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Authors:Kaustubh Ray Pages: 156 - 177 Abstract: Animation, Volume 17, Issue 2, Page 156-177, July 2022. In this article, the author proposes that both substance and process philosophy inadequately address the ‘plasmatic’ and metamorphic movement (PMM) of early animation since it subverts the logic of the ‘cinematographic illusion’. Cognition, which is apparently dependent on identity formation, is predicated on substance, which conforms to representational thought. PMM, which is predicated on the ‘fluid’ linkage of images, destabilizes substance, consequently problematizing representation by introducing conflict between speculative substance predicated on form and perceived materiality from movement. A different problem appears with process philosophy privileging continuing flux that cannot logically be based on identity formation as it resists predication. Yet, cognition is possible as process is speculative and substance is manifest. PMM, as a manifest process that dematerializes substance, ungrounds the basis of both philosophies, simultaneously highlighting their complementarity. By problematizing both, PMM is able to highlight the relational and dependently originated nature of thought. Citation: Animation PubDate: 2022-07-13T09:30:07Z DOI: 10.1177/17468477221104172 Issue No:Vol. 17, No. 2 (2022)
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Authors:Juergen Hagler, Remo Rauscher Pages: 178 - 194 Abstract: Animation, Volume 17, Issue 2, Page 178-194, July 2022. This article discusses experimental forms of collaborative filmmaking in education and introduces the pedagogical concept of Chained Animation. Animation filmmaking usually involves teamwork; production pipelines are traditionally linear and hierarchically structured, separated into direction (or artistic direction) and production teams. By contrast, Chained Animations are non-linear and based on a large group of animators working together at various levels. This concept is particularly well suited to education as it integrates all participants equally, from the idea phase all the way through to its realization. In addition to teaching basic animation principles, this experimental form of education goes beyond established methods of practising those principles. The educational concepts for Chained Animations follow different strategies and range from professional workflows to playful, experimental forms that emphasize participatory and collaborative aspects within large groups. In this article, the authors first examine participatory art practices; then they discuss experimental forms of collaboration in animation and education, using examples from art, film and science. This article examines different experimental approaches, challenges and findings, which are based on three case studies undertaken at the University of Applied Sciences Upper Austria, Hagenberg Campus – Home (2016), Utopia Now (2017) and Draft One (2018) – ultimately presenting guidelines for Chained Animation in education. Citation: Animation PubDate: 2022-07-13T09:30:08Z DOI: 10.1177/17468477221092344 Issue No:Vol. 17, No. 2 (2022)
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Authors:Jo Law Pages: 195 - 208 Abstract: Animation, Volume 17, Issue 2, Page 195-208, July 2022. The animated films of Hayao Miyazaki are populated by women, children and men at work. This article argues that the rendering of physical labour has the capacity to (re)connect the body to its broader social collective experience. The late philosopher, Bernard Stiegler, identifies the loss of savoir-faire (know-how) and savoir-vivre (life skills) as a critical deficit to how we live and work today. Miyazaki’s animated films provide a platform for potentially regaining savoir-faire and savoir-vivre in their reflexive portrayals of human labour. Every story told by Miyazaki involves scenes where bodies work with tools, with each other, and with machines to perform tasks. The rhythms of the working body speak to the ideals of labour as craft – not as exceptionally skilled expertise, but as an everyday practice – that presents ‘an opportunity to “think otherwise”’ as proposed by Glenn Adamson in The Crafter Reader (2010: 136). This article examines the performance of manual tasks in three contexts: the physical act of labour, labouring with machines and the animator’s labour. The author concludes by making the case that the animator’s labour extends to the craft of storytelling and, specifically, that Miyazaki’s animations are what Walter Benjamin called Kraftwerk – a ‘power work’ that re-models the ‘folkloric relations of space’ (see Esther Leslie’s, ‘Walter Benjamin, Traces of Craft’, 1998: 47) that keeps the human spirit alive. Citation: Animation PubDate: 2022-07-13T09:30:07Z DOI: 10.1177/17468477221092357 Issue No:Vol. 17, No. 2 (2022)
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Authors:Paweł Sitkiewicz Pages: 209 - 225 Abstract: Animation, Volume 17, Issue 2, Page 209-225, July 2022. When the doctrine of socialist realism was proclaimed in Polish cinema in November 1949, the production of animated films was only taking its first steps after World War Two. The industry lacked human resources, equipment, buildings, celluloid sheets, distribution system and success. Animators were forced to achieve new goals that were often both ambitious and contradictory. In this new reality, cartoons and puppet films had to be realistic and subordinated to the dominant political doctrine. Addressed to children exclusively, they presented educational and didactic features and were focused on several contemporary topics such as the construction of communism or official propaganda. At the same time, they were supposed to be artistic, technically perfect, addressed to the millions and compatible with Soviet animation practice from Soyuzmultfilm (which was the most important animation studio in the Soviet Union). This article identifies how Polish filmmakers strived to achieve these goals, and discusses the problems faced by young and inexperienced animators under Stalinist culture’s political pressure. The author examines the films produced in that period, verifies them against their assigned political tasks, and shows the absurdities of socialist realism in animation that wanted to reconcile contradictions such as entertainment and education, realism and fairy tales, artistic values and propaganda. Finally, the article explains the impact of these films on the future of Polish animation. Citation: Animation PubDate: 2022-07-13T09:30:08Z DOI: 10.1177/17468477221102501 Issue No:Vol. 17, No. 2 (2022)
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Authors:Philippe Bédard Pages: 226 - 243 Abstract: Animation, Volume 17, Issue 2, Page 226-243, July 2022. This article examines the rising importance of ‘virtual production’ by focusing on one of its core components, the so-called ‘virtual camera’. Using the virtual camera as a focal point, the author highlights how a particular industrial model of film production has changed in response to the transformations brought about by digital technologies. More specifically, this article uses the notion of ‘virtualization’ introduced by Pierre Lévy in Becoming Virtual: Reality in the Digital Age (1998) to offer a unique point of view on films ‘shot’ with cameras that are ultimately all but virtual. Here, The Lion King (2019) serves as a prime example of virtual production, in general, and of the transformation undergone by the camera, in particular. Citation: Animation PubDate: 2022-07-13T09:30:06Z DOI: 10.1177/17468477221102498 Issue No:Vol. 17, No. 2 (2022)
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Authors:Paul M Van Opdenbosch Pages: 244 - 261 Abstract: Animation, Volume 17, Issue 2, Page 244-261, July 2022. Outside the realm of feature films, smaller creative collectives and individual animators are exploring the creative applications of motion capture data to develop compelling and unique abstract animated short films. However, despite an increasing number of examples, there has been little detailed documentation of this practice and the processes involved in this format of animation production. More specifically, there has been little analysis of the key considerations and issues that might confront practitioners when integrating motion capture movement data into their abstract animation practice. As such, a more developed understanding of approaches to incorporating motion capture technologies into the field of abstract animation is called for. This study emerges at the intersection of two key areas of knowledge: abstract animation and computational generative art. The outcomes of this study contribute to building a better understanding of abstract animation practice by exploring and documenting possible strategies and approaches for generating elements that compose abstract animated short films from captured dance movements. This article reveals a possible framework for this type of practice and outlines five key considerations: capture of human movement, retention of human form and movement, influence of the simulation, influence of the virtual environment and visual connection to practice, which should be taken into account by practitioners who use motion capture in the production of abstract animated short films. Citation: Animation PubDate: 2022-07-13T09:30:06Z DOI: 10.1177/17468477221102499 Issue No:Vol. 17, No. 2 (2022)
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Authors:Nicholas Andrew Miller Pages: 262 - 264 Abstract: Animation, Volume 17, Issue 2, Page 262-264, July 2022.
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