Aayushi Barai's Blog

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.