(Opinion article)

The dramatic structure of Instagram Stories is almost always a snippet of the moment.

Stories most often end with a conditional ellipsis …. which 10 years ago was so popular in the first posts in the Vkontakte … and quickly became … the same vulgarity as the sudden cApTuAl lEtTeRs in the middle of emo words.

I am, of course, interested in the morphology of the cinema language of stories – a spontaneous fragment, a passing self-presentation, much more messy than self-representation in photography, but also much more lively and dramatic – (there is a possible struggle between the external and internal worlds – a powerful attempt to convey the inner through the outer, the surrounding…).

The visual aesthetics of today`s time is the world of ordinary Instagram-stories, as the visual aesthetics of the mid-2000s was the untidiness of endless digital images, the lack of composition in them.

Stories postulate happiness. This is surprising, but most often the message that I see in the story, “Look I`m here now, and I`m cool.”

And this is probably the greatest miracle of time. In the 2000s, messy photos did not articulate happiness as it is. Rather they were already initially something nostalgic, a sad letter sent to the future.

IGTV will surely kill the story; it will become a much more accurate, correct statement, 21st century home video when technology allows you to shoot it in the form of a blockbuster.

Old Stories will remind us fragmentary of the moment when we could postulate pure happiness – a wry, naive view of the world.

Stories are naive.

I want to prolong their life.

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