ABSTRACT
Evocative imagery is appropriate when the storytelling puts an aesthetic or sensory response as the main goal, with declarative story information as a passenger on this vehicle. Small moments of Evocative Imagery can be used for compression of time, enabling shifts in mood and tone, almost like time-lapse photography of the emotional transitions. Settings are often used to bring us to characters. When Evocative Imagery is used, the associated feelings can become part of their characterization. When Settings are used to provide time for the audience to process strong emotional moments, it is common to use Evocative Imagery as the mechanism for temporarily suspending story progress. Signaling a strong aesthetic response with Evocative Imagery can suit the presentation of character experiences that are unreal, not of this world, or expressively subjective. Movies that seek to convey spiritual or philosophical content can employ imagery to function as both metaphor and direct simulant of strong emotional responses, without the need for conventional narrative constructs.
