Monday, 29 November 2010
"It just seems like the whole, overall animation world is trying to go where maybe animation doesn't belong".
Sunday, 21 November 2010
Wednesday, 17 November 2010
Tuesday, 16 November 2010
Wednesday, 10 November 2010
Tuesday, 9 November 2010
Walt Disney, Alice in Cartoonland, 1924. Film and Animation.
Live-action cinema has inspired numerous debates about what may be recognised as 'realism'. This is really a consideration of what may be recognised as the most accurate representation of what is 'real' in recording the concrete and tangible world. Clearly the animation form in itself most readily accommodates 'the fantastic', but Disney prefered to create a hyper-realism which located his characters in plausibly 'real' worlds which also included fantasy elements in the narrative. Crucially, Disney's version of 'realism' sought to properly reproduce perspective illusionism in the frame, and not the surreal and 'eccentric mise-en-scene of the Fleischer Brothers' films. Overall, animated films have a tendency to create their own realms which obey their own 'inner logic', however, and though a film may be fantastical, abstract, non linear, surreal and so on, it will probably obey its own codes and convention which establish its own authenticity and plausibility (Paul Wells)
Thursday, 4 November 2010
(Minor events of everyday life for example sleeping, the blinking of an eye...)
Robert Breer suggests: "....time doesn't move forward, things are going, but sideways, obliquely, down and backwards, not necessarily ahead. The sense of motion is the issue. That idea seems hard to define, because our locomotion drives us forward with our faces looking at new things. But since that movement is toward oblivion, in my philosophy anyhow, it might well be backward. It's a delusion to think you are getting anywhere."
Francis Alys, Railings, date unknown (www.francisalys.com) Go to website to view full film, it's amazing, well worth a look.
A random post but I feel it significant to motion/movement and sound an almost expanded piece of animation.
Monday, 1 November 2010
Don Hertzfeldt, Everything will be ok, 2006
"I shoot everything on a beautiful old animation camera that was probably built in the late 1940s. Now I guess I'm one of the last people on earth shooting animation traditionally on 35mm film like this, which is a scary because I simply could not have made my last few movies without this camera. Many of the visuals, not just all the experimental shots, would have been impossible to capture digitally and extremely difficult, if not impossible, to simulate in a computer." -Don Hertzfeldt
Herdzfeldt plays out his deep-rooted anxieties, fears and passion in Everything Will Be Ok, which expresses psychological and emotional states in a range of vignettes and abstract designs. The panels represent the sense of multiple impressions and thoughts that simultaneously visit his central character and convey the increasing lack of control and coherence within the character as he tries to maintain his focus and indentity. As in all Hertzfeldt's work, this becomes both a tragic and comic experience. (Re-Imagining-Animation, The Changing face of The moving image, Paul Wells and Johnny Hardstaff)
Don Hertzfeldt, Rejected
Hertzfeldt's Rejected makes a stinging comment on the banality and facile nature of American commercial culture and its implied moral and ideological agendas.
In light of the rise of corporate idioms and the expectations implicity at the heart of this, the personal responses and outlooks of individual artists become increasingly significant and valuable. While this is not necessarily political or aesthetic resistance as such, it is, nevertheless, a necessary response to dominate models and the intrinic conservatism of supposedly progressive imagery. Don Hertzfeldt represents an excellent example of positive engagement with this climate of creativity. (Re-Imaging Animation, The changing face of the moving image, Paul wells and Johnny Hardstaff)
Maureen Selwood, Hail Mary
Maureen Selwood's work is constantly exploring the relationship between traditional concepts and techniques, and the modernity of the form. This is partly in the desire to extend the artistic parameters of the form, but also to look at the art as a system of ideas. This philosophical approach can then be extended to alternative forms of exhibition, as well as validating the purpose of the art.
Elizabeth Hobbs, The Emperor, 2000
"The is a clear connection between the production of artists books and animation film, the joy of working in a time-based medium is the drama of screening the film to an audience. I also enjoy animated film, in particular I value the experimental films of Robert Breer, the invention of Caroline Leaf and the legacy of Norman McLaren." -Eliabeth Hobbs
"I used wet watercolour on paper as part of my ongoing exploration into directly bringing a drawing or painting to life. I used a smooth-surfaced print-making paper of 220gsm in weight so that it would endure the multiple applications of paint. Using one sheet for each shot, the background was painted in watercolour and left to dry. The animated elements were then painted, filmed whilst still wet and then lifted off the page and repainted in their next position. The technique is fast to execute, though over the production period each shot might be filmed many times to get it right." -Elisabeth Hobbs
Hobbs sees an intrinsic link between the technique employed and the narrative themes and issues she wishes to explore. It is important to note that this deliberate engagement with technique as an expressive methodology should be understood as a model of applied research, and usually comes out of an on-going engagement with a core aesthetic principle or thematic concern. Hobbs has been continually preoccupied with the notion of 'fine art motion' and the ways in which a drawing or painting may be best represented as such through the animated medium. (The Fundermentals of Animation, Paul Wells)
Experimental animation as a term has become more associated with non-objective, non-linear works - which some claim are the purest form of animation - but in other ways it misrepresents a whole range of work that is not necessarily highly progressive in its experimentation, but merely of a different order to classical or traditional 2D cartoons or 3D animation. It is essentially developmental animation in the sense that it is often a response to and a resistance of orthodox techniques, in a spirit of creating a personal statement or vision not possible in a big studio context, or within the field of popular entertainment.
(Alternative methods, The Fundermentals of Animation, Paul Wells)
-John Lasseter, PIXAR Animation.
"The act of drawing empowers the artist to look at the world, to deconstruct and rebuild it. Drawing as a discipline will enable the maker to develop a visual memory, meaning that past experiences and observations can be used in informed, insightful ways that, in turn, change the nature of what is created and communicated. In truth drawing has much in common with text in it has rules and these rules can be broken. The basic rule if construction to drawing are: grammer (mark making), syntax (composition) and meaning (content, subject). In drawing we use media, process, techniques, craft, methods, mark making, compositions juxtaposition, context, gesture, atmosphere, character development and description."