The Mannerist Game

2018 ◽  
pp. 205-223
Author(s):  
Christopher Holliday
Keyword(s):  
Film Noir ◽  
Pop Music ◽  
Trompe L'oeil ◽  
New Hollywood ◽  
Digital Animation ◽  
Animated Films ◽  
Animated Film ◽  
Music Film ◽  
Action Cinema ◽  
Live Action

This chapter argues that mannerism and traditions of mannerist art give greater definition to how computer-animated films playfully dismantle their illusionist activity by making false claims about their relation to live-action cinema. To consider these specific forms of Mannerist humour in the computer-animated film, this chapter plots Mannerism’s cinematic lineage within certain styles and genres (film noir, pop music film, heritage drama, period film and cinéma du look), and notes that despite scholars having employed a vocabulary drawn from European art history to describe the (often digitally-assisted) bravura camerawork of New Hollywood cinema, Mannerism has yet to be employed as a descriptor for digital animation. This chapter therefore re-imagines computer-animated film comedy as strongly Mannerist in its invention, and draws particular attention to their strategies of allusive anti-illusionism. Computer-animated films frequently stage false, illusory discourses of revelation (feigned blooper reels, outtake material, behind-the-scenes ‘actor’ interviews) as a comic flourish that maintains the genre’s illusion. To interrogate the wit of the genre’s Mannerist play, I examine its many trompe-l’œil illusion effects and activities of self-deception.

Falling with Style? The Computer-Animated Film and Genre

2018 ◽  
pp. 24-40
Author(s):  
Christopher Holliday
Keyword(s):  
Genre Theory ◽  
Specific Context ◽  
Film Genre ◽  
Digital Animation ◽  
Software Packages ◽  
Internal Structures ◽  
Animated Films ◽  
Animated Film ◽  
Action Cinema ◽  
Live Action

Chapter One maintains the genre narrative established in the book’s introduction, interrogating in greater depth the shape of contemporary film genre theory, and its relationship to the study of digital animation to understand how computer-animated films might be conceptualised in generic terms. The interrelationship between animation and genre is identified as a complex series of engagements and negotiations, and drawing on animation scholarship and theories of film genre, this chapter engages with the problem of generic classification when placed within the specific context of animation. Informed by Paul Wells’ work on animation’s generic “deep structures”, this chapter argues that it is in the process of ‘doing’ recognisable genres (similar to notions of genre parody) that computer-animated films both create and announce their own internal structures and attributes, which will be pursued across the book as a whole. Chapter One also works through technological considerations (including current software packages) to identify the computer-animated film genre as a significant attribute of textual structures that are underpinned by technological concerns. Questions of genealogy and the computer-animated film’s potential influence (live-action cinema; videogames) are therefore brought together in a discussion of the ‘computer-animated film’ as a viable critical label.

scholarly journals Film Animasi sebagai Medium Dokumentasi Kekayaan Alam, Intelektual, Budaya, dan Dinamika Sosial Politik

Humaniora ◽  
2012 ◽  
Vol 3 (2) ◽  
pp. 668
Author(s):  
Ardiyansah Ardiyansah
Keyword(s):  
Health Care ◽  
Real World ◽  
Laws Of Nature ◽  
Award Winner ◽  
Political Dynamics ◽  
Digital Animation ◽  
Visual Phenomenon ◽  
Animated Film ◽  
Academy Award ◽  
Live Action

Animation is a medium that has the ability to represent a visual phenomenon as a whole. Animation is not just a work of image-driven, but the work depicted motion, as expressed by Norman McLaren, Canadian animator Academy Award winner. As the interpretation of the motion, the animation is not subject to the laws of nature, so there is no limitation including movements that cannot be done in the real world or recorded in the live-action movie. So is the characterization or characterizations in the animation can be so free and open more opportunities for exploration. This advantage makes the animation a favorite medium to draw the attention of the audience, especially in the growing era of digital animation technology. Animation is now not only used for entertainment purposes, but has penetrated other fields such as education, tourism, health care, and so on. As a cultural product, animation, as well as films and works of art of human culture in general, is a historical marker that describes the spirit of an era that functions inherent in the animated film documentation of socio-political dynamics of a nation in a given period. This paper describes the process of documentation of natural, intellectual, cultural and socio-political dynamics in countries that intensively utilize the medium of animation.  

scholarly journals Hiding Hiroshima

2009 ◽  
Author(s):  
Adam Fernandes
Keyword(s):  
United States ◽  
Cultural Studies ◽  
Nuclear Weapons ◽  
The United States ◽  
Action Films ◽  
Cultural Ideologies ◽  
Animated Films ◽  
Action Cinema ◽  
Live Action

<p>Explores the representation of nuclear weapons in Japanese anime and US live action cinema in the 1980's, using methods from cultural studies. Examines, specifically, the silences and contradictions of the selected films to reveal the cultural ideologies of Japan and the United States during the time in which the films were produced. Analyzes the Japanese animated films, Barefoot Gen, Barefoot Gen 2, and Grave of the Fireflies, and the American live action films, The Day After, Testament, and Miracle Mile.</p>

scholarly journals Penciptaan Karya Film Animasi 2D “Miliv” Dengan Teknik Hybrid

2019 ◽  
Vol 5 (1) ◽  
pp. 057-076
Author(s):  
Rafinur Nidiansyah ◽  
Arif Sulistiyono ◽  
Pandan Pareanom Purwacandra
Keyword(s):  
Comfort Zone ◽  
Digital Animation ◽  
Animated Films ◽  
Animated Film ◽  
The Creation ◽  
Experimental Animation ◽  
Media Delivery

When human realize that they are not as they appear, it causes personal conflicts in humans, there are two sources that come from inside and outside. With animated films that have become increasingly popular with various groups, the creation of the animated film “MILIV” as one of media delivery in the form of visual and media delivery messages contained in the film.With the concept of hybrid, it combines stopmotion animation techniques, rotoscope, and digital animation, creating an experimental genre animation work with its unique visual style.The animated film “MILIV” tells of a bird who is too late to realize his true identity and is trapped in comfort zone. Contemplation became the main goal in this animated film “MILIV”Keywords: Film, MILIV, Hybrid, Rotoscope, Stopmotion, Experimental, Animation

In the Blink of an Eye

2016 ◽  
pp. 166-186
Author(s):  
Alanna Thain
Keyword(s):  
The Body ◽  
Stop Motion ◽  
Definition Of ◽  
Action Cinema ◽  
Live Action ◽  
The Invisible

Canadian animator Norman McLaren claims that “animation is not the art of drawings that move but the art of movements that are drawn; what happens between each frame is much more important than what exists on each frame; animation is therefore the art of manipulating the invisible interstices that lie between the frames.” That has remained the default definition of animation since he first proposed it. Between the frames lie the alchemical transformations of animation and live-action cinema that exceed the still, photographed images. McLaren’s emphasis on the in-between may explain why his work involves stop-motion animation and was so strongly influenced by dance. Through consideration of McLaren’s collaborations with dancers in Ballet Adagio and Pas de Deux, but especially the aberrant movement and nonhuman dance of his A Chairy Tale, McLaren’s ability to animate change itself links dance’s potential for animation and animation’s ability to bring to screendance new potentials of the body.

Country Music and Film

2017 ◽  
Author(s):  
Barry Mazor
Keyword(s):  
Motion Pictures ◽  
Music History ◽  
Country Music ◽  
Cinema Studies ◽  
New Hollywood ◽  
Film Archives ◽  
Music Film

This chapter presents an overview of available writing and research materials within country music history and cinema studies disciplines on the interaction of commercial country music and theatrical motion pictures—how the music and its practitioners have been represented on-screen and reception of both have been affected by that representation, and how the music has contributed to films. The deficit in systematic resources for study is described—the lack of country music film archives, filmographies of related motion pictures, and dedicated catalogues. Literature (or its absence) engaging country music and the screen as they evolved and related in the silent, prewar sound, postwar country music boom, and post-1970 “New Hollywood” periods is outlined. How country music performances have served narratives and as self-contained cinematic elements are differentiated, and film’s continuing use as an agency for shaping country’s cultural respectability is outlined.

scholarly journals Literary works in Azerbaijani animation: symbolism and semantics

2020 ◽  
Author(s):  
Ф. Мир-Багирзаде
Keyword(s):  
Historical Analysis ◽  
Literary Works ◽  
Foreign Literature ◽  
Animated Films ◽  
Comparative Historical Analysis ◽  
Animated Film

При помощи сравнительно-исторического анализа автор исследует азербайджанские мультипликационные фильмы, экранизирующие произведения как отечественной, так и зарубежной литературы. В процессе создания каждого рисованного мультфильма советской эпохи принимали участие профессиональные режиссеры, сценаристы, художники-постановщики, снимавшие анимационные фильмы по произведениям азербайджанских писателей-классиков, среди которых – Низами Гянджеви, Мухаммед Физули, Сеид Азим Ширвани, Мирза Алекпер Сабир, Джалил Мамедкулизаде, Абдулла Шаиг, Сулейман Сами Ахундов, Али Керим, Расул Рза. К числу азербайджанских мультфильмов, снятых по произведениям зарубежной литературы, относится экранизация «Звездных дневников Ийона Тихого» и анимационный фильм по мотивам японских хайку. Азербайджанские мультфильмы по мотивам литературных произведений, вошедшие в золотой фонд киноискусства Азербайджана, отличаются специфическим творческим методом. Using a comparative historical analysis, the author explores Azerbaijani cartoon films that screen works of both domestic and foreign literature. In the process of creating each Soviet-era drawn cartoon, professional directors, screenwriters, and production designers took part in making animated films based on the works of Azerbaijani classic writers, such as Nizami Ganjavi, Mohammad Fuzuli, Seyid Azim Shirvani, Mirza Alakbar Sabir, Jalil Mammadguluzadeh, Abdulla Shaig, Suleyman Sani Akhundov, Ali Kerim, Rasul Rza. Azerbaijani cartoons based on works of foreign literature include the adaptation of «Ijon Tichy’s Star Diaries» and an animated film based on Japanese haiku. Azerbaijani cartoons based on literary works included in the Golden Fund of cinema art of Azerbaijan are distinguished by a specific creative method.

Satisfying a Spirit of Adventure

2018 ◽  
pp. 224-231
Author(s):  
Christopher Holliday
Keyword(s):  
Adult Child ◽  
Genre Analysis ◽  
Contemporary Culture ◽  
Childhood Experience ◽  
Cultural Experience ◽  
Future Opportunity ◽  
Animated Films ◽  
Animated Film ◽  
Adolescents And Adults ◽  
Children's Films

The conclusion reflects on the meaningfulness of genre analysis as paving the way for more rigorously formalist approaches to computer-animated films, but also as a way of positioning industry, technology and textuality in relation to each other. The conclusion also argues that the features of the computer-animated film identified in the book engage with discourses of juvenile behaviour to stretch the terms of the adult/child distinction, with many computer-animated films demonstrating a notable fascination with the vicissitudes and values of the childhood experience. The narratives of computer-animated films invite a specific consideration of what it means to be a child within contemporary culture. I challenge directly Judith Halberstam’s notion that certain children’s films appeal to the “disorderly child” and instead look to the fuzzy distinction between adolescents and adults engendered in portmanteau terms pertaining to cultural categories such as “kidult,” “manchild” and “adultescents.” The child/adult distinction is thus not fixed or ‘frozen,’ but flowing, and the conclusion identifies how computer-animated films offer future opportunity to examine how, as a genre, they mobilise questions about the cultural experience and significance of childhood, at the same time as their narratives redefine adulthood.

Monsters, Synch: A Taxonomy of the Star Voice

2018 ◽  
pp. 144-164
Author(s):  
Christopher Holliday
Keyword(s):  
Film Performance ◽  
Structural Importance ◽  
Animated Films ◽  
Animated Film ◽  
Character Design ◽  
Multi Media ◽  
Sound Technology ◽  
Film Sound

This chapter proposes that the ascription of star speech (as a dynamic sound form) to the computer-animated film’s puppet performers contributes to the effect and impact of their many screen performances. This chapter takes the star voice to be a unique instrument of performance that lies at the cornerstone of computer-animated film acting, and begins by implicating the potency of the star voice within wider industrial discourses. These include local dubbing practices, sound technology, and the multiplication of star sound across a range of consumer and multi-media products. The formal and structural importance of the star voice to computer-animated film performance is illustrated through the work of prominent film sound theorist Michel Chion and his work on synchresis, a neologism produced out of the combination of “synchronism” and “synthesis”. By extending Chion’s account, this chapter uses descriptors derived from synchresis to outline three prominent synchretic unions operating at the level of character design. A significant innovation here is the development of a taxonomy of the star voice as it is inscribed formally into computer-animated films—anthropomorphic, autobiographic and acousmatic synchresis—which give new precision to the analysis of star voices in animation.

Pixar, Performance and Puppets

2018 ◽  
pp. 127-143
Author(s):  
Christopher Holliday
Keyword(s):  
Dominant Mode ◽  
Skeletal Structure ◽  
Live Performance ◽  
Film Genre ◽  
Counter Narrative ◽  
Animated Films ◽  
Animated Film ◽  
Sliding Scale ◽  
Performance Setting ◽  
Opening Up

As a way of remedying the wider absence of computer-animated film acting within scholarship on film and animated performance, this chapter makes a significant assertion that, in its production, the computer-animated film genre actually cross-pollinates stop-frame techniques with those associated with marionette theatre as part of its style of performance. In the workable geometry of its virtual bodies (skeletal structure, anatomical coherency, joint segmentation and armature), computer-animated films evoke the wealth of string marionettes (as well as rod or hand puppets) moved within a live performance setting. Such puppet-like forms of acting holds the computer-animated film distinct from performances in popular Hollywood cinema achieved through stop-motion frame-by-frame techniques and traditional hand-drawn methods. However, this analysis not only supports the central concept that puppetry has become a more significant concern of the computer-animated film than in other animated media, but also provides a counter-narrative to scholarship that affords generality to motion-capture as the dominant mode of cyber or virtual puppetry. Puppetry can be understood, I argue, as an altogether more inclusive category, and this chapter promotes puppetry as opening up performance in computer-animated films and revealing the sliding scale of puppet processes involved in its creation of acting.

Sign in / Sign up

Export Citation Format

Share Document