Collaboration between Motion Graphics and Cinema in Screenlife: Post-Cinema and Digital Aesthetics in WIFELIVE
This study aims to analyze the role of motion graphics as a form of collaboration between digital visual arts and cinema in constructing the screenlife style in the film WIFELIVE, and how digital screen design elements visualize the phenomenon of hyperhonest, namely the tendency of women to be excessively truthful on social media. This research employs a qualitative-descriptive approach using visual aesthetic analysis and film semiotics. Data were collected through observations of screenlife sequences, including the characters’ digital activities, interactive screen use, typography, social media icons, screen-motion effects, and interactions within digital spaces. The analysis focuses on the narrative, psychological, and aesthetic functions of motion graphics, and their connection to the theoretical frameworks of post-cinema, digital aesthetics, and intermediality. The results show that motion graphics serve as a point of convergence between digital visual arts and cinematic language, generating a new aesthetic that enriches the viewing experience in digital environments. This aesthetic form can be understood through three perspectives: as post-cinema, the film reflects medium transformation in the digital era; as digital aesthetics, visual design and motion graphics become a narrative language; and as intermedial practice, the film brings together two artistic disciplines within an interactive screen space. Thus, the collaboration of digital visual arts through motion graphics and cinema within the screenlife style not only expands the aesthetic boundaries of film but also opens a reflective space on the relationship between humans, technology, and social media in the algorithmic era.
Keywords: Hyperhonest; Intermediality; Motion Graphics; Post-Cinema; Screenlife
