Week7-8：tutorial

1. Research Objective and Question

A title’s primary function is to define precisely and concisely the topic. A legitimate secondary function is to stimulate the reader’s interest. Two-part titles are common: a main title to stimulate interest and somehow imaginatively ‘encapsulate’ the topic, and a subsidiary title to specify or focus the topic.

The Emotional Power of Cinematic CG Trailers in Game Promotion Sub: How Visual Storytelling Shapes Player Anticipation and Engagement                 Question How do game CG trailers employ cinematic visual language and narrative techniques to convey emotion?   How do these visual and emotional strategies influence players’ interest and anticipation towards characters or game content?   What role does emotion-driven visual design(CG/PV) play in player psychology and consumption behaviour?

•  Project Rationale

Consider and explain why you wish to research the subject? A short introduction to the topic, why it is of interest, and why the research is worthwhile. Clarify the central question you are addressing, what will your argument, (your hypothesis) be? (Max 200 words)

In the contemporary game industry, CG promotional videos have evolved from simple marketing tools into emotionally engaging visual art forms. Through cinematic language, narrative rhythm, and atmospheric lighting, these trailers allow players to emotionally connect with characters and story worlds within seconds. This research aims to investigate how these emotional mechanisms operate, revealing the balance between artistic storytelling and commercial intent in CG promotion, and offering insights for future visual design and marketing strategies in the game industry.   Editing

• Keywords and keyword phrases used for research

Experiment with connecting key words and phrases relevant to your topic and research objectives on academic sites. You can optimise key words/phrase searching by reading around your topic.

Cinematic CG trailers; Visual storytelling; Emotion design; Player engagement; Game marketing; Lighting; Composition; Anticipation; Consumer behavior

• Situate your proposal in relation to key texts, issues and debates.

Produce a draft review establishing and explaining the views of relevant authors and how they can support the presentation of your argument to answer the research question. Use Harvard referencing (Max 300 words)

The “cinematization” of CG imagery has become a central topic in visual culture studies. Bordwell and Thompson (2010) emphasize that film narrative depends on the organization of visual information and shot design, while Jenkins (2004) highlights how contemporary games adopt cinematic structures and pacing.In addition, Calleja (2011) argues that emotional immersion lies at the heart of gameplay, often shaped by audiovisual cues.

• Identify any materials or data that will be examined

Include names of material examples to be examined such as films, artworks, games, events, directors and artists, or any other relevant media. sources that might provide pertinent data or statistics to support research objectives. All material should be referenced using the Harvard Style

League of Legends – “Awaken” (Riot Games, 2019) Genshin Impact – “Teyvat Chapter Storyline Preview” (miHoYo, 2020) Final Fantasy XIV – “Endwalker Trailer” (Square Enix, 2021) … Overwatch Cinematic Trailers (Blizzard Entertainment, 2016–2023)

• Bibliography

List recognised academic books, journals and articles, that you may use to support the research you wish to undertake. This list should be referenced. Harvard Style – For guidance on how to reference correctly (using your UAL login) See appropriate examples on https://www.citethemrightonline.com/

Bordwell, D. and Thompson, K. (2010). Film Art: An Introduction. Jenkins, H. (2004). Game Design as Narrative Architecture. Calleja, G. (2011). In-Game: From Immersion to Incorporation. ‌     ‌

feedback

Had a tutorial today, and honestly, it was a total wake-up call. I thought I was on the right track, but my supervisor really pushed me to dig deeper. I’m feeling a mix of “information overload” and “total clarity.” Here’s the breakdown of what I need to fix:

My supervisor told me my thesis is still too descriptive. I’ve been spending way too much time explaining how CG trailers are made. I need a punchy Argument.

The big question was: “What does the reader gain from this?” It’s not enough to just analyze pictures. I need to show that my research changes how we understand game marketing. I’m basically arguing that these trailers use mini cinematic storytelling to manufacture hype through emotions rather than just showing gameplay mechanics.

Movies vs. Games: The Rivalry. I need to stop looking at game PVs (promotional videos) in a vacuum. I should compare them to film trailers and animated shorts.

The key difference: Film trailers usually build narrative suspense (what happens next?), but game PVs are all about emotional immersion. I need to dive into this comparison in its own chapter.

Loving the “Micro-narrative” concept! This term is a lifesaver. It perfectly fits my theme. It’s all about how these short, condensed videos manage to deliver a full emotional arc in just a couple of minutes. This is going to be the backbone of my analysis.

The “Editing” Blind Spot. I realized I’ve been obsessed with the visuals (lighting, composition, etc.) but totally ignored the rhythm. My supervisor was right—the “feel” of a trailer comes from the cut. I need to incorporate editing rhythm into my framework. It’s about the heartbeat of the video, not just the pretty frames.

Fixing that “vague” title. My old title about “shaping anticipation” was way too “flowery” and hard to prove. How do you even measure anticipation, anyway?

The pivot: I’m changing it to something more concrete, focusing on how cinematic editing and micro-narrative structure create emotional immersion. It’s much more “academic” and, more importantly, actually provable.

Week6:Mise-en-Scène

Analysis_Snow White (1937)

Settings & Props

The scene takes place at the doorway of a dark, shadowy cottage.

Props like the basket, apple, and window frame symbolize temptation and entrapment.

The witch’s dark cloak and grotesque face contrast sharply with Snow White’s bright, innocent appearance, visually symbolizing the conflict between good and evil.

Facial Expressions & Body Language

The witch’s hunched posture and sneaky gestures oppose Snow White’s open, trusting movements.

This contrast exposes the tension between innocence and malice.

Lighting and Colour

The witch stands in bright light while Snow White remains in shadow.

The red apple glows between them, symbolizing seductive danger.

The color contrast enhances the tension of the scene.

Positioning of characters/objects within the frame

The witch stands on the left foreground, while Snow White is positioned deeper in the frame on the right.

The medium shot emphasizes their physical and emotional distance.

The window acts as a natural frame, directing focus to the apple between them.

What role does the shot choice (Cinematography) play in the scene?

In this scene, the shot choice enhances tension and psychological symbolism.

The use of medium shots and a slightly low angle makes the witch appear dominant while Snow White seems smaller and more vulnerable.

Analysis_Anomalisa(2015)

The scene uses an overhead (high-angle) shot, positioning the viewer as an observer looking down on the characters. Their bodies are symmetrically arranged on the bed, creating stillness and emotional distance.The two characters lie side by side but maintain a small physical gap, symbolizing emotional separation despite physical proximity.And about the color,it use the warm, dim lighting creates a soft yet claustrophobic atmosphere. The muted color palette reflects monotony and emotional emptiness in the characters’ lives.

36mins Screen scene from Rebecca

Can you describe the relationship between the characters?

It seems the relationship between the two characters is tense and unequal.Their interaction( such as character’s position and eye contawct…) reflects a power imbalance and emotional intimidation.

How do we know what the relationship is?

We can tell from their body language and eye contact. The RightLady sits and looks up, while the LeftLady stands, looking down at her—creating a clear hierarchy. Their contrasting expressions—nervous versus calm—immediately signal dominance and submission.

Can you describe how the mise-en-scene works together to tell us what the relationship is?

The mise-en-scène emphasizes their power dynamic through composition, lighting, and spatial arrangement. BlackCloth woman stands on the right, slightly elevated and brightly lit, while the LightCloth woman sits lower and in shadow. The lamp and flowers in the foreground act as visual barriers, suggesting her confinement and unease. The vertical composition and lighting contrast visually communicate dominance and fear.

Week5:Social and Political comment in animation.

I finally got my head around the Auteur Theory. Basically, it means the director isn’t just a manager; they are the “soul” of the film. Think of Hayao Miyazaki—you can tell it’s his work just by looking at one frame. That’s what we call a signature style. It’s cool because it shows that animation is a serious form of art, not just a product made by a factory.

We talked about Abstraction, and it’s way more than just weird shapes.

1. Formative Abstraction is like “visual music”—using colors and rhythms to make you feel something directly.
2. Conceptual Abstraction is like a riddle. It uses symbols to talk about big, complicated stuff (like memory or social issues). It’s not about what you see, but what it means.

This was the most “mind-blowing” part of the day. Who knew animation could be used for Documentaries?

1. It’s actually perfect for telling stories where there’s no footage—like someone’s internal dreams or traumatic memories (like in Waltz with Bashir).
2. Also, animation is a “powerful tool” for Politics. Because it looks “cute” or “innocent,” it can hide subversive messages or criticize the government without being too obvious. It’s like a “sugar-coated” way of talking about serious social problems.

Animation is a “distinctive vocabulary.” It’s not just for kids; it’s a way to “make the absurd plausible.” Whether it’s a political protest or a deep abstract feeling, animation lets us see things that a normal camera just can’t catch.

Week4：The Avant Garde. Experimental, abstract constructs and analysis

Today I explored the concept of the “Auteur” in animation. An auteur is more than just a director; they are the “primary creative force” whose personal style and thematic preoccupations are evident across their body of work. I learned that:

• Creative Control: An auteur often maintains significant control over the script, visual style, and even technical innovation.
• Signature Style: Just like authors have a unique voice, animation auteurs use “distinctive visual languages” to tell stories that reflect their personal worldview.

Moving beyond traditional character-based narrative, we looked at how “Formative Abstraction” uses the basic elements of art to create meaning.

• Non-Objective Elements: Instead of recognizable characters, this approach focuses on line, shape, color, and texture.
• Visual Music: I found the idea of “visual music” fascinating—where the timing and rhythm of abstract movements evoke emotions just like a musical composition. It challenges the 5-Act structure by prioritizing “sensory experience” over a linear plot.

The most important takeaway today is the synergy between these concepts. An Auteur might use Formative Abstraction (unique shapes and colors) to express a Conceptual Abstraction (a deep philosophical idea).

Week3:The Language of film; Editing

I learned that a successful narrative isn’t just a random series of moments; it must handle its medium competently to present a “chain of events” that engages the audience and reaches a satisfactory conclusion. For character-based stories, the actors must perform “convincingly,” and it is the director’s job to extract that potential to communicate the story effectively.

The Five-Act Structure: This is widely used in novels and films.

• Act 1 (Exposition): Setting the time and place while introducing characters and conflict.
• Act 2 (Rising Action): The protagonist encounters obstacles and complications.
• Act 3 (The Climax): The turning point with the highest suspense.
• Act 4 (Falling Action): Wrapping up plot twists and unknown details.
• Act 5 (Resolution): The final outcome where the plot is revealed and lessons are learned.

Week2: Visual culture and Language

•Animation was starting to catch the eye of the modernist movements who stated ;

•Cartoons—which rebuff so ferociously painterly realism and filmic naturalism—are set-in a universe of transformation, overturning and provisionally.