![]() ![]() ![]() In order to make visual portrayal possible, Ang Lee made extensive use of CGI to construct a 3D world that exhibits only a vestigial relationship to its real-life models. Yann Martel’s The Life of Pi was originally deemed “unfilmable,” and it was not until director Ang Lee was brought on board that this assessment changed. For Ang Lee, the manufacture of a seamless, aesthetically appealing CGI world was a means of visually affirming the broadly conceived notions of interconnectedness and purpose that he borrowed from Christianity, Islam, Hinduism, and Jewish mysticism. Indeed, it is impossible to make sense of the film’s extensive use of religious themes and rituals without understanding its use of immersive visual effects. Ang Lee constructs a filmic world using such elaborately developed CGI (computer-generated imagery) that the film exhibits only a vestigial relationship to the real-life animals and locations used in its creation. Viewers of the film, by contrast, are invited to believe Pi’s story precisely because they are seeing it so vividly. Martel’s novel invites readers to believe Pi’s story without seeing it. The film expands upon the novel’s fantastic story through the integration of new visual metaphors that invite religious reflection, and is reinforced by religious rituals within and beyond the film itself. ![]() ![]() Ang Lee’s The Life of Pi is based on Yann Martel’s novel of the same name. ![]()
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