What is common between Gyotaku and Movie Trailers?
1. Both are traditionally forms of ‘advertisements’ of another art form
2. And both have evolved into specialized art forms unto themselves
Let’s start with Gyotaku
Gyotaku is the traditional Japanese art of fish printing dating back to the mid 1800s. Before you read any further, you might want to begin with this fabulous TEDEd video to get a quick introduction on this fascinating art form.
As you can see, the purpose of the early Gyotaku print was to serve as an advertisement and proof of the fisherman’s skills as reflected by the quality of his catch. The emphasis was thereby to capture just the basic proof of the size and species of the fisherman’s “trophy fish” and to record this permanently.
Now Gyotaku has become so popular around the world that it has dedicated competitions, hobby clubs, instruction classes, museums, books, textile prints etc; and has currently evolved to the point where the actual activity of fishing is almost besides the point. The craft has now become a unique representational art of Japanese Culture that honors realism and story telling.
The insight for me here is that,
A good piece of Gyotaku art captures a moment in the ocean and not just a piece of dead fish.
In other words each piece of Gyotaku tells a story where:
1. The narrative often comes from what you don’t see – the negative space: A good Gyotaku composition is known to make use of the negative space within the frame and brings to life the concepts like idea, flow and freedom of movement that come with the ocean.
2. Our minds are lead into the frame and then set free : A good Gyotaku ‘hand holds’ our mind by gently leading us into the exquisite form and finish of the fish. But a great Gyotaku takes it a step further by then carefully setting our imagination ‘free’ as it allows ample space for the mind to take the fish on its journey.
Moving on to Movie Trailers
Just like Gyotaku, the movie trailer has come a long way from being a plain advertisement (of a full length movie) to becoming a genre unto itself. Today it is a thriving industry that is almost as popular as that of the movies they’re teasing, with legions of fans following, dissecting, analyzing, reviewing and rating them on a regular basis even as they are feted out at forums like The Key Art Awards and The Golden Trailer Awards (the Oscars of movie trailers).
From being just a linear montage of title cards, voice-over, a few key scenes followed by a cast run-through, movie trailers today are part art, part marketing wizardry and part awesome creativity. Result: They can tease, titillate, shock, seduce, awe, thrill or even hypnotise us via subliminal messages, imagery, and music and lull us into the cinema for the actual full length fare.
The latest edition of the WIRED magazine has an insightful feature on the Art Of The Movie Trailer. Two insights that emerge from the construct of great trailers:
1.The narrative of the trailers doesn’t necessarily come from what you see, it comes from what you hear (the negative space of trailers = music): Trailers are all about rhythm, pacing, and feeling. That’s why music plays a vital role as a key narrative device and can more often than not make or break a trailer. Mark Woollen, the man behind the trailer for The Social Network shares a secret of how he came up with its music for an evocative narrative ..
I’d had “Creep” on my iTunes for five or six years kind of kicking around before the Social Network trailer…And then when this project came along, I started to consider that song. There are a couple of qualities to it that I thought could do a lot for the trailer. It was a fantastic piece of music—the build, the message, the flavor.
And the rest as they say is history – with the trailer going on to win both The Key Art Awards and The Golden Trailer Awards for 2011 for its outstanding achievement in advertising movies. See this trailer here:
2. Our minds are lead into the plot and then condemned to a free fall: A good trailer gently leads our minds and imaginations into the centre of the plot or the tension that is eventually created in the act 2 and then sets it on a free fall. E.g., Alfred Hitchcock’s trailer for Psycho (though being a tad bit long at ~ 6 mins) very gently teases us bit by bit till almost the end before throwing us off the cliff! See the iconic trailer here: (don’t miss the last 2.5 mins at least)
The trailer for Alien is another master piece that stands out for a similar reason.
So there you have it – Gyotaku and Movie Trailers: two art forms that have begun to become bigger than the art forms that these are based upon, two powerful examples where creativity thrives despite the underlying constraints ; or probably examples where creativity thrives due to its underlying constraints.