Animated Film

Question 1

animation

Answer 1

• train of fantasy, miniscularization, diff. world, diff. scale
• live action + animation predicated on illusion of movement
• no reconstruction of movement, just constitution
• not governed by real world principles
• predicated on suspension of disbelief
• series of images by shooting 1 frame at a time

Question 2

animation in relation to documentary and avant-garde film

Answer 2

• does not tend toward any particular form, be it narrative or non-narrative
• distinguished by the processes involved in its construction
• vision of world in way we don’t see
• realize diff. potential

Question 3

Norman McLaren summed up the essence of animation

Answer 3

• “Animation is not the art of drawings that move, but rather the art of movements that are drawn. What happens between each frame is more important than what happens on each frame.”
• diff. betw. 2 stages of movement that produces illusion of movement

Question 4

metamorphosis

Answer 4

• distinctive
• “the ability of a figure, object, shape, or form to relinquish its seemingly fixed properties and mutate into an alternative model.”
• ability to change completely without the use of editing

Question 5

drawn/cel

Answer 5

• drawn on cels (clear rectangular sheets of celluloid)
• photographed
• reality not photographically rendered, but drawn
• series of cartoon images
• layered

Question 6

cut-out

Answer 6

• photographed
• create paper shapes
• flat puppets with moveable joints
• manipulate frame by frame to create moving collage

Question 7

clay

Answer 7

• claymation
• plasticine sculpted figures
• manipulated betw. exposures

Question 8

model/puppet

Answer 8

-use of dolls with bendable wires/joints

Question 9

pixillation

Answer 9

• movement through stop animation
• present things that are real, but produced through pixellation
• frame by frame manupulation of ppl + objects
• freeze in place, move slightly, freeze again

Question 10

computer animation

Answer 10

• on computer
• CGI
• 3D: Toys story
• 2D: simulates cel animation

Question 11

Paul Wells

Answer 11

• fluid linkage of images through the process of animation itself rather than through editing
• achieves the highest degree of economy in narrative continuity
• defining the fluid abstract stage between the fixed properties of the images before and after transition
• legitimises the process of connecting apparently unrelated images, forging original relationships between lines, objects, etc., and disrupting established notions of classical story-telling
• can resist logical developments and determine unpredictable linearities
• achieve transformations in figures and objects
• enabling the collapse of the illusion of physical space, metamorphosis destabilises the image, conflating horror and humour, dream and reality, certainty and speculation

Question 12

attributes

Answer 12

1) the presentation of imagery that has no “real-world” status beyond the filmic universe (examples to be discussed: drawn, cut-out, computer, direct, clay, and puppet/model animation)

Question 13

attributes

Answer 13

2) the creation of movement through a succession of individual static images (a salient term to be presented: pixillation)
- continuation of action

Question 14

attributes

Answer 14

• create a world fantastical
• represent world through conventional cinematic techniques/simulation of such techniques
• techniques constructed frame by frame
• diff. means of constructing world

Question 15

direct

Answer 15

-etched right on film

Question 16

stop motion

Answer 16

-slightly changed position in each frame, when projected, creates illusion of movement