CHAPTER I. The Creative Process

1951 ◽  
pp. 17-62
Keyword(s):  
2020 ◽  
Vol 8 (1) ◽  
pp. 11-31
Author(s):  
Paul Taberham

This article offers further reflections on a chapter I published in the anthology Experimental Animation: From Analogue to Digital. I begin by exploring the reticence artists and critics have shown in attempting to define what experimental animation is, and I then offer a way to provide a definition without delimiting what it is or can be. Subsequent to this, three additional traits of experimental animation are added to the original list of defining features that were published in the original article. They are as follows: the subversion of unchecked assumptions about filmic experience, a willingness to potentially alienate viewers, and the application of symbolism in which viewers might not be able to discern the artist’s original intentions. Following this, the unique relationship experimental animation has with the commercial realm (notably in idents, title sequences and music videos) is also considered. Finally, the conclusion points towards the experimental animator’s creative process as a further avenue of exploration.


2001 ◽  
Vol 11 (1) ◽  
pp. 3-5
Author(s):  
Jennifer Barber Watson
Keyword(s):  

1978 ◽  
Vol 23 (6) ◽  
pp. 431-432
Author(s):  
SUSAN D. DEVOGE
Keyword(s):  

2018 ◽  
Vol 12 (4) ◽  
pp. 471-488 ◽  
Author(s):  
Kelsey E. Medeiros ◽  
Logan M. Steele ◽  
Logan L. Watts ◽  
Michael D. Mumford
Keyword(s):  

2012 ◽  
Author(s):  
Jeffrey B. Lovelace ◽  
Kelsey Medeiros ◽  
Andrea L. Hetrick ◽  
Samuel T. Hunter

Sign in / Sign up

Export Citation Format

Share Document