{"id":2287,"date":"2019-05-20T08:08:41","date_gmt":"2019-05-20T08:08:41","guid":{"rendered":"http:\/\/gemmaplum.nl\/business\/?p=2287"},"modified":"2019-06-26T10:27:30","modified_gmt":"2019-06-26T10:27:30","slug":"two-sides-to-a-story","status":"publish","type":"post","link":"https:\/\/gemmaplum.nl\/business\/two-sides-to-a-story\/","title":{"rendered":"Two sides to a story"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

The Law of Symmetry<\/h3>\n

Two sides to a story<\/h4>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]Mankind is very fond of symmetry<\/a>. Something symmetrical is pleasing to the eye and associated with perfection. A symmetrical face is regarded as healthy and (therefore) beautiful.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]And of course what is symmetrical we see as a whole. Obviously… We recognize parts of a vase or coffee mug if it’s scattered about a room and can glue a torn photo without getting puzzled too much.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”2291″ img_size=”full” css=”.vc_custom_1558122461163{margin-bottom: 15px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1558087443985{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]Jean-Pierre Jeunet, Le fabuleux destin d’Am\u00e9lie Putain (2006)<\/small>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]It is easy to match symmetrical, pieces and see a bigger picture, even if the parts don\u2019t quite match.[\/vc_column_text][vc_column_text]Both Jens Harder and Charles Burns use this masterfully in their work. Using our need to give what seems to belong together an all encompassing meaning.[\/vc_column_text][vc_single_image image=”2341″ img_size=”full” css=”.vc_custom_1558346979933{margin-bottom: 15px !important;}”][vc_column_text css=”.vc_custom_1558087499038{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]Jens Harder, Leviathan (2003)<\/small>[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_single_image image=”2336″ img_size=”large” css=”.vc_custom_1558111094874{margin-bottom: 15px !important;}”][vc_column_text css=”.vc_custom_1558087693300{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]Charles Burns, Commedia dell’Arte (2011)<\/small>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_column_text]In Last Look (2016) Charles Burns uses symmetry to draw the eye and attention and give a sense of peace.[\/vc_column_text][vc_column_text]The feelings of Doug, the protagonist become clear by the rhythm and focus of the composition of the page which depicts a party. He is depicted (almost) top left centre of the frame in a medium shot. There are people in the foreground and in the background making the frame a-symmetrical. Doug is part of something lively, a party. Top right we see how he feels, awkward, hurting, nervous, alien, ugly. A closer view, his head’s askew.[\/vc_column_text][vc_column_text]On the opposite of de diagonal; in the bottom right frame we see the object of his attentions. Probably the first thing we saw too when looking at the page; Sarah.[\/vc_column_text][vc_column_text]She is similarly to his zombie-self-image top right, but see seems to come closer to the viewer; us and, more importantly, Doug. Her symmetrical peaceful framing (quite the opposite of his awkward self top right) gives her centre stage, she is a beacon in the rum-bum of the party. I can even imagine the party sound seeming to dim as she enters, the party, the frame and the page…[\/vc_column_text][vc_column_text css=”.vc_custom_1558088300757{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]Charles Burns, Last Look (2016)<\/small>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”2337″ img_size=”large” css=”.vc_custom_1558111140234{margin-bottom: 15px !important;}”][\/vc_column][vc_column width=”1\/4″][vc_column_text]Movie directors Yasujir\u00f4 Ozu, Wes Anderson and Stanley Kubrick (among others<\/a>) use (among other things) a lot of symmetry in their work and they all know how to create a very individual – and very related<\/a> – atmosphere.[\/vc_column_text][vc_single_image image=”2340″ img_size=”large” css=”.vc_custom_1558122052110{margin-bottom: 15px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_single_image image=”2329″ img_size=”large” css=”.vc_custom_1558108912141{margin-bottom: 15px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1558108935594{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]Yasujir\u014d Ozu, Good Morning (1959)<\/small>[\/vc_column_text][vc_column_text]Ozu uses symmetrical compositions to bring about peace and balance.[\/vc_column_text][vc_column_text]Wes Anderson knows how to create action from a symmetrical basis. He uses the serenity of symmetry as a contrast to the chaos of action.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n