Understanding Animation by Paul Wells - Essay Example

?[Your full full June 15, Understanding Animation by Paul Wells Summary – Chapter Animationmeans to display one still image after another in such a way that they create illusion of movement. Animation is a form of art, which is largely used for entertainment purposes. To animate means to give life to still images in such a way that they creates a complete film by giving magical power to different objects. I think animation is not a new concept in the history of filmmaking. There exist some evidences of projecting hand-drawn moving images onto the film screens of as early as 70 B.C. In the very early stages of animation, people started thinking that a time will come when people will stare at the paintings and will ask themselves why the images or objects are so stiff by nature. Stuart Blackton has played a considerable role in distinguishing the concept of animated films as some sort of aesthetic vehicle outside the framework of live action films. The simple narrative film, The Haunted Hotel (1907), was a perfect example of Blackton’s filmmaking concept in which he made use of impressive supernatural sequences in order to convince filmmakers that animated pictures have different approach towards filmmaking and are unlimited in potential. The un-natural actions of The Haunted Hotel and all such animated films produced changes in the overall cultural climate. The Gothic and Romantic fiction movies started to incorporate the use of animations along with technological possibilities of new age of modernization. The concept of including comic strip into animated films emerged somewhere between 1913 and 1917. In this period of time, filmmakers produced many films, such as, The Newlyweds, Dreamy Dud, and Krazy Kat, in which they integrated the use of comic strips with latest technology and new film concepts. The integration of comic strips determined that animation should relate itself with experimental values. The concept of comic strips into animated films emerged in the U.S. marketplace just when filmmakers, such as, Walter Ruttmann and Oskar Fischinger, brought the concept of experimental abstract animation to the European film industry. The concept of animation in filmmaking reached the heights of maturity in the late 20th century and until now; many filmmakers are consistently making use of animated films to attract a large number of people towards the cinema. The creation of Disney dominated the medium places in the form of realism and overshadowed the concepts of innovation and style-oriented animations. Presently, the principles of movements are over-enunciated in the dictionary of animation. The squash and stretch mode of Disney animation over compress character movements in order to provide an over-determined comic style to animation. The subjectivity of animation through the intrinsic capability of the medium for restricting realism made reality in animation difficult to execute. This chapter also provides us with the information that true animation is not the one, which is not non-linear or non-objective by nature. It means that to create a perfect animated film; there must be a contrast of objective and subjective elements present in the film. A perfect animated film is one, which concentrates on the use of unique vocabulary by distinguishing the film from all other filmmaking approaches. Summary – Chapter # 2 There are different styles and approaches towards animation. One can possibly argue that the hyperactive realistic animated movies and the Disney animation are the most prominent and distinguishing approaches towards animation. Many filmmakers from the early era of filmmaking and present era have made use of different animation approaches to create stylish and realistic animation movies. Those approaches provide filmmakers with unique set of rules and guidelines towards animated filmmaking. No approach is similar to any other approach. There are some distinguishing features in each of the approaches, which highlight different aspects of animations and contribute towards development of some unique perspectives of animation. The certain modes of construction of the animated films link with the techniques employed in different approaches towards animation. Orthodox and Experimental animations are two different approaches towards animation, which provide filmmakers with unique set of rules for animated filmmaking. Some of the most influencing qualities or characteristics of orthodox animation include specific continuity, evolution of context, narrative style, absence of artists, style unity, and proper dynamics of dialogue delivery. Unlike orthodox animation, some characteristics of experimental animation include abstraction, interpretive style, incorporation of multiple styles, materiality evolution, discontinuity, and presence of artists. These characteristics of the two forms of animated movies make them different from one another. The most convenient technique of filmmaking is the cell animation technique, which facilitates filmmakers in the mass production of cartoons. Developmental animation approach is another approach towards animation, which makes use of the combination of orthodox and experimental animation approaches but keeps the aesthetic difference between the two approaches in tact. An important aspect of orthodox animated movies is their configuration. The characters of such movies are recognizable in every form or style that they use. For example, Donald duck appears as a duck in any style or costume. Specific continuity is another feature of orthodox animated movies. Whether a cartoon is based on a specific fairy tale, or on a sequence, it does not destroy its logical continuity, which is a very remarkable aspect of orthodox approach towards animation. Narrative style, evolution of context, and style unity are some other prominent features of orthodox style. Orthodox characters rarely make the audience focus towards the construction, color, design, and material of cartoons. Orthodox cartoons keep the unity of style intact by making their formal properties consistent. Unlike cell animated or hand drawn cartoons, there is no two-dimensional style in orthodox cartoons. The qualities of experimental animation are different from orthodox in many ways. Experimental cartoons are abstract in nature and there is rarely any sort of continuity in their motions. They integrate the elements of illogical and irrational continuities instead of logical and linear continuity. This kind of animation resists configuration in the way people view it. Wells found that experimental cartoons focus more on movements and rhythm in their own rights rather than particular character (43). Experimental movies reject narration of stories and integrate the use of vocabulary used by sculptors and painters. Unlike orthodox movies, experimental movies give proper attention towards shapes, colors, and structures of cartoons. Experimental animations make use of different modes of animation instead of a single style. Experimental animations also focus strongly towards inclusion of music and rhythms. Therefore, these were some of the characteristics of orthodox and experimental animations, which make them different from one another. Summary – Chapter # 3 This chapter is all about different strategies and settings related to creation of animation pictures. In animation, metamorphosis is not only a way to achieve highest level of economy in narration but also it is a way to add visual style to the cartoons. Metamorphosis is one of the strongest tools of animation. Condensation is another important element of animation. It compresses high level of narrating information into a very limited period. The defining feature of temporal condensation in animation is the conflating premise. Synecdoche is another important instrumental device in the process of condensation. Synecdoche gives a considerable power to animation. Symbolism and metaphor are two of the groundbreaking aspects of aesthetics of animation. The combination of metaphor and symbolism provide life to the animated movies and inject real sense of creativity in such movies. Fabrication refers to concept of three-dimensional animation and is related to the expression of materiality in movies. Associative relation is another term in animation, which is typically based on the principles of animation. The sound, acting, choreography in animated movies is different from non-animated movies. The sound quality and acting of characters make them attractive features of the movies. One of the greatest strongholds of animated movies is penetration, which enhances the operations and making of animation movies and explains unarticulated things in animation movies. Summary – Chapter # 4 This chapter is about different ways to start laughing. People generally associate animation with comedy. Language along with visual components provides a lot of humor to the audience watching animated movies. Language serves as one of the flexible tools for making people laugh. Humor is something, which can also originate from the personality traits of a person. Situational humor is also associated with animation in which characters act unexpectedly or other than what the audience expects from them. Magical surprise, which is based on the nature of animation, is one of the best ways to make people laugh. In my view, body manipulation is a perfect source of humor. The ways the bodies of cartoons collapse and become right again amuse a large number of people. Crossing boundaries lacks the propinquity of live action movies. Animators sometimes highlight black humor, death, violence, and sexual taboos and sketch personalities regardless of their social standings. Irony is also a good source of humor for the audience. About this source of humor, Wells states, “Everything can mean its opposite” (167). My view regarding this chapter is that animation provides many ways to people for laughing and it is up to the people to use their sense of humor to enjoy the real essence of animated movies. Works Cited Wells, Paul. Understanding Animation. London: Routledge, 1998. Read More