Aayushi Barai's Blog

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.

Design for Animation, Narrative Structures & Film Language

In our Week 1 session on “Design for Animation, Narrative Structures & Film Language,” we were taught the fundamental aspects of developing a critical report. Here’s a summary of what we learned:

Choosing a Research Topic

• We were told that when choosing a research topic, it’s essential to pick something that truly motivates us to explore and discover. We were encouraged to think about how our inquiry might connect to established research and how our findings could potentially impact current or future theories and practices.
• We learned to consider the relevance of our research in the context of the field of study and how it can inform an audience. Our topic should have a clear purpose, fulfilling the outcomes outlined in our assignment brief.

Relevance to Our Practice

• The lecture prompted us to reflect on our career goals and which areas of production we want to focus on after graduation. We were asked to think about the skills we need to develop to reach vocational standards and how we will showcase our work in the final shows.
• We discussed the importance of connecting our thesis research directly to our practical work or exploring an area of research that might not be related to the practical element.

Potential Research Objectives

• The session emphasised the importance of extending our knowledge of a subject area that we are passionate about and exploring areas that will inform our practice.
• We learned that developing a critical and analytical approach is key to interpreting and evolving our work while understanding its context within historical and contemporary practices.

Developing the Critical Report

• We were advised to establish a clear theme or topic for our report, which may evolve during the research process.
• We discussed the significance of writing a strong introduction, using appropriate methodologies, critically reviewing relevant literature, and presenting a balanced argument in the main body of the text.
• The session also highlighted the importance of drawing conclusions and making recommendations based on our findings.

Structuring the Report

• The critical report is to be organised into several key sections:
  • Introduction (around 200 words): A clear statement about the issue being investigated and the purpose of the report.
  • Critical Review of Literature (approximately 250 words): A thorough appraisal of the research conducted and how sources were used to achieve the objectives or answer the questions.
  • Main Body (about 800 words): A detailed investigation of options based on evidence, including the main discussion, findings, and citations. We were encouraged to use sub-headings to organize our content.
  • Conclusion (250 words): Summarizing findings and providing recommendations to the audience based on those findings.
  • References: We were instructed to use the Harvard referencing system and include at least five academically recognized sources.

Starting to Think About Ideas

• As we discussed the structure and purpose of the report, I started to think about possible topics that I could explore. The idea of how narrative structures in animation influence audience perception immediately caught my attention.
• The emphasis on linking theoretical research to practical applications made me think about how I could connect my findings directly to my own work or future projects in animation.

Audio-Visual Presentation Component

• We were briefed on the objective of creating a 5-minute audio-visual presentation to effectively communicate our research topic.
• Our presentation should focus on key points from our written report, highlighting the objectives, processes, and results of our research without simply reciting the entire report or using lengthy text passages.
• We were encouraged to make the presentation as visually engaging as possible, aiming to provide a clear, concise, and illustrative representation of our research findings.

Structure and Content

• The guidelines suggested presenting a brief outline of the intention behind our research and outlining the main sources of information that informed our study.
• We were advised to select key areas of investigation that led to our findings, briefly state our conclusions, and discuss how the research might apply to further knowledge in theory or practice.
• The presentation is also an opportunity to identify personal objectives, reflect on future projects, and evaluate our research approaches.

This introduction to the Critical Report in Week 1 has set a clear direction for how I should approach my research, and it has already sparked a few potential ideas for topics to explore further.