Astro Boy (1963)
Ep. 38 “The Disturbed Small Planet”
A still from my sequence in the SEAT and Spin show at Gallery 4Culture in the March Art Walk next Thursday!
In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures—which permeate Western media—have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.
The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.
Une mission éphémère, Piotr Kamler, 1993
Precision tools are needed to get certain parts of the brain excited
The Time Farmers Animation Show is in Seattle this Saturday! Fifteen bucks!
Deets: http://facebook.com/events/210148672509318/ Come for the films, stay for a sock hop dance party!
Using the magic carpet and Formica table formula at Studio Current to help map & menu the whereabouts in Both Worlds II