Zoey Barnes’ texts blip across a fictive Rock Creek Park in House of Cards. Sam White’s mother is made visual as a character in Dear White People only by a glowing iOS avatar. From Godard’s Masculin Féminin to Wes Anderson’s Royal Tenenbaums the diegetic space has long been ruptured by filmmakers acting as typographers. In an age we might call post-Soderbergh’s-State-of-Cinema, Film and Graphic Design make for animated scene partners. Geoff McFetridge’s work with Spike Jonze on Her show a designer as a generator of production design, character, and narrative.
My own practice in the fictive nature of graphic design, my research in the performative nature of typography, and my interest in the exploded state of cinema today make for an unusual tour guide. I suggest a speculative journey into the infinity mirror of films made for screens and screens made for film. Now featuring pixel in picture in pixel.
This lecture was recorded at the VCFA MFA in Graphic Design April 2016 residency in Montpelier, VT.