense Date 08/08/2016

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag art,design,game,installation,interactive,Interactive Media,OAI-PMH Harvest,video

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Lemarchand, Richard (committee chair), Watson, Jeffrey (committee member), Wixon, Dennis (committee member)

Creator Email czhan@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c3-639728

Unique identifier UC11305260

Identifier etd-ZhanChang-4763.pdf (filename),usctheses-c3-639728 (legacy record id)

Legacy Identifier etd-ZhanChang-4763-0.pdf

Dmrecord 639728

Document Type Thesis

Format application/pdf (imt)

Rights Zhan, Chang

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

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