I have identified that analysing interpretations of the uncanny is useful in three main areas. Education, art and entertainment. In terms of education Freud explained that less is known about the aesthetics of the unpleasant than of the positive, so to explore these concepts, even now almost a century after the publication of Freuds ‘The Uncanny’ (1919), adds to the pool of knowledge still being gathered. Through past research I have already determined a close relationship between surrealism and the uncanny, so further exploration of the concepts and the interpretations of artists and film makers will hopefully draw out more links. The realm of the uncanny has been a focus of many artists and film makers, and one may argue that there is no difference between art and entertainment, which I agree in many respects, especially in the context of those concerned with using uncanny concepts to convey their messages. Both artists and film makers working in this contextual discipline are aiming to meet the same end. To deliver an important message through aesthetic and narrative uncanny principles. The difference is that where the artistic industry has been applying these concepts for centuries, dating back to artist interpretations of myths and legends, the entertainment industry is only recently using concepts of the uncanny, and it has been developing more and more in recent years due to the increase in independent studios and film makers. Independent developers of games and Indie film makers are using concepts of surrealism and the uncanny to convey deep messages through their creations, aiming to set themselves apart from leading competitors by using narrative concepts that larger commercial studios are afraid to touch on. Those games that do this properly are critically acclaimed and have become increasingly popular with online ‘Let’s Players’ who find more content and pleasure from playing indie games with hidden meanings, open to their own personal interpretation and user experience. Dominant examples include Fran Bow (2015), an indie game, and Seed (2011), a short stop motion film.
I will be using all of the research and interpretations of existing media to develop my own artistic and conceptual direction.