Alfonso Cuarón creates a visually breathtaking and intellectually stimulating film with Gravity (2013) by erasing the boundaries between reality and simulation. As it challenges viewers to consider not just the limits of cinema but also the meaning of life in a vast and mysterious cosmos, the film embodies the spirit of post-cinematic creativity.

The film’s zero gravity scenes were created using a variety of methods. An LED light box was used to create the appropriate scene lighting while the actors were filmed inside. A huge Earth image would be projected onto the left side of the screen, for instance, if the performer required a left-side bounce light. Second, in order to create the illusion of weightlessness, actors were dragged along by a 12-wire suspension system. Astronauts train underwater using a technique quite similar to this one. Also, CGI accounted for 80% of the film’s production value.Everything from space to Earth to stars to space shuttles to the Hubble Telescope to the International Space Station to space suits was part of this. Finally, digital animation played a significant role. The only real part of the actors’ performances in scenes where they wore suits were their faces.Everything else, including their bodies, outfits, hands, limbs, and surroundings, was entirely computer-generated and animated in complete 3D. The most recognisable example of this is the 17-minute opening shot that follows the continuous fluid motion, which is meant to portray the dizzying and floating feelings that astronauts experience as the space limits collide.

Francesco Casetti’s post-cinematic remediation theories provide a framework for the demonstration of processes that mimic and transform vision as strategies. As a result, the setting is both genuine and strange because of the combination of photorealistic CGI and live-action green-screen performances. One part of the film’s disorientation is Dr. Ryan Stone’s (Sandra Bullock) floating through space as if unbound by earthly physics, which creates an imagescopic experience. During his discussion of the method, Scott Bukatman used the term “special effects as kaleidoscopic perception.” The intentional lack of cosmic ambient soundness in Gravity’s sound design enhances the film’s non-representational aesthetics. Cinematic sensory experience is redefined when one relies on images and internal symbolic noises. The film’s plot is light years ahead of any conventional storytelling because of the sensory overload that occurs throughout.

REFERENCES–

“From Astronauts to Actors: Simulating Zero-Gravity in Film—USC Viterbi School of Engineering.” Illumin.usc.edu, illumin.usc.edu/from-astronauts-to-actors-simulating-zero-gravity-in-film/.

“Gravity.” Framestore.com, 2 Mar. 2014, http://www.framestore.com/work/gravity.

Seymour, Mike. “Gravity: Vfx That’s Anything but Down to Earth.” Fxguide, 8 Oct. 2013, http://www.fxguide.com/fxfeatured/gravity/.

SAANIKA BANDHA: 33733248