This week we looked at texture and the ways it immerses us in cinema. This includes the texture of film itself, whether we are watching pixel based digital film or celluloid, which is regarded by many as superior to digital film. Tarantino and David Fincher are both believers in the benefits of celluloid film over digital and continue to use it.

Secondly, we discussed texture in the world of the film and how diegetic textures of objects, fabrics, sound and the general production design can immerse the viewer. We watched a clip from Stoker, directed by Park Chan-wook, and is a prime example of a film that integrates all kinds of aural, visual and physical textures into its story. For instance, when India is rifling through her uncle’s belongings, the sounds of every object is emphasised and enriched, from the creak of leather to the soft click of a pair of sunglasses.

I feel that one of the most important things about texture in relation to cinema is the texture of sound, because without proper sound design an entire film can fall apart. A good example of sound design in film that immerses me entirely in it is Jurassic Park, partly because they created dinosaur noises when nobody really knows what dinosaurs sound like and brought them incredibly close to our own reality.