Cnote Essay

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NotecNote Christopher Hinton’s cNOte(2004) took over where Norman McLarens Synchromy (1971) left off. He pays tribute at the beginning of the film with some Norman dancing film scratches an homage which puts the past to rest. What takes place in the afterwards is a Synchronized Abstract dance of color, character, and storytelling; where the director successfully meshes technique, style, and precision. We are under the impression watching this film that we are being hypnotised by a master animator. Whose years of experience allow him the confidence to guide our eyes and our minds through what strikes me as an animator’s painting palette. With the right kind of eyes one will be able to determine an intricate abstract storytelling, or an abstract ballet evoked from a symbiosis between the animator and the musician. We become wise that the relationship between practice and theory is symbiotic. Anyone familiar with Christopher Hinton’s previous films such as Black Fly or X-man will rediscover his signature style within this film which he accomplishes by adhering minutely to his earlier techniques. One will pick out glimpses of characters within the abstract bursts of aggressive hyper-aestheticism. All of this attributes to why I chose to look deeper into this film. For one it is rare for an animation film to resonate something inside me. If I was to be honest I would say its envy or jealousy that triggered the need to further study cNote. It sets a bar on a ladder I’m struggling to climb; up I go to the level this film balances on. What cNote shows me is a filmmaker who understands a type of hidden storytelling, subtle, simplistic symbolism which invokes archetypes we are all familiar with. Dragons, madness, curiosity, transformation, we see the physical interaction between the vibrations of the music and the animations. We are witness to the creativity, and

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