“Animation is a medium which makes available a multiplicity
of styles and approaches in the telling of a story.”
Belgian animator, Raoul Servais, believes that whatever the
methodology informing the construction of the [animated] film, and no matter
how short it is, it should always have a story of some sort”. This could be in
the same way in which all art forms can tell a story, even if one person’s way
of interpreting this story is different from another’s.
Events formed by a chain of cause and effect – could be
linear, parallel series, past events etc.
“Metamorphasis is the ability for an image to
literally change into another completely different image.” This can obviously
be used however one would wish to within animation, there are no boundaries and
endless possibilities. Can be used to change the mood and atmosphere of the
animation, could also be used as a way of transitioning to/from scenes?
“Condensation in animation prioritises the most
direct movement between what may be called the narrative premise and the
relevant outcome.” This will need to be used as my animation will have
to be condensed from a folk tale to a short 90-120 second piece.
“Synecdoche…a device by which the depiction of part
of a figure or object represents the whole of the figure or object….
Can be use in two specific ways. First, to signify the
specificity of a narrative event, and second, to operate as a metaphor within a
narrative…
Particularly effective in drawing attention to the qualities,
capacities and associations of ‘a part’ and its fundamental role within the
‘whole’.”
"Symbolism complicated narrative structure because a
symbol may be consciously used as part of the image vocabulary to suggest
specific meanings, but equally, a symbol may be unconsciously deployed, and,
therefore, may be recognised as a bearer of meaning over and beyond the
artist’s over intention.” This could also be used consciously though, could be
a useful effect.
“The symbol invests its object with meaning.”
“Metaphor essentially grows out of symbolism and
serves to employ a system of ideas in a more appealing or conducive image
system. The use of metaphor simultaneously invites interpretation but insists
upon openness.”
“Fabrication – Three-dimensional animation is
directly concerned with the expression of materiality, and, as such, the
creation of a certain meta-reality which has the same physical property
as the real world…
In a certain sense, this is the re-animation of
materiality for narrative purposes.”
“Sound – The soundtrack of any film, whether animated
or live-action, tends to condition an audience’s response to it. Sound
principally creates the mood and atmosphere of a film, and also its pace and
emphasis, but, most importantly, also creates a vocabulary by which the visual
codes of a film are understood.”
“’Acting’ in the
animated film is an intriguing concept in the sense that it properly represents
the relationship between the animator and the figure, object or environment
he/she is animating…
The animator must consider all the possibilities available
to the actor in order to create and develop ‘character’ long before the actual
process of animation begins”
Define that character through medium and how it can/will
express things eg costume, construction, movements, moods etc.
“Stanislavski suggested that the play text should be broken
down by the actor into units and objectives, each unit of the text having
a specific set of objectives which fall into three categories: (1) external or physical objectives; (2) internal or psychological objectives; and (3)
rudimentary or mechanical objectives
(Stanislavski, 1980: 119)”
“Choreography, a
direct extension of theatrical staging” How certain characters move and perform
actions, reflects their personality and mood too.
“Penetration is
essentially a revelatory tool, used to reveal conditions or principals which
are hidden beyond the comprehension of the viewer.” Can be used to show
thoughts, dreams, even inside the body etc.
