Category: Design for Animation, Narrative Structures and Film Language

For Term 1, for the subject Design for Animation, Narrative Structures & Film Language, I have written a report titled The Aestheticization of Violence in Animation: Moral Ambiguity and Narrative Consequences.

This report examines how violence is depicted in animated films and series, focusing on the aesthetic choices behind its portrayal and the moral ambiguity it creates. It explores the implications of stylized violence on the narrative structure and character development, specifically whether protagonists are forced to confront the consequences of their violent actions and if this leads to character growth. The report also investigates how antagonists may appear more charismatic due to the design and stylisation of their violent actions. Please find the critical report presentation attached below.

Critical Report Video Presentation Link:

https://drive.google.com/file/d/1NZCmnvCwx0ymRi1YvWV2uFrZVUftlJ8L/view?usp=sharing

Critical Report Document:

In Week 10, I focused on finalising my report’s draft. After gathering the necessary research and examples from the series i watched, I began structuring the material into a cohesive draft. A significant part of this process involved deciding the main chapters for my report. I decided on three chapters, each addressing a distinct aspect of stylised violence in animation, particularly in Demon Slayer and Cyberpunk: Edgerunners. These two series provided rich examples of how violence is not just depicted but stylised to evoke specific emotional and moral reactions from the audience as they both had a narrative structure to it. They showcased violence that was provoked by an event that took place earlier in the storyline of the series which will help me explain the narrative impact clearly as well.

The chapters I outlined were:

• Chapter 1: Stylised Violence & its Effects on Viewers’ Moral Judgement
  This chapter became the centrepiece of my report, as it directly addresses the main topic: how stylised violence in animation affects viewers’ moral judgments. I made sure to allocate more space and focus to this chapter, as it is central to my argument. I discussed how visual representations of violence can desensitise viewers, influence their perception of right and wrong, and create complex moral ambiguities.

• Chapter 2: Impact on the Narrative’s Structure and Resolution
  The second chapter explores how the inclusion of violence in animated series shapes the story’s structure. I examined how violence in both Demon Slayer and Cyberpunk: Edgerunners drives plot development and resolution. Violence, in these series, doesn’t just serve as a plot device but plays a pivotal role in shaping the emotional tone and resolution of the story. Again, this chapter received considerable attention in the final draft because it was crucial to understanding the narrative impact of stylised violence.

• Chapter 3: Potential Long-Term Effects on Societal Perceptions
  For this chapter, I took a broader approach, reflecting on the long-term impact of stylised violence on societal perceptions of violence, morality, and empathy. While this chapter was important, I decided to keep it concise, not delving too deeply into it. I wanted it to serve as a reflective section, acknowledging the potential cultural consequences without overloading the report with too much speculation. The goal here was to offer a perspective on how violence in animation might shape public perception but not go into extensive detail, as this wasn’t the focus of my study.

By the end of the week 10, I had drafted the full report with clear sections and a strong argument in place. I was ready to move on to the revision stage, where I planned to refine the flow and ensure the report clearly conveyed my findings.

Therefore, in week 11, I made sure that the progression of the chapters was smooth and engaging. I also spent time reviewing the language and overall clarity of the report. My main goal was to find a balance between making the report academically correct as well as easy to understand. I wanted to make sure that even though I was discussing complex ideas, they would still be clear and accessible to anyone reading the report. To do this, I looked for places where the language might be too complicated or confusing and worked to simplify it. I also removed any unnecessary details or repetitive points that might distract from the main ideas, so the report stayed focused on what was most important.

Even though I was happy with the overall flow, I wanted to ensure the language was up to the mark. So I read a few books that focused on violence in visual media and communication to understand how to frame concise sentences. that helped me to form sentences that are neither too long nor too short. I then reviewed the entire report one last time, looking for any areas that needed improvement or clarification and made sure to clearly summarise the key points in the Conclusion section. After this, I spent time checking the formatting, ensuring that everything was consistent and professional. This included things like correct citation styles, clear headings for each chapter, and making sure the references were properly formatted. I also rechecked the word count to ensure the report fit within the required limit without sacrificing any important content.

I felt confident that I had put together a strong report that addressed the topic effectively and met all the requirements. It was satisfying to see the report come together after all the research and work I’d put in over the previous weeks.

This week, I focused on deepening my research and starting the first draft of my report. I began by looking for academic articles on Google Scholar to explore the aesthetics of violence in animation. However, I mostly found research about how violence in animation affects children, which wasn’t directly helpful for my topic. There wasn’t much written specifically about the stylistic or artistic presentation of violence in animation.

Since academic reports didn’t provide much insight, I decided to shift my focus to visual references. I watched several animated series and movies to gather examples and ideas. These included anime like Berserk and Demon Slayer, the animated series Cyberpunk, and Disney films like Beauty and the Beast. Watching these helped me analyze how different animations approach violence visually and narratively.

As I watched, I noticed many different themes in the content, such as pornography, sexual assault, patriarchy, bloodshed, revenge, cults and supernatural. Each of these could be explored deeply, but I realised that my report needed a clear and focused direction to stay within the word limit. To make the topic manageable, I decided to focus only on physical violence and bloodshed, particularly scenes involving death. This narrower focus would allow me to go into more detail and provide justice to the topic.

To prepare for the report, I took detailed notes while watching the series, including timestamps of key scenes that illustrated physical violence and bloodshed. These notes will be important references for specific examples I plan to use in the report.

Overall, this week was about finding the right materials to support my argument and deciding on the direction for my report. While it was challenging to find academic sources, the process of watching and analysing animations gave me plenty of insights and examples to work with for the next stage.

This week, I started with my research topic: The Aestheticization of Violence in 3D animation. In this topic,  I will examine how violence, when made to look stylised or visually appealing, has an impact on  storytelling, does it promote character development, and change moral perceptions. This topic is particularly intriguing because it helps me dive into how animators shape the narratives and influence the audiences perspective of good versus evil.

Research Question: How does the aestheticization of violence in 3D animated films create moral ambiguity, what are the implications for narrative resolution and character development?

This question will be the foundation of my work, guiding my analysis of how stylised violence challenges traditional storytelling norms and changes audience expectations.

Why This Topic?

• Personal Interest: I’ve always been fascinated by how animation can evoke emotions, and violence is often a tool used to convey drama, conflict, and depth.
• Blurred Morality: Stylised violence blurs the lines between heroes and villains. It can make a villain seem more relatable or charismatic, challenging viewers’ moral judgment.
• Complex Narratives: This subject highlights how violence impacts character arcs, especially when heroes face internal conflicts or consequences of their actions, and villains are humanised through their motives or backstories.
• Ethical Responsibility: Animators have significant influence over how violence is perceived. Their creative choices can shape societal attitudes toward violence, making this a critical area of study.

By exploring this topic, I aim to address the ethical responsibilities of animators and how their artistic choices impact the way stories are told and received:

• Stylised Violence and Moral Ambiguity:

• I’ll examine how visual choices like colour, framing, and exaggerated movements make violence appear less graphic yet more impactful.
• This will help me understand how these choices create moral ambiguity, making audiences sympathise with villains or question a hero’s actions.

• Character Development in 3D Animation:

• I’ll analyse how the portrayal of violence affects character arcs.
• Heroes often face internal struggles about their use of violence, while villains may be portrayed as victims of circumstance, adding layers to their personalities.

• Narrative Impact:

• I’ll look at how violence drives the story forward and shapes the resolution.
• For example, when stylised violence humanises a villain, it can lead to more complex, morally grey endings.

• Ethical Considerations:

• I’ll explore how animators balance creative freedom with their responsibility to audiences, particularly younger viewers.
• This includes questioning whether aestheticising violence normalises it or sparks meaningful reflections on its consequences.

Keywords for My Research: To dig deeper into this topic, I’ve identified keywords and phrases that will guide my research:

• Keywords:
  Aestheticization, violence, 3D animation, moral ambiguity, narrative structure, character development, villains, stylised violence, moral judgment, emotional disconnection.
• Keyword Phrases:
  • Aestheticization of violence in animation
  • Moral implications of animated violence
  • Character development in 3D animated films
  • Violence and narrative resolution
  • Ethical responsibility of animators
  • Psychological effects of animated violence on audiences

Moving forward, I will start drafting my research report according to the format provided, organising my thoughts into sections that explore visual techniques, narrative consequences, and the ethical role of animators and diving them into chapters. 

Narrative Structure

We started by understanding how narrative structure is crucial for storytelling. It sets up a certain chain of events in a story, guiding how the audience connects with the characters and how the story unfolds. A narrative must be able to engage the audience and ensure a satisfying conclusion. For character-driven stories, it’s vital that the actors not only have appeal but also convey the role convincingly. Directors mainly play a central role in extracting the best performance from the actors, enabling them to communicate the story effectively. This is important because the emotional and dramatic connections to the audience depend on the character’s portrayal.

In my understanding, the focus on character appeal and performance emphasizes how the success of a narrative depends not only on the plot but also on how well the characters are brought to life. This reinforces the director’s responsibility in extracting the best from their actors.

Literary Structures

The traditional forms of storytelling—novels, poetry, plays, short stories, etc.—are often used as references in structuring narratives. These forms influence how stories in animation and other media are built, with different genres (like myths or fairy tales) helping shape the expected flow of events. For animation, these traditional literary forms often serve as the basis for constructing narratives, with their age-old conventions about structure, character roles, and themes guiding the development of the animated stories.

From what I understood, by connecting animation to these literary forms, we can see how certain conventions (such as the “hero’s journey” or the archetypal good vs. evil) are woven into animation narratives, just as they have been in literature for centuries.

The Three-Part Story Structure & The Five-Act Structure

Aristotle’s idea of a beginning, middle, and end serves as the foundation of most stories, including animations. This structure is still relevant today, particularly in understanding how to organize events to create a satisfying narrative.

The Five-Act Structure (Exposition, Rising Action, Climax, Falling Action, and Resolution) helps deepen this concept by offering a more granular breakdown of a narrative’s development. In Act 1, the audience is introduced to the characters, setting, and conflict. Act 2 intensifies the story, with the protagonist encountering obstacles. The Climax (Act 3) is where the story hits its highest point of tension. In Act 4, the action begins to wind down as conflicts are resolved. Finally, in Act 5, we reach the resolution, where the story concludes, and any remaining plot points are tied up.

I learned that these structures help build the pace and tension of the story, ensuring the audience stays engaged from the introduction to the resolution. Applying these structures to animation helps make the plot more digestible, clear, and emotionally engaging.

Equilibrium and Re-Equilibrium

The equilibrium-re-equilibrium model follows a structure where the narrative begins in a balanced state (equilibrium), is disrupted (disruption), and eventually resolves (re-equilibrium). This concept is particularly useful for understanding the dynamic nature of narratives, where the protagonist’s journey or growth leads them to a new equilibrium, often after facing significant challenges.

The idea of disruption and re-equilibrium in animation stories resonates because it shows that animation can manipulate time and space in a way that other mediums can’t. It makes the medium powerful for telling stories where reality can be bent to the narrative’s will.

Metamorphosis in Animation

Metamorphosis refers to the ability of animation to transform objects, characters, or environments in unexpected ways. This process can distinguish animation from traditional cinema by allowing for constant change and transformation within the story. The ability to show fluid, non-linear, and imaginative transformations (like changing shapes or environments) is an essential characteristic of animation, setting it apart from more static live-action films.

I understand that metamorphosis in animation allows for an expression of creativity and flexibility. Characters or worlds can change form or perspective, supporting the fluidity and dream-like qualities that animation offers, which live-action films can’t achieve as naturally.

The Language of Animation: Editing

In animation, editing is essential in connecting shots and scenes to create a coherent narrative. It is a tool for pacing, narrative progression, and maintaining audience engagement. The rules of editing, such as ensuring a smooth transition between scenes or using close-ups for emphasis, are crucial for storytelling. The editing should never distract from the story but instead should flow seamlessly, guiding the audience without them noticing the mechanics behind it.

I understand from this that editing is an art form in itself. It’s not just about technical skills but also about knowing when and how to cut a scene to maintain emotional tension, highlight details, or shift the narrative’s focus. The idea that editing should be “invisible” speaks to how well-crafted edits can make the audience focus on the story and characters, rather than the cut itself.

Disney’s Hyperrealism and Influences in Animation

Disney’s hyperrealistic animation—where even in an artificial medium, realism is emphasized—is a driving aesthetic that many studios have sought to replicate. For example, the attempt to replicate realistic movement and emotions in characters is a major influence in studios such as Pixar, DreamWorks, or Blue Sky Studios. These studios often adopt similar techniques to Disney to evoke believability, such as detailed textures and lifelike movements.

On the other hand, some studios resist Disney’s hyperrealism, focusing on more stylized forms of animation. For example, the animation style in films like “The Triplets of Belleville” or the works of Studio Ghibli takes a more abstract approach to character design and movement. They emphasize artistic expression over hyperrealistic detail, which creates a different emotional connection with the audience.

From this, I grasp that hyperrealism in animation isn’t just about achieving photo-realistic visuals; it’s about conveying believability through the medium’s artificial nature. Studios either adhere to this realism or deliberately choose to defy it for creative reasons, both of which result in distinct viewer experiences.

Research Areas

The research areas raised questions about animation’s disruptive properties, such as its ability to break the boundaries of physical reality. Animation is more fluid, and it has the power to visualize the impossible. Cartoons like Duck Amuck and surreal moments like Pink Elephants on Parade show how animation can surprise the audience by distorting reality in ways live-action can’t, offering a playful, imaginative perspective that challenges traditional cinematic boundaries.

In essence, animation’s freedom allows it to express ideas that would be impossible or highly difficult in live-action, such as visual metaphors, whimsical transformations, or exaggerated emotional expressions. This reinforces how animation can be both a form of entertainment and a medium for exploring more abstract concepts.

Mise-en-Scène is a French term that means “what is put into a scene” or “frame.” I learned that mise-en-scène refers to all the visual elements within a frame that contribute to storytelling in animation and film. These elements work together to communicate essential information to the audience without needing words. The key elements of mise-en-scène are:

Settings & Props

• I learned that the setting of a scene plays a significant role in shaping the story’s mood and guiding the audience’s expectations. Settings can either be built from scratch or carefully selected to add depth to the narrative. For example, in An American Tail, the location of Manhattan is not just a backdrop, but it also adds to the character’s emotional journey. The setting helps set the tone for the events that unfold. Props, on the other hand, provide additional meaning and context to the characters and the plot, as seen in Toy Story and The Godfather, where the props play key roles in understanding the characters’ personalities and the storyline.
• My takeaway: The setting and props in a scene are not just there to fill space but are integral to conveying meaning and expectations to the audience.

Costume, Hair & Make-Up

• I learned that costume, hair, and makeup are used to instantly convey a character’s personality, social status, and occupation. For example, in 101 Dalmatians, the costumes and makeup choices for Cruella de Vil immediately tell us she is extravagant and villainous. In Barry Lyndon, the makeup and costumes highlight the social standing of the characters, supporting the film’s thematic depth.
• My takeaway: These elements act as immediate visual cues, helping the audience quickly understand who a character is, even before they speak or take action.

Facial Expressions & Body Language

• I realised that facial expressions are a direct way to show a character’s emotions, while body language can indicate how characters relate to each other. For example, in The Breadwinner, the protagonist’s facial expressions and body language reflect her resilience and determination in the face of adversity. The way characters position themselves or move can subtly express power dynamics or emotional states.
• My takeaway: Animation and film often rely on non-verbal cues like facial expressions and body language to establish relationships and convey emotions effectively.

Positioning of Characters & Objects within the Frame

• I learned that where a character or object is placed in the frame directs the audience’s attention. For instance, in Isle of Dogs, the positioning of the characters in relation to one another often signifies their emotional connection or tension. The way characters are placed within the frame can also highlight their importance or vulnerability.
• My takeaway: Positioning within the frame is a powerful tool for visual storytelling, guiding the viewer’s focus and adding layers to the narrative.

Lighting & Colour

• I discovered how lighting and colour can shape the mood of a scene. For example, low key lighting, which creates sharp contrasts and deep shadows, is used in films like Citizen Kane to add a sense of mystery or drama. High key lighting, as seen in The Barber of Seville, is bright and natural, making the scene feel more realistic. Colour also plays a critical role, as seen in Amelie, where warm tones create a nostalgic and whimsical atmosphere, or in The Revenant, where the cold, muted colours enhance the harshness of the environment.
• My takeaway: Lighting and colour are not just technical aspects of filmmaking; they are essential tools for creating mood, character emotion, and thematic depth.

Depth-of-Field

• I learned that depth-of-field refers to the distance between the nearest and farthest objects in focus. This technique can be used to emphasise certain elements in a scene. For instance, deep focus allows both close and distant objects to remain sharp, making it possible to highlight the character’s isolation or the vastness of their environment. Shallow focus, on the other hand, keeps only a specific area or object in focus, often highlighting a character’s inner thoughts or feelings.
• My takeaway: The use of focus adds depth to the scene and directs the audience’s attention to what is important in the narrative at that moment.

Types of Shots

• I learned that different types of shots are used to convey varying perspectives and emotions. For example, extreme close-ups, like in The Incredibles, focus intensely on a small detail, which can amplify tension or importance. A medium shot or long shot, like in Wall-E, helps establish the relationship between the character and their environment.
• My takeaway: The choice of shot type has a profound impact on how the audience perceives the story, emphasising details or broadening the narrative’s scope.

Special Shot Types

• I explored shot types that focus on specific relationships, such as a one-shot, which shows a single character (as in Anomalisa), or a two-shot, which features two characters (as in My Life as a Courgette). Group shots, like in Meek’s Cutoff, show multiple characters interacting and can emphasise unity or conflict.
• My takeaway: Special shot types like the one-shot or two-shot are used to highlight the relationship between characters, influencing how the audience perceives their interactions.

Angle Shots

• I learned that the angle of a shot can change the power dynamics within a scene. A high-angle shot, like in The Lion King, can make the character seem small or vulnerable, while a low-angle shot, like in There Will Be Blood, can make the character seem powerful or intimidating.
• My takeaway: Camera angles can visually communicate a character’s emotional state or role within the story, affecting how the audience perceives them.

Point of View (POV) Shots

• I discovered that point-of-view shots let the audience see the world through a character’s eyes, creating a deeper emotional connection. This technique is effective for immersing the audience in the character’s perspective, as seen in various films and animations.
• My takeaway: POV shots strengthen the connection between the character and the audience, making the story more personal and immersive.

Moving Shots

• I learned about the different types of moving shots, such as pan shots (which pivot along the horizon), tilt shots (which move up or down), and dolly shots (which move the camera forward or backward). These shots are often used to follow the action or explore the environment. In The Breadwinner, moving shots help create a sense of urgency and emotional intensity.
• My takeaway: Moving shots are dynamic tools in animation and film, adding energy and emotional depth to the narrative.

Reading the Mise-en-Scène: The Breadwinner & Isle of Dogs

• I analysed the mise-en-scène in The Breadwinner, where the combination of settings, lighting, and character positioning reinforces the protagonist’s sense of isolation and her emotional journey. Similarly, Isle of Dogs uses colour, lighting, and character placement within the frame to communicate the characters’ relationships and the thematic elements of loyalty and survival.
• My takeaway: The way mise-en-scène is crafted in animated films is crucial for conveying the emotional and thematic depth of the story. It’s not just about what is seen, but how it’s presented to shape the viewer’s experience.

Screen Direction

We moved on to screen direction which refers to the movement of characters or objects on the screen from the audience’s perspective, and how it’s essential for maintaining visual continuity. If the movement isn’t consistent, it can confuse the audience. Screen direction is governed by camera positioning and movement, and this continuity is crucial for smooth editing and storytelling.

What I understood is that consistent screen direction is necessary to maintain a fluid and believable flow between shots. Terms like “camera left” and “camera right” help filmmakers define the movement within a frame. This needs to be established early in production, especially in the storyboard and animatic stages, so that the timing and flow of the scenes remain intact.

My takeaway is that screen direction helps us guide the audience’s attention and ensures that the characters’ actions and relationships are clearly understood. Without it, even simple interactions could feel disjointed or confusing. I also learned that pre-determined screen direction is especially crucial in animation, where movements must be precise and planned in advance.

Screen Continuity and the 180-Degree Rule

I learned that once screen direction is established, it must be maintained throughout the scene to avoid visual disorientation. This consistency ensures that the actors are positioned and moving in ways that make sense in relation to each other. The Imaginary Line or 180-degree rule helps keep track of the screen direction.

What I understood from the 180-degree rule is that if we shoot from one side of the axis, the movement and eye lines of the characters will remain consistent. This keeps the audience from getting lost or confused about the characters’ relationships or the direction they’re moving in.

My takeaway is that crossing the axis can disrupt continuity, but certain techniques, like using a neutral shot, can help reset the direction and allow smooth transitions. This flexibility in screen direction is essential when managing the complexity of film and animation production.

Animation Layout and Screen Direction

I learned that animation layout is the process of designing the environments for animated films. This stage is crucial for adapting the story to the film’s style, and it’s closely linked to screen direction, as the layout needs to be planned to maintain consistent movement and positioning of characters and objects.

What I understood is that layout artists need to ensure that the rules of screen direction are considered, especially in camera movements like pans and tracks. This organisation helps avoid confusion and ensures that the audience can follow the animation seamlessly.

My takeaway is that screen direction is just as important in animation as in live-action filmmaking. The movement of the camera and characters must be carefully thought out to keep the audience engaged and the story clear. 

Animation Staging

I also learned that staging in animation shares many purposes with film and theatre in directing the audience’s attention but has unique implications in its execution. This principle focuses on making an idea completely clear, whether it’s an action, expression, mood, or personality.

What I understood is that character placement and composition play a critical role in achieving this clarity. Elements such as camera angles, light and shadow, the dynamics of character movements, and how a character enters a scene all work together to focus the audience’s attention. For example, a sudden entry can create surprise, while an expectant one builds anticipation.

My takeaway is that designing the use of long, medium, and close-up shots helps emphasise and pace the narrative. Each shot type serves specific purposes: long shots establish context, while close-ups highlight emotion or detail. The timing and pacing of these shots have significant production implications, requiring careful planning to maintain the flow and meaning of the scene. If the background clashes with the character or is overly complex, it can distract from the main focus. It’s essential to keep the design clean and scale the key subject properly to avoid unnecessary distractions. Every object or detail in a frame has the potential to be a symbol, so unnecessary elements should be edited out to maintain clarity and impact.

My overall conclusion is that these cinematic principles underscore how storytelling in animation and film is an intricate balance of visual and thematic elements. From the arrangement of props and characters to shot choices and screen direction, each decision plays a role in directing the audience’s focus, building tension, and conveying emotion. Mastering these aspects is essential for creating engaging, coherent, and impactful stories.

Politics and Persuasion in Entertainment

In week 5, we explored the complex relationship between politics and persuasion within entertainment and how these elements manifest in film, animation, and other media. One significant aspect of this topic is understanding the mechanisms through which media platforms can shape, influence, and persuade audiences on both conscious and subconscious levels.

Broadly, audiences can be influenced through various outlets, such as social media, broadcast news, film and animation, and television. Each of these mediums carries a unique potential to embed persuasive messages. For instance, broadcasts and print media maintain an authoritative presence that can sway public opinion, while independent film and animation often provide a platform for personal stories and critical commentary on societal issues.

We analysed how media platforms—from mainstream and independent film to games, podcasts, and social media—hold the power to direct, challenge, and reinforce specific narratives. The potential of these platforms to deliver impactful messages stems from their ability to reach diverse audiences and evoke emotional responses.

A key part of this exploration was understanding how messages within moving images can be presented. These can range from subliminal or masked content, which subtly embeds messages, to overtly propagandist intentions that are clear and direct. Persuasive content might serve commercial purposes, aiming to promote products or ideologies, while documentary or investigative approaches seek to inform or provoke thought.

Under the broad umbrella of politics in media, key areas of focus include political and commercial persuasion, and how subjects like race, gender, equality, disability, ethics, and ecology are depicted. The way these themes are approached can vary widely across documentary films, mainstream cinema, television, games, and advertising. Each of these formats can either challenge existing social norms or reinforce them, depending on the underlying political context. 

In addition to my reflections on political persuasion in entertainment, I also explored the concept of animated documentaries and the unique role animation plays in non-fiction contexts. Animated documentaries, which are recorded frame by frame, represent the real world rather than an imagined one. They are presented as documentaries by their producers or accepted as such by audiences, festivals, or critics. Animation in these contexts is often used to clarify, explain, illustrate, and emphasise certain points.

A key question in this field is what the use of animation means as a representational strategy in documentary. Animation can be a powerful tool for presenting subjective experiences, offering insights into mental states and providing alternative ways of seeing the world. While some critics argue that animation destabilises the documentary’s claim to represent reality, Annabelle Honess Roe suggests the opposite—that animation broadens our ability to depict reality in non-conventional ways, allowing us to explore the world from unique perspectives.

The issue of authenticity in documentary also arises with animated documentaries. Bill Nichols argues that documentary images are often linked to the reality they represent, but animation’s departure from traditional documentary realism raises questions about how authenticity is conveyed. Honess Roe notes that animated documentaries do not easily fit into the traditional documentary mold. This challenges the widely held belief that documentaries should be objective and factual, with their authenticity dependent on their realism.

Furthermore, some critics, like Paul Wells, argue that animation’s inherent subjectivity makes it difficult to achieve objectivity, which is a cornerstone of traditional documentary. However, animation’s ability to present subjective experiences can enhance the understanding of complex, personal narratives. For example, animated works like Waltz with Bashir and the Animated Minds series use animation to convey first-person accounts of trauma and mental health, adding layers to the storytelling that live-action documentary may not easily achieve.

Animated documentaries challenge the notion of what a documentary “should” be, which leads to debates about their place within the genre. As animation becomes more commonplace in documentaries, some worry it may become a “layer” that distances the audience from the real experiences being portrayed, while others express concern about its potential for lazy storytelling, where animation is simply used to illustrate an existing narrative.

Overall, I’ve come to see animated documentaries as a unique and evolving form of storytelling, one that pushes the boundaries of what can be represented in non-fiction and challenges traditional notions of authenticity and objectivity. The evolving role of animation in documentary reflects broader changes in how we define reality and truth in visual media.

In week 4, we took a look into the Politique Des Auteurs, or Auteur Theory, which was developed by critics from Cahiers du Cinéma. This theory emerged from the belief that American cinema deserved in-depth study and that cinematic masterpieces were not limited to a select group of elite directors but included a variety of filmmakers whose work had previously been overlooked.

Andrew Sarris:

We explored Andrew Sarris’s influential notes on the auteur theory from 1962. Unlike a manifesto, his notes aimed to clarify the auteur issue, especially since auteurism wasn’t widely accepted among screenwriters and other film collaborators in 1950s-60s America. Sarris questioned how auteur theory differs from merely viewing directors as the sole creators of a film.

One of the key assumptions is that the director is the author who imparts a distinctive character to the film. Sarris proposed three criteria for auteurism in the first part of his notes. He emphasised that directors don’t always adhere to a specific style; we can’t assume a bad director will always create poor films or that a good director will always produce great ones. He pointed out that elements like cinematography, editing, and acting also play significant roles in determining a film’s quality, suggesting that a film can still be made even without a traditional director. He described “a direction that is nonexistent” as a challenge for critics when evaluating a film’s production.

In parts two and three of his notes, Sarris argued that films should reflect the director’s unique personality, showcasing their recurring characteristics and style, as well as their thoughts and feelings. The third criterion focuses on the film’s interior meaning, which Sarris sees as the ultimate glory of cinema as an art form.

To visualise the auteur theory, Sarris used the concept of three concentric circles: technique, personal style, and interior meaning. According to him, a director’s role encompasses being a technician, a stylist, and an auteur. 

Pauline Kael:

We also looked at Pauline Kael’s views on auteur theory through her piece “Circles and Squares,” which responds to Sarris. Kael disagrees with the core ideas of the auteur theory, saying it often praises directors who use boring and obvious techniques. She critiques Sarris’s tone when discussing the importance of viewing a director’s work as a complete piece.

For Kael, while it’s important to recognise that directors improve their technical skills over time, this shouldn’t be the only way to judge them. She believes a better focus for critics is to find what is new and important in films and help others appreciate it.

Kael also points out that many great directors break the usual rules of technical skill, suggesting that following these rules isn’t always necessary for creating meaningful art. Her critique adds depth to our understanding of auteur theory by showing that evaluating a filmmaker’s work is complex and that the art of cinema is always changing.

Modes of Auteurism:

We also discussed the modes of auteurism, highlighting how the practical aspects of film production can clarify the idea of authorship. When we examine auteurism through various criteria, it becomes clear that the concept can be “refurbished” by moving away from the traditional, singular views of what an artist is. 

This shift opens the door for many potential auteurs, including creative personnel, agencies, and even corporations that influence cinema but may be overlooked by older, romanticised ideas of authorship.

Paul Wells:

Paul Wells pointed out that animation complicates the issue of authorship. While it often follows the large-scale production processes of the film industry, it also allows filmmakers to work almost entirely on their own. In this way, animation can be seen as one of the most auteur-driven film practices. Even in collaborative projects, animation emphasises the personal touch of the creator.

Wells describes the auteur as someone who shapes and executes the core themes, techniques, and expressive goals of a film. This person brings together key elements and meanings, creating a cohesive vision. The auteur also communicates their artistic and thematic intentions through an evolving narrative about their work, becoming an implied presence in the film’s story and influencing both its surface and deeper meanings. Furthermore, the auteur represents a blend of art and commerce, helping to clarify how these two aspects interact.

A fascinating case study in this discussion is Walt Disney. Wells notes that Disney is often seen as a pioneering figure in the animation industry. However, even supporters of Disney struggle to define his specific mode of authorship. Wells considers him “the most important animator” while also saying he is “barely an animator at all.” This paradox raises questions about how we evaluate authorship in animation.

Wells argues that Disney should be remembered as an “author” who fostered specific creative forms rather than someone who hindered the genuine, improvisational spirit of animated art. He did this by controlling and shaping animation as an industrial process, highlighting the complex relationship between artistry and commercial production.

From my perspective, this discussion emphasises how understanding authorship in film, especially in animation, requires us to look beyond traditional views. It shows that a variety of influences, including those from larger entities like Disney, can play a significant role in shaping creative works.

In conclusion, our exploration of the auteur theory and its critiques has revealed the complexity of authorship in film, particularly in animation. While Sarris’s framework highlights the director’s unique vision, Kael’s response underscores the importance of innovation and the collaborative nature of filmmaking. The modes of auteurism further enrich our understanding by illustrating how various influences, including those from larger organisations and creative personnel, contribute to cinematic art.

In week 3, we learned about the importance of experimental animation and how the early pioneers and their groundbreaking works laid the groundwork for today’s practical and theoretical studies in animation.

As soon as artists could manipulate multiple images, it changed how they expressed their ideas through movement, often challenging traditional art styles.

In the early 1900s, the avant-garde movement explored the artistic potential that focused on line, form, movement, rhythm, colour, and light.

Abstraction:

The term “abstract” refers to concepts that are not tied to concrete objects, allowing for a focus on ideas that can be appreciated intellectually. It emphasises internal structure and form rather than aiming to represent specific objects. 

Additionally, abstract ideas can convey emotions or qualities without referring to tangible items. In a broader sense, abstraction involves developing thoughts from concrete realities into general principles or intellectual ideas, encouraging a more conceptual understanding of art and expression.

We learned about two types of abstractions: formative and conceptual. Formative abstraction emphasises visual elements like shapes and colours while conceptual abstraction centres on ideas and themes behind the work.

Formative Abstraction:

Formative abstraction focuses on manipulating visual fundamentals like colour, form, space, light, texture, and dynamics such as movement and rhythm. This approach emphasises these elements as central themes in artwork.

I learned that the artist’s role is investigative, often without a predetermined outcome, mainly in applying a theory or initial objective. This encourages creativity and deeper exploration of concepts.

Additionally, there’s a crucial link between conceptual application and technological advancements in film and animation, raising complex questions about how technology influences art and encourages critical thinking.

We understood that looking at experimental work is essential because it showcases the limitless potential of developing visual and film language, driven by technological advancements. This innovation inspires independent and groundbreaking projects. Personal vision in independent film and animation is crucial for the medium’s development, highlighting the importance of individual creativity in shaping new artistic expressions. 

Additionally, we learned that experimental film encompasses a wide range of concepts, models, and approaches, making it hard to categorise. To better understand this complexity, we focused on several key areas:

• Recognising Qualities: We saw how to identify qualities, aesthetics, abstract themes, and concepts in experimental works.
• Analysing Influences: We examined how new technologies, society, and culture shape individual works and movements.
• Determining Artist Motivations: We considered the motivations and priorities of the artists behind the films.
• Establishing Significance: We assessed the historical and contemporary significance of these works.

When analysing and implementing formal experimental animation, several key elements must be considered.

Categorisation is essential for understanding the genre and sub-genre of the work. I explored the background, setting, mood, tone, theme, and topic, assessing how the animation comments on these aspects and whether it fits within established categories or offers a unique perspective.

Form and Function highlighted the importance of interpreting the meaning in relation to the format and presentational mode. I considered the artist’s objectives and limitations, which significantly influence the overall message of the work.

Process focused on the techniques, materials, and technologies used in the animation. I learned to examine how the relationship between the message and the medium can lead to the process, technique, or tools becoming integral to the message itself.

Lastly, we looked into the Formal Elements, including space, composition, light and colour, movement, rhythm, timing, pacing, transitions, and audio relationships.

Conceptual Abstraction:

Conceptual abstraction involves mixing and rethinking different storytelling techniques and traditional methods of communication. This approach challenges the usual way of making films, encouraging us to question how we perceive them. It also uses symbols and metaphors to add deeper meanings.

We learned that the way formal elements are organised or placed together can create strong sensory and emotional responses. In mainstream cinema, these elements might be hidden, but in abstract work, they are often shown openly.

I also learned that experimentation in these areas has historically taken place outside of mass media and the commercial industry. Movements like the Futurists, Surrealists, Dadaists, and Cubists have left their mark on formal language and conceptual approaches to film, influencing mainstream cinema.

Additionally, personal vision through independent film and animation remains central to the development of the medium, emphasising the importance of individual creativity and innovation. I understood that personal and independent visions in animation often use different processes and ideas without needing to follow the traditional rules or commercial standards of mainstream animation. This means that independent productions can be harder to define by genre since they have a unique approach. As a result, we need to use different methods to evaluate and appreciate these works.

Non-Dialogued Film:

I learned that non-dialogue films, which include everything from silent movies in Hollywood to Surrealist and children’s films, must tell their stories without using any spoken words. This presents a challenge for filmmakers because they need to find other ways to share their messages. They rely on gestures, acting, visual storytelling, special effects, and different sounds to express ideas and emotions. This approach allows them to communicate effectively without relying on dialogue.

Paul Wells’ book Understanding Animation (1998) shows that there are several techniques that allow animation to move away from traditional storytelling methods. These techniques include:

• Metamorphosis: Transforming characters or settings.
• Condensation: Simplifying complex ideas into shorter forms.
• Sound: Using audio elements to enhance the narrative.
• Symbolism and Metaphor: Using symbols to represent deeper meanings.
• Synecdoche: Using a part to represent the whole.
• Fabrication: Creating imaginative elements that don’t exist in reality.
• Associative Relations: Connecting different ideas or images to evoke emotions.
• Acting and Performance: Conveying emotions through character actions and expressions.
• Choreography: Designing movements that tell a story.
• Penetration: Exploring deeper themes or ideas within the narrative.

In conclusion, Week 3 highlighted the diverse techniques that make animation a powerful storytelling medium. This week reinforced the idea that animation can transcend traditional narrative forms, offering unique opportunities for artistic expression and engagement with audiences.

In class this week, we explored the Animation Art and Cinema presentation, which gave me a deeper understanding of how animation has developed over the years. It was interesting to see how animation started as a blend of social change, political revolutions, and new technology, shaping the way we view both art and cinema today.

Key Takeaways:

We learned about James Stuart Blackton, one of the early pioneers of animation. His work, like The Enchanted Drawing (1906) and Humorous Phases of a Funny Face (1907), showed how animation evolved from the artist being visible on screen to the drawings themselves becoming more independent. I found it fascinating how quickly animation shifted into its own medium, separate from traditional art forms.

Another important figure was Emile Cohl, who created one of the first French animated films, ‘Fantasmagorie’ (1908). This film stood out because of its chaotic transitions and quirky characters. It reminded me how early animators were not just telling simple stories but experimenting with the way characters interacted—sometimes in random, unpredictable ways.

We also learned how modernist movements looked at animation as a new and exciting art form that breaks away from traditional painting and realistic filmmaking. Animation allows for constant change, with characters and objects moving and transforming, which challenges the idea of fixed forms and permanence. This fits with modernist ideas of experimentation and pushing boundaries in art. 

I was especially struck by how modernist movements like Dadaism and Futurism embraced animation. They used it to challenge the boundaries between high art and popular culture. This really opened my eyes to how animation isn’t just entertainment; it can also reflect deeper social and political issues.

The technological advances we discussed were also important. The introduction of the peg system by Raoul Barre and the use of clear acetate cels changed animation production by making it easier and faster. Mass communication was the main agenda for that period and therefore mass production became a top priority. This reminded me of the tools we use today, like Unreal Engine 5, which also streamline the creative process.

The avant-garde movement saw animation as a new way for artists to experiment with abstract shapes, flatness, space, and time in ways that traditional painting couldn’t. Many artists moved from painting to animation because it gave them more freedom to break away from classical art rules.

Movements like Futurism led the charge, using animation to explore political and ideological themes. This opened the door for Dada and Surrealism, which embraced film as a form of artistic expression, creating a strong connection between art and cinema.

These experiments influenced other movements like Fauvism and Cubism, inspiring them to explore bold colours and unusual perspectives. Ultimately, avant-garde artists used animation to push creative boundaries and challenge traditional ideas of art.

My Thoughts:

What really stood out to me was how animation broke down barriers between different art forms. Early animators, like Max Fleischer and Windsor McCay, were doing more than just creating fun cartoons—they were pushing the limits of technology, art, and storytelling.

I related this to my own work in Unreal Engine, especially when we discussed Walter Ruttmann’s Lichtspiel Opus 1. His idea of animation as “eye music” connected with what I’m trying to do in my projects—combine visuals with deeper themes to create an immersive experience that’s more than just realistic.

We then moved on to learning the basic vocabulary of art, being the elements and principles to understand the fundamentals clearly. Let’s take a brief look at them:

Principles – 

• Rhythm: Indicates movement through the careful placement of repeated elements, creating a visual tempo or beat.
• Balance: Combines elements to achieve equilibrium or stability, with major types being symmetrical and asymmetrical.
• Emphasis (Contrast): Stresses the differences between elements to draw attention.
• Proportion: Refers to the relationship of elements to the whole and to each other.
• Gradation: Uses a series of gradual changes in elements, such as size or colour, to create depth.
• Harmony: Combines similar elements to accentuate their similarities, often through repetition and subtle changes.
• Variety: Focuses on diversity or contrast by using different shapes, sizes, and colours in the artwork.
• Movement: Creates the look and feeling of action, guiding the viewer’s eye throughout the piece.

Elements – 

• Line: An element defined by a point moving in space; it can be two- or three-dimensional and may be descriptive, implied, or abstract.
• Shape: A two-dimensional element that has height and width, used to define positive and negative areas and create a sense of depth in artwork.
• Form: A three-dimensional element that encloses volume, incorporating height, width, and depth, which can be geometric (like cubes and spheres) or free-flowing.
• Value: The lightness or darkness of tones or colours, with white as the lightest value, black as the darkest, and middle grey as the midpoint.
• Colour: Composed of three properties:
• Hue: The name of the colour.
• Value: The lightness or darkness of the hue, affected by the addition of white or black.
• Intensity: The brightness and purity of a colour, where high intensity means a strong and bright colour, and low intensity indicates a faint and dull colour.
• Texture: Refers to how things feel or appear to feel when touched, contributing depth and interest to artwork.

Together, the elements and principles provide us with the tools to express ideas and emotions effectively, making art a powerful medium for communication and exploration. Understanding these concepts not only deepens our appreciation of art but also inspires us to experiment and innovate in our own creative practices.

We also took a look at The Golden Ratio, a very powerful tool in art as well as animation that helps to create balanced and harmonious art works. 

• Composition and Balance: The Golden Ratio can guide artists in composing their works. By dividing the canvas or using the ratio to determine the placement of focal points, artists can achieve a natural flow and visual balance, making the artwork more engaging.
• Natural Forms: The Golden Ratio is often found in nature, such as in the spiral patterns of shells and galaxies. We may be able to use these naturally occurring proportions to create pieces that resonate with viewers on a subconscious level.

This week’s exploration of Animation Art and Cinema deepened my understanding of animation’s evolution in response to social change and technology. The connections to modernist movements highlight animation’s role in challenging norms.

As we prepare for the next class, I’m eager to learn more about avant-garde movements and their influence on contemporary art and animation.