INTENTION
"After Midnight," in its artistic essence, endeavors to magnify this intricate interplay between the dominion of machinery and the essence of humanity. This, indeed, constitutes the second facet of the cyberpunk genre—a relentless exploration of the ceaseless struggle that unfolds between the realm of humans and that of their cybernetic counterparts.
As the second chapter in this integrated artistic experiment unfurls, "After Midnight" offers a diametric perspective on the nocturnal landscape of New York City, contrasting starkly with its predecessor, "Before Midnight." Here, the focus pivots toward isolated moments, eschewing the bustling thoroughfares for quieter introspection. Within the tapestry woven through nocturnal odysseys, the lens seeks to capture glimpses of technology's resonance with the human experience, manifested through architectural forms, geometric intricacies, and textured narratives. In lieu of colossal LED screens, a profusion of contiguous billboards, and an inundation of illuminated signage, "After Midnight" shifts its gaze, affording greater prominence to the technological, the mechanical, and the humanoid.
RESEARCH TOPIC
In the contemplation of a futuristic cyberpunk milieu, the presence of advanced technological marvels stands as an indomitable cornerstone. At the mere utterance of "cyberpunk," the mind instinctively conjures the visage of the cyborg operative, a figure emblematic of the genre's essence. Major Kusanagi from "Ghost in the Shell" (2017) emerges as a quintessential embodiment, her form augmented by cybernetic enhancements that seamlessly meld organic flesh with mechanized substitutes. Within the narrative fabric of this cinematic masterpiece, the underbelly of technology unfurls in a menacing dance, epitomized by the malevolent concept of mind-hacking—an insidious method of wireless intrusion, whereby false memories are insidiously implanted into unsuspecting victims, rendering them unwitting slaves to a malevolent will. In this labyrinthine tapestry, the very essence of humanity hangs in the balance, as the human soul, or "Ghost," is digitized and transplanted from its organic vessel to the mechanical shell of a cyborg. The beguiling query looms large: when these cybernetic beings bear the memories and personalities of their human progenitors, are they still human? At what juncture does the demarcation between man and machine begin to blur?
In the crucible of post-editing, a profound wellspring of inspiration emerges from Denis Villeneuve's "Blade Runner 2049" (2017), bestowing upon the series a primary color palette steeped in shades of orange and green. Orange, the harbinger of warning and caution, carries within its chromatic spectrum a tapestry of mystery and exploration. In contrast, green unfurls as the hue of artificial existence, a semblance of vibrant life that echoes with an eerie artifice. Here, orange luminance reframes the narrative with a palpable sense of danger and exigency, while the verdant luminescence encapsulates the overarching tonal landscape of a future imperiled by the pervasive presence of mechanical and humanoid entities. Moreover, heightened contrast and the restraint of light sources conspire to evoke a poignant mood—one that oscillates between the disquieting solitude and the tranquil, alluding to the latent threat poised by creations that outgrow their creators.
REFERENCES
ACADEMIC:
1. Do Androids Dream of Electric Sheep? (1968) - Philip K. Dick
2. "Utopia/Dystopia: Conditions of Historical Possibility" edited by Michael D. Gordin, Helen Tilley, and Gyan Prakash
3. "Cyberpunk and Visual Culture" edited by Graham J. Murphy and Lars Schmeink
CREATIVE:
1. Johnny Mnemonic (1995) - Robert Longo
2. Alita: Battle Angel (1990-1995) - Yukito Kishiroa
3. Akira (1988) - Katsuhiro Otomo
4. Ghost in the Shell (1995) - Masamune Shirow
5. The Matrix (1999) - the Wachowskis
6. Blade Runner (1982) - Ridley Scott
7. Blde Runner 2049 (2017) - Denis Villeneuve
8. RoboCop (1987) - Paul Verhoeven
9. Paprika (2006) - Satoshi Kon
10. Metropolis (2001) - Rintaro