Stefan Nadelman’s 2002 short film “Terminal Bar” uses over 2500 still shots taken over a decade to show the progression of the bar and its inhabitants from 1973 to 1981.

The narrative of “Terminal Bar’ is driven by accompanying audio and visuals; fast tempo music combined rhythmically with a rapid procession of images represents the bustling atmosphere of New York. This is a process I myself would like to try in regards to motion graphics work. The sheer velocity of portraits we see in even single shots in the film show the bar’s popularity in its heyday. The film shows the passage of time, evident through portraits showing the bar regulars as they age – Nadelman’s choice to present these images side by side portrays this well, while clips of Sheldon describing regulars as their photos rush by on screen contrast the present and the past.

What’s striking about the production of “Terminal Bar” is the amount of detail which went into it; different angled images of the bar are merged to create a 3D like representation, literally and metaphorically adding another dimension to the setting to bring it to life. We can assume photo restoration or digital enhancing was used, particularly on shots where we zoom close into the picture – particularly striking when used to pinpoint individuals in crowded images, entangling them in the narrative.

“Terminal Bar” captures a tone effectively through a combination of narrative, audio and visuals – ensuring that every element of work fits the desired tone and theme of the piece is an important aspect of Graphic Arts, and something I will keep in mind when creating my own work.