by Toby Woollaston
Hurrah, half way! I’ve finally submitted chapter two of my thesis for supervision. Here’s hoping it only comes back with grammatical suggestions. I found this chapter hard slog and wouldn’t be keen on making further changes to it any more than I have to. Life’s busy. I’ve watched zero films (excluding Aronofsky’s five films, which I watched multiple times). A phenomenological investigation into an auteur is quite a broad topic, as I have found, and probably better suited in scope for a Doctoral thesis rather than a Masters. Anyway, I’ve made my bed etc etc. Here’s a brief account of chapter two:
Ch 2 (10000 words)
– Phenomenological specifics concerning the cinema of Aronofsky: Mood, emotion, its non-cognitive and cognitive affect (Coplan, Carroll, Robinson, etc).
– A phenomenological investigation into the opening sequences of Aronofsky’s 5 films.
– Musical maps for each film. The use of musical score and their associative feeling states.
So onwards to chapter three, a shorter chapter … hopefully. Here I will be exploring the affective image covering predominantly colour, Sobchack’s cinesthetic subject, and composition. Just have a look at the stills from Aronofsky’s five films below (from top to bottom: The Wrestler, Requiem for a Dream, Black Swan, Pi, and The Fountain) … such contrasting colours and composition.
By the time I finish chapter three Aronofsky will have released his Biblical epic Noah. Hope it doesnt disappoint. Sounds quite controversial … but not many Biblical films aren’t, I suppose.