Have been reading "A Reader in Animation Studies" edited by Jayne Pilling, John Libbey & Co., Sydney, 1997.
Notes:
1. "What is animation and who needs to know" by Philip Kelly Denslow.
Page 4. "Is digital animation only electronic puppetry?"
2. "Reality effects in computer animation" by Lev Manovich.
Page 6. 3D animation supports Bazin's claim of cinema as complete representation of reality.
Page 7. addition/subtraction (Comelli) in that things are added to build realism while others become less important movement and depth gave way to colour and shade or character.
Page 8. Goals of society of motion picture engineers: showmanship, realism, invisibility.(supports realist cinema).
Unbreakable glass as metaphor for the unseen artifice goal of cinema.
3. "Second order realism and post-modern aesthetics in computer animation" by Andy Darley.
Page 21. Photo-realist painting compared with realist agenda in 3D animation.
4. "The Quay brothers' The Epic of Gilgamesh and the 'metaphysics of obscenity'" by Steve Weiner.
Inspired me to shoot my puppets in floor and two opposing wall set like this:
5. "Narrative strategies for resistance and protest in Eastern European Animation" by William Moritz.
Page 40-45, Soviet subversive animation, films of note:
- The Hand
- Tale of Tales
- Dom (Home)
- Dejeuner sur l'herbe
6. "Putting themselves in the pictures: images of women in the work of Joanna Quinn, Candy Guard and Alison de Vere" by Sandra Law.
Page 48-66, introduced context of Laura Mulvey and feminist guided animation to counteract male gaze.
- Films compared to Tex Avery and directly address stereotypes.
Films of note:
- Body Beautiful
- Girls Night Out by Joanna Quinn
-Wishful Thinking
What About Me
Fantastic Person
Moanologue by Candy Guard.
Page 66. "Women are depicted as complicit in their own enslavement by mirrors or by society's expectations of what femaleness represents".
7. An analysis of Susan Pitt's Asparagus and Joanna Priestley's All My Relations" by Sharon Cousin.
Page 72. Windsor McCay ... identify themselves as having magical creative powers"
Page 73. "Feminist art is art which acknowledges the difference of being a woman".
- three motifs: Phallus, faceless woman (magician/mother), objects to self.
Page 80 "Praget further claims that because images remain privately interiorized, while language becomes public, we can never show images to the extent and with subtlety that we can language".
8. "Clay animation comes out of the inkwell: the Fleischer brothers and clay animation"
Page 87-88. Use of clay snake discussed in one film.
Look for film "Modeling" by the Fleischer Brothers. (claymation).
9. "Bartosch's The Idea" by William Moritz
Page 94. electronic instrument used called the Ondes Martinet.
Berthold Bartosch
Page 96. Cites numerous reference from "Berlin, Symphony of a city" to woodcuts by Masereel.
Page 103. "You can do anything with soap".
10. "Norman McLaren and Jules Engel: Post-modernists" by William Moritz.
Page 105. Curtis: "the risk of incomprehensibility is an essential ingredient of all avant-garde work".
Page 106. Post-modernism defined with McLaren as po-mo artist.
Page 108. Grant Wood (American Gothic) also discussed as post modern. He had been "dismissed as a regionalist".
Page 109. "If it's not abstract, it couldn't be great" (Oskar Fischinger).
Page 109-110. "Engel ... challenged the status as 'high art' ... referencing the thaumatrope and such ... toys" (for Geremy).
11. "Disney, Warner Bros. and Japanese animation" by Luca Raffaelli.
Page 113. "Events and modes of behavior occurring in our adult world can be explained by comparing them to the drives, needs and games of our childhood".
Page 120. "Disneyan cinema is like this; animistic and egocentric; like a child".
Page 130-131. Anime uses emotional stills with voiced over internal dialogue rather than complex animation like Disney (due to cost initially) or the constant dialogue with basically unmoving (but for lips and mechanical/repetitive movements) of Hanna Barbara (although both needed economical approaches to tv animation).
Notes:
1. "What is animation and who needs to know" by Philip Kelly Denslow.
Page 4. "Is digital animation only electronic puppetry?"
2. "Reality effects in computer animation" by Lev Manovich.
Page 6. 3D animation supports Bazin's claim of cinema as complete representation of reality.
Page 7. addition/subtraction (Comelli) in that things are added to build realism while others become less important movement and depth gave way to colour and shade or character.
Page 8. Goals of society of motion picture engineers: showmanship, realism, invisibility.(supports realist cinema).
Unbreakable glass as metaphor for the unseen artifice goal of cinema.
3. "Second order realism and post-modern aesthetics in computer animation" by Andy Darley.
Page 21. Photo-realist painting compared with realist agenda in 3D animation.
4. "The Quay brothers' The Epic of Gilgamesh and the 'metaphysics of obscenity'" by Steve Weiner.
Inspired me to shoot my puppets in floor and two opposing wall set like this:
5. "Narrative strategies for resistance and protest in Eastern European Animation" by William Moritz.
Page 40-45, Soviet subversive animation, films of note:
- The Hand
- Tale of Tales
- Dom (Home)
- Dejeuner sur l'herbe
6. "Putting themselves in the pictures: images of women in the work of Joanna Quinn, Candy Guard and Alison de Vere" by Sandra Law.
Page 48-66, introduced context of Laura Mulvey and feminist guided animation to counteract male gaze.
- Films compared to Tex Avery and directly address stereotypes.
Films of note:
- Body Beautiful
- Girls Night Out by Joanna Quinn
-Wishful Thinking
What About Me
Fantastic Person
Moanologue by Candy Guard.
Page 66. "Women are depicted as complicit in their own enslavement by mirrors or by society's expectations of what femaleness represents".
7. An analysis of Susan Pitt's Asparagus and Joanna Priestley's All My Relations" by Sharon Cousin.
Page 72. Windsor McCay ... identify themselves as having magical creative powers"
Page 73. "Feminist art is art which acknowledges the difference of being a woman".
- three motifs: Phallus, faceless woman (magician/mother), objects to self.
Page 80 "Praget further claims that because images remain privately interiorized, while language becomes public, we can never show images to the extent and with subtlety that we can language".
8. "Clay animation comes out of the inkwell: the Fleischer brothers and clay animation"
Page 87-88. Use of clay snake discussed in one film.
Look for film "Modeling" by the Fleischer Brothers. (claymation).
9. "Bartosch's The Idea" by William Moritz
Page 94. electronic instrument used called the Ondes Martinet.
Berthold Bartosch
Page 96. Cites numerous reference from "Berlin, Symphony of a city" to woodcuts by Masereel.
Page 103. "You can do anything with soap".
10. "Norman McLaren and Jules Engel: Post-modernists" by William Moritz.
Page 105. Curtis: "the risk of incomprehensibility is an essential ingredient of all avant-garde work".
Page 106. Post-modernism defined with McLaren as po-mo artist.
Page 108. Grant Wood (American Gothic) also discussed as post modern. He had been "dismissed as a regionalist".
Page 109. "If it's not abstract, it couldn't be great" (Oskar Fischinger).
Page 109-110. "Engel ... challenged the status as 'high art' ... referencing the thaumatrope and such ... toys" (for Geremy).
11. "Disney, Warner Bros. and Japanese animation" by Luca Raffaelli.
Page 113. "Events and modes of behavior occurring in our adult world can be explained by comparing them to the drives, needs and games of our childhood".
Page 120. "Disneyan cinema is like this; animistic and egocentric; like a child".
Page 130-131. Anime uses emotional stills with voiced over internal dialogue rather than complex animation like Disney (due to cost initially) or the constant dialogue with basically unmoving (but for lips and mechanical/repetitive movements) of Hanna Barbara (although both needed economical approaches to tv animation).
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