Special Effects Are a Force Research Proposal

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By selecting a liberal sampling of films that may be distinguished for their use of special effects and their relative critical and commercial irrelevance, the research will create an extensive sampling for qualitative evaluation.

The research project will report the sequence of steps leading to the selection of films for consideration, including preliminary selection, viewing selection and selection for analysis. This last category will result in a report on the impact of special effects use both on the film and on a broader industry level. Outcomes will be integrated into an overarching set of findings and conclusions concerning the relationship between special effects in the selected films and the goal of filmmakers as a whole to achieve as close a proximity to their respective visions as possible.

Schedule/Timetable for Carrying out of Project (my time frame is 8 weeks)

This research will occur over eight weeks. This duration will be divided into four two-week segments. The first segment will be devoted to created a cinema viewing list and assembling relevant literature for improvement of that process. The second segment will be devoted to narrowing down the initial list and viewing the films selected for consideration. The schedule will retain the flexibility to lengthen this segment where it may be deemed as necessary, deducting time from the end of the first segment or the start of the third. The third segment will be dedicated to analysis of the films reviewed. Likely, this step will begin with an establishment of credentials by which a viewed film may be due for analysis.

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The final segment will be dedicated to the synthesis of a report on the findings yielded.

Conclusion and request

The proposal here is precipitated by the basic understanding the special effects offer an opportunity to filmmakers not afforded to those working in more static media. As our research finds, "those special effects technologies and techniques that have sought to bring impossible, never-before-seen images to the screen have most often been the inspiration for fans' desire to participate in the production of special effects (whether in a professional capacity or in the form of home production)." (Pierson, 3) This is to say that we may handily dismiss the all-encompassing claim that special effects are simply and overwhelmingly encouraged by commercial motives. And indeed, a fully separate discussion should be employed to determine the empirical relationship between the usage of production-dominating special effects and the achievement of lofty commercial indices. However, for the purposes of the current research evaluation, the argument by Pierson is central. Here, we are given some support for the claim that Special Effects proliferation in the film industry has had reciprocal relationship with innovation at a wide array of levels.

The process of conducting this research is preceded by the request here both for approval of the methodology proposed and for the resources to engage the film content review here proposed.

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