Screams

An entry in the Glossary project

As a former trapezist who had swung and dangled voicelessly over the abyss night after night and year after year to the gasps and cheers of audiences, Nanneman really had no idea what a scream was for, or even whether anyone actually did scream outside of the movies. Understanding, however, that the "woman's scream" was an essential part of the filmmaker's toolbox, he set Hanni the task of compiling a library of "one or two dozen" recorded screams in a variety of styles and meanings to be used by the Catalogue's computer-generated characters in appropriate situations.

It seems that Hanni already had a source in mind for the recordings: Serafina Kustra, a "scream musician" of sorts, a folk hero in a binary age whose live performances people would travel from far away to witness. Kustra had previously achieved mild fame fronting a band whose entire repertoire had consisted of songs built around repetition of the band's name and lyrics extolling the group's merits in very general terms: perhaps her messianic appeal as a solo artist can be attributed to the simplification and emotional inversion of this approach. Hanni, idolizing Kustra for reasons she never publicly articulated, offered the vocalist a not inconsiderable sum from the Catalogue project's unofficial city council fund, rationalising the gesture to Nanneman by suggesting he himself could provide the male screams at a cut rate. It is unclear why Nanneman failed to nip this plan in the bud given the expense and his desire to distance himself from the scream-cataloguing process, but perhaps he sensed that the issue was important to Hanni.

(Nanneman was not the only filmmaker of the time to be squeamish about vociferation. Jobbing director Francis Dove, who would generally work with scripts imposed on him by producers, kept a list of alternative non-linguistic utterances with which to replace a scripted scream on set. Dove acknowledged that a written scream is usually structurally important, with its removal potentially undermining a moment of climax or catharsis. However, he discovered that the straight replacement of such a scream with (for example) a laugh, a sigh, a raspberry or snort, would enable him to maintain the structure of the written scene while destabilizing its underlying assumptions. If, having filmed such a substitution, he found that a scene no longer worked, it was not uncommon for Dove to edit the vociferation and even the actress out of the entire scene, leaving murderers stabbing at thin air, rabid beasts howling at dumb walls and in one case the spontaneous materialisation of a pink, wet newborn on the back seat of a moving taxi.)

In the event, Serafina Kustra turned down the job of providing the Catalogue's screams, refuting in no uncertain terms the idea that her vocal style had anything to do with screaming, and taking deep offence at the suggestion that a selection of her most intimate and heartfelt vocal performances might be defined, categorized and donated to computer-generated movie characters. Respecting this position, Hanni instead recorded and labelled 144 wildly varying screams of her own, and finally cajoled Nanneman into providing one single scream for men, although it was recommended in the small print that the latter never be used.

See also: Whoops; Yells

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Indirection

An entry in the Glossary project

The deliberate withholding of audio or visual information, usually by obscuring it with other matter (sound, set) or out of frame or hearing range, but with its properties hinted at by that information which remains. For example, the physical goings-on in a foggy sauna may only be suggested by the screams of unseen participants, the facial expressions of a foregrounded attendant or the peculiar movement of the steam.

Nanneman’s guide to the appropriate use of indirection is here paraphrased in lieu of his original text:

What you know that you can’t see makes what you can see hilarious; what you don’t know that you can’t see doesn’t bother you. What you suspect is being hidden from you makes you resentful towards a movie, while the showing of that which needn’t have been shown provokes disdain. The revelation of that which was previously hidden brings catharsis, the hiding of that which was previously visible brings disorientation. Summed up: while its excessive or insensitive use may compromise the intended effect on a movie’s audience, indirection can be a great boon to the filmmaker on a budget.

See also: Implicit, the

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Dissolutionary Cinematograph

An entry in the Glossary project

A somewhat teleological contraption utilising a highly reactive film stock concocted by Nanneman while he waited for the Council to redeploy him following the crossing patrol debacle. The frames of a film are lined up face to face in a dissolutionary cinematograph, rather than end to end. The first thing the audience sees projected is a complete picture: the image simplifies as the frames disintegrate sequentially on contact with air, often telling a story in reverse. Movement, whatever the narrative trajectory, becomes synonymous with decay. In the cleverest compositions, visual elements from the final frames show through the preceding frames, playing different parts throughout as they are juxtaposed with shorter-lived visual matter, before themselves being fully revealed and dissolving.

Synchronising any meaningful sound with such films proved impossible; however, Nanneman mentions in the Catalogue how he encouraged Hanni (with whom he was not yet romantically involved) to incorporate the ambient sounds of the kitchen and the street beyond into her appreciation of each unique screening, and paraphrases her response that this approach to soundtrack "made a crushing sort of sense". They would be married before the year was out. He did not pursue the project after he was reassigned to the Town Hall; he did not save any of his dissolving films for posterity; it has never been comprehensively proven whether or not Nanneman’s invention was ‘intentional’ or the fluke result of a period of intensive pottering.

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Plug-in

An entry in the Glossary project

The concept of the plug-in in relation to the work of Nanneman and his contemporaries can be a confusing one, as various filmmakers of that era used the term to refer to different, albeit interrelated, concepts.

Nanneman used the term in asides to refer to third-party components that were incompatible with those provided within his Catalogue, i.e. any that weren’t included in it. Whether his use of the term indicated that he hoped that, some day, developments might allow for third-party components to be plugged-in to his own, or whether it intentionally evoked the negative connotations associated with electrical current since the (then still recent) scares in order to discourage such piggybacking, is not known. The implication in his contemporaries’ references to "Nanneman’s cross-eyed sockets" suggests they believed the former: that the idealist Nanneman wanted his components to be compatible with those built by others, but that however open his source, no-one else could make head or tail of it. (see also Operating System)

Harris Metcalf was, like Nanneman, interested in using the latest technological innovations to maintain a standard quality across his work. For him, a plug-in was a neural augmentation device that could be literally "plugged-in" to an actor’s nervous system to influence his or her technique. Safety issues aside, the main drawback to the Metcalfian plug-in was that the technology was not yet sufficiently advanced that it could actually improve the actor’s performance, but only degrade it to a given setting or crudely accentuate pre-existing attributes. Metcalf told a court:

"It is only by using my reductive plug-in method that you can ensure unity across the performance of your entire cast. In a sense, it is a lowest common denominator approach, as it ensures that no-one performs any better than your worst actor. In certain circumstances you may prefer to use plug-ins to highlight the performance of a key cast member, so that the entire cast is levelled out with a basic performance-quality plug-in, but the hero also runs a charisma augmentation plug-in parallel to this. Or, if a certain subsection of your cast are representing characters with non-British accents, they might use a common application to ensure their accents are no worse or better than each other, whist running the same core acting-method plug-in as those playing the British. It is a question of performance resolution: it is no good one actor being clear and another all grainy."

The notoriously fickle Nola Luna IV, whose technique during her brief digital period was to video each actor separately and then digitally composite the performances in post-production, used the term to refer to the removal and replacement of entire screen elements long after a film had been finished and had its first release: "By the time it comes to re-release a movie, the main actor may have lost his or her public appeal, through an unfortunate child abuse case or the disfigurement that comes with a bio-chemical assault, for example. When your actors weren’t actually interacting with each other or any of the digital props, sets or noises, how easy now to simply unplug the unwelcome actor from the original edit and clip on today’s hot thing. The same can be done with props and locations, for example a stick of carrot or memory can replace a cigarette, or a lovely garden replace an urban site that has since tactlessly associated itself with some terrorist atrocity or architectural hiccup."

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Nola Luna IV

An entry in the Glossary project

A filmmaker and contemporary of Nanneman, Nola Luna IV’s style was openly trashy - although she preferred to term her films ‘entertainments’ or ‘invigorations’: the opening line of her only (unpublished) novel reads "They both loved industry, and hated abstract films about the aesthetics of industry." She was not always that way, however: her graduation film was a dense, disorienting piece titled A Running Race For Those Who Hate Music.

Luna was the great-great-grandaughter of the real-life historical figure of the same name, who was represented in the UNIVERSAL EAR episode A Flea Orchestra In Your Ear (portrayed by Briony O'Callaghan in the 2010 premake, below). Of Romanian descent, Luna IV lived her whole life in Manchester but only dated the Japanese.

Selected filmography: Furniture Of The Parasite, I Yearn For Yen (a.k.a. This Bastard Is Greedy), Lunatic Jeweller, This Isn’t Goodbye It’s Goodbyeeeee, Wh-what Are The Rules?, Witness To A Prang

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Eyeline

An entry in the Glossary project

Questioned as to why it was so difficult to create the correct eyelines when lining up Catalogue-generated characters in dialogue scenes - from shot to shot and even within the same frame - Nanneman responded that of the 65, 536 character templates that his system had generated, it so happened that the majority of them turned out to be of a type that finds it difficult to maintain eye contact. Careful study of the sample scenes has indeed shown that in a large proportion of apparently mismatched eyelines, the characters portrayed are in fact very accurately looking at fluff on the other’s shoulder, the toes of their own boots, or a door handle in the background. Eyeline discrepancies between characters and objects were far rarer and can mainly be attributed to shortsighted or confused characters.

cf. The films of Harris Metcalf, who liberated the representation of eyes from the realm of physical realism, used eyeline angle as an expressionist device and whose characters’ unseeing eyes only ever met by accident.

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Intern's Palette, The

An entry in the Glossary project

Having hunted, indexed and categorized his (revised) target of 16, 384 colours, Nanneman set the work experience boy the task of creating full back-stories for each hue. Given the vigour with which the unnamed teen took to his work, he must either have believed Nanneman’s lie-by-omission that the project was a genuine City Council task passed on by colleagues tired just by the scale of the project, or been enthusiastic and quite stupid as many of the happier of people are, or, as is most likely, some of Nanneman’s quixotic fervour rubbed off on him. Whatever way around, it was some feat for him to complete, as he did, biographies several pages long for each of precisely 256 colours in the two weeks before he was obliged to return to school. There are indications that Nanneman was all the same disappointed at the tiny dent made in the full spectrum of redestructivish colours and, given that his superiors refused him custody of any further work experience students, progress on further colour back-stories was sporadic. The work experience boy’s accomplishment stands therefore as the largest fully-documented colour range in the Catalogue, and it is from the informal name that this collection became known by that the phrase "the intern’s palette" passed into popular use to indicate a naïve and incomplete glimpse of a utopian new system within the breakaway department of an immoveable institution.

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Character Type

An entry in the Glossary project

Nanneman was pressured, during a washroom encounter with his line manager, to keep to the latter's list of "16 character types (17 for an art-house film)" when designing the character-generating feature of his filmmaking kit. So as not to jeopardise the continued asssembly of the Catalogue - which had already been vetoed from above and which his line manager, having stumbled upon Nanneman's misuse of city council lab space by mistake, was by turns tolerating and interfering with - Nanneman ostensibly integrated his superior's list, but reduced each of the 16 broad 'types' to its key trait and generated 65,536 new character types by exploiting every possible combination of those qualities. (He excluded the arty 17th type for obvious reasons). The psychological complexity of these new redestructivish archetypes meant that Nanneman was able to create distinct imprints of every one of them using just two actors: himself and his second wife*. Every time one of these intricately designed algorithms was given a new name, wardrobe, haircut and surroundings he or she became a unique character (excepting the improbable eventuality of another filmmaker happening to choose the same type, name and look and putting this ‘new’ character into the same situation).

It is not known which 16 traits Nanneman divined from his line manager's original types, but we do know that he excluded any 'opposites' which might have cancelled each other out. Instead, Nanneman assumed that certain traits - e.g. faith - are an a priori human characteristic so included only their opposite - e.g. incredulity - amongst the 16 potential attributes: if a character lacked any one of the 16 'nurtured' traits he was assumed to have its opposite through nature. Whilst Nanneman acknowledged that such opposites don't always exist in pure dichotomy but on a sliding scale, he considered such nuances to be uncommon and irrelevant to the cinematic representation of human nature, certainly in a time when audiences needed reassurance, not speculation. In the circus and in the civil service, it had tended to be Nanneman's experience that people were one thing or another, and any apparent gradation in between usually boiled down to a case of deception or illness. Hanni, charged with finding "8 good rules" with which to shape the Nannemans' performanced blueprints of the thousands of archetypes Volodymyr had created, briefly looked into the old social networking websites, and discovered that everything Nanneman had suggested about human nature was more or less true. However, in response to the publication of Francis Dove's misanthropic Undepth In Real People And Those Who Believe They’re Real, Nanneman relented, creating a set of digital faders for the adjustment of the archetypes' character trait level-settings, allowing access to the middle ground between opposing traits. The knobs on the interface were all the same deliberately designed "stubborn" to discourage their use.

On discovering the zealous manner in which his underling had misinterpreted his original instructions, Nanneman’s line manager is said to have remarked that, the Nannemans having between them taken the time to create 65,536 characters, perhaps the unremittingly earnest Volodymyr should, from then on, himself be referred to as "Character Zero".

*(we know from his tattoos that she was called Hanni)

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