SMST318 05A Animation Studies Lecture

1
SMST318 - 05A Animation StudiesLecture 5

• Experimental and
• Independent Forms
• 3D Modes

2
While most forms of animation serve the
particular ends of advertising and propaganda,
story-telling and entertainment, and so begin
with an idea or a need that originated outside
the medium, experimental films normally
germinate in the heart of the medium
itself The discoveries made by the
experimentalists are therefore of constant use
to the professional animator because they reveal
both in their success and their failure what the
medium is capable or incapable of accomplishing
(Halas Manvell, The Technique of Film
Animation, 1959).
3
3D Stop-frame animation

• Claymation
• Object Animation
• Puppet Animation
• Pixilation

4
Ladislaw Starewicz
1882 - 1965
Russias first stop-motion animator
5
Ladislaw Starewicz
6
The Cameramans Revenge Ladislaw Starewicz,
Russia,1912
A story of love and infidelity among the insects.
7
The Cameramans Revenge is
A melodramatic masterpiece of love, deception
and betrayal, the piece is considerably enhanced
by its cinematic reflexivity, readily
acknowledging the voyeuristic and intrusive
capabilities of film itself (Paul Wells, 2001).

8
Anthropomorphism
The attribution of a human form or personality to
a god, animal, or thing.
9
Claymation
Jan Svankmajer, Faust, (Prague, 1994)
10
Jan Svankmajer
Dimensions of Dialogue, (Prague,1984)
11
European Unifying Experiences

• Experience of war
• Political turmoil
• Support for artistic expression
• Artistic repression via state control
• Rich tradition of fairy-tales fables
• Emphasis on visual story-telling
• Cultural aesthetic alternatives to USA
• Influence of Avante Garde and Surrealism

12
European Animation
13
(No Transcript)
14
Puppet Animation
15
Czechoslovakian Puppet Theatre
16
(No Transcript)
17
Jiri Trnka
18
Jiri Trnka
Fireflys 1, (Czeck, 1995)
19
Punch Judy Prague, 1966
Jan Svankmajer
20
The Brothers Quay
21
Brothers Quay
Street of Crocodiles, (1986) The Epic of
Gilgamesh, (1985)
22
(No Transcript)
23
Tim Burton Henry Selick
The Nightmare Before Christmas
24
Object Animation
25
Object Animation
To my eyes, objects have always been livelier
than human beings. More static but also more
telling. More moving because of their concealed
meanings and their memory, which beats human
memory. Objects are keepers of the events they
have witnessedin my films, I have always tried
to extract content from the objects, to listen to
the objects themselves and to put their stories
into images. (Svankmjer, quoted in
Bendazzi, 1982).
26
Animation enables me to give magical powers to
things. In my films, I move many objects, real
objects. Suddenly, everyday contact with things
which people are used to acquires a new
dimension and in this way casts doubt over
reality. In other words, I use animation as a
means of subversion. (Svankmajer, 1992)
27
(No Transcript)
28
Pixilation
The Secret Adventures of Tom thumb, (1993),
Bolex Brothers
29
Mixed Modes
30
Jan Svankmajer
Virile Games (1988)
31
3D Computer Animation
32
http//www.apple.com/uk/creative/rustboy/
33
Production
34
(No Transcript)