Pub Date : 2020-11-01DOI: 10.1177/1746847720969919
T. Thesen
This article suggests a discussion on the reconfiguration of the 12 principles of animation and their necessary refinement for contemporary animation to address the growing complexity and expansion of the animation industry. The expansion of the 12 principles of animation into the various animation techniques requires a consideration of their development, which, in the 1930s and 1940s was sufficient for animation’s hand-drawn animation needs; since then, the principles have proven themselves accurate and incredibly helpful for subsequent decades. Nevertheless, this article indicates that a refinement of the principles is required to accommodate a broader range of animation techniques. The great advantage of the 12 principles of animation is their simplicity and logic; however, they do not apply in their entirety (as the full set of 12) to hand-drawn digital animation, stop-motion animation, experimental or digitally animated media. Therefore, this article explores the initial 12 principles with additions and variations suggested by artists and scholars over the last 30 years, and concludes with a reorganization and expansion of most of the principles’ content, a breakdown into sub points and an updated terminology to reconceptualize the 12 principles of animation for all animation techniques.
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Pub Date : 2020-11-01DOI: 10.1177/1746847720965459
Anna-Sophie Jürgens
Examining facets of modernist visions of our technological future and of theatricalized city and stage spaces in the 1993 animated film Batman: Mask of the Phantasm, this article explores the cultural meaning of technology in graphic fiction. The confrontation scene between Batman and Joker in the grounds of Gotham’s World’s Fair, the author argues, echoes the 1939 New York World’s Fair with its modernist urban optimism and pop cultural fascination with new visionary technologies, as well as the modern history of moving pictures and multi-media spectacle. The article spotlights the power of the Batman story to participate in, and contribute towards, complex cultural inquiry and transmedial discourses around technology and popular entertainments. Through the exquisite medium of animation – which allows animated characters to be placed on an abstract architectural city stage – Mask of the Phantasm also embodies modernist visions of the ‘ideal’ stage character in a medium that creates non-realist art and more complex possibilities for movement, thus transporting modernist thinking into the 20th century.
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Pub Date : 2020-11-01DOI: 10.1177/1746847720964886
Shawn VanCour, C. Patton
From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.
{"title":"From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation","authors":"Shawn VanCour, C. Patton","doi":"10.1177/1746847720964886","DOIUrl":"https://doi.org/10.1177/1746847720964886","url":null,"abstract":"From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.","PeriodicalId":43271,"journal":{"name":"Animation-An Interdisciplinary Journal","volume":"15 1","pages":"207 - 228"},"PeriodicalIF":0.4,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1746847720964886","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47685856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-01DOI: 10.1177/1746847720933791
Eddie Falvey
This article aims to expand upon a key aspect of Mareike Jenner’s work on Netflix original comedy by considering how the streaming network’s original adult animated series reflect developments occurring within the sitcom format post-TV III. Using Netflix original animations BoJack Horseman (2014–) and Big Mouth (2017–) as case studies, this article will consider how thematically complex, ostensibly ‘smart’ animated shows illustrate changing industrial dynamics and taste cultures. While exhibiting qualities found in preceding key adult animated shows such as South Park (Comedy Central 1997–) and Family Guy (Fox 1999–), including lewd humour, metatextual in-jokes and topicality, the knotty storytelling and ambiguous characterizations of the shows under discussion reflect links to other contexts of TV production. Exploring these links, this article uses BoJack Horseman and Big Mouth to explore current trends in animated television, situating their characteristics and reception within a broader network of influences. The author argues that the turn towards complex storytelling manifests both in inherited production tactics, changing taste cultures and in the multifaceted and multifarious potentialities provided by the medium itself.
{"title":"Situating Netflix’s Original Adult Animation: Observing Taste Cultures and the Legacies of ‘Quality’ Television through BoJack Horseman and Big Mouth","authors":"Eddie Falvey","doi":"10.1177/1746847720933791","DOIUrl":"https://doi.org/10.1177/1746847720933791","url":null,"abstract":"This article aims to expand upon a key aspect of Mareike Jenner’s work on Netflix original comedy by considering how the streaming network’s original adult animated series reflect developments occurring within the sitcom format post-TV III. Using Netflix original animations BoJack Horseman (2014–) and Big Mouth (2017–) as case studies, this article will consider how thematically complex, ostensibly ‘smart’ animated shows illustrate changing industrial dynamics and taste cultures. While exhibiting qualities found in preceding key adult animated shows such as South Park (Comedy Central 1997–) and Family Guy (Fox 1999–), including lewd humour, metatextual in-jokes and topicality, the knotty storytelling and ambiguous characterizations of the shows under discussion reflect links to other contexts of TV production. Exploring these links, this article uses BoJack Horseman and Big Mouth to explore current trends in animated television, situating their characteristics and reception within a broader network of influences. The author argues that the turn towards complex storytelling manifests both in inherited production tactics, changing taste cultures and in the multifaceted and multifarious potentialities provided by the medium itself.","PeriodicalId":43271,"journal":{"name":"Animation-An Interdisciplinary Journal","volume":"15 1","pages":"116 - 129"},"PeriodicalIF":0.4,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1746847720933791","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46434056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-01DOI: 10.1177/1746847720938230
Kelly F.W. Egan
Synthetic sound film, a genre in which sound is directly animated onto the soundtrack of a filmstrip, is an avant-garde practice which remains seldom theorized and too often neglected. Expanding on Thomas Y Levin’s canonical work on the genre, ‘“Tones from out of Nowhere”: Rudolph Pfenninger and the archaeology of synthetic sound’ (2003), this article argues that there is a fundamental divide amongst the artistic approaches to synthetic sound film between filmmakers seeking to create specific aural objects through a new form of visual representation, and filmmakers focused on the graphic object and its direct translation into a new/unknown form of aural representation. Concentrating on the latter group which begins with Oskar Fischinger and Làszló Moholy-Nagy, through a materialist framework, this article shows how their produced sounds re-member the objects from which they emerge and, as such, are bound to a material encounter defined by this sensorial return to objectness.
合成有声电影是一种将声音直接动画化到电影原声带上的电影类型，是一种很少理论化且经常被忽视的前卫做法。在Thomas Y Levin的经典作品《不知从何而来的音调:Rudolph Pfenninger和合成声音的考古学》(2003)的基础上，本文认为在合成声音电影的艺术方法之间存在着根本性的分歧:电影制作人寻求通过一种新的视觉表现形式来创造特定的听觉对象，而电影制作人则专注于图形对象及其直接转化为一种新的/未知的听觉表现形式。本文以Oskar Fischinger和Làszló Moholy-Nagy为首的后一组为重点，通过唯物主义的框架，展示了他们所产生的声音是如何记住他们所产生的物体的，因此，与这种感官回归客体所定义的物质相遇相联系。
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Pub Date : 2020-07-01DOI: 10.1177/1746847720933792
Sergio Jesús Villén Higueras, Xinjie Ma, F. Ruiz-del-Olmo
This study explores the online financing forms and practices of contemporary Chinese animation cinema. The research focuses on the use of crowdfunding by this industry, and analyses three recent cases, One Hundred Thousand Bad Jokes (2014), Monkey King: Hero Is Back (2015), and Big Fish & Begonia (2016), selected based on the perspective of the high economic revenue earned and the artistic and creative singularity of these films, as well as the consideration of the undeniable influence of these productions on the imagination of new generations. Using an exploratory and descriptive research methodology, the authors uncover the main features of the production of animated films based on crowdfunding. The results show that obtaining funds is a secondary objective for these movies that mainly use crowdfunding as a promotional strategy for creating an active fan base and channelling their affective involvement towards the communicative interests of each project.
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Pub Date : 2020-07-01DOI: 10.1177/1746847720933800
Hyunseok Lee
As one of the masterpieces of early South Korean animation, the film Robot Taekwon V has instilled hopes and dreams in a younger generation of Koreans since the late 1970s when it was released, while critics have cited Robot Taekwon V as being influenced by American pop culture, particularly the Disney animation style, and have accused it of plagiarizing the designs of the popular Japanese animation Mazinger Z. In the 1970s, the Korean government actively promoted economic development for the ‘modernization of the country’ under the military regime’s inculcation of anti-communism. Robot Taekwon V was produced with the intent of being an anti-communist tool and, further, it sought the nationalism of postwar South Korea and promoted the country’s confidence in the future that eventually resulted in rapid economic development. This socio-political context is portrayed both in the form of a ‘gigantic robot’ and in the use of non-Korean appearances for Korean characters. Considering these aspects, the author examines how Robot Taekwon V navigates the intricacies of the postwar ideological framework, manages foreign cultural influences and suggests transnationalism through its character design and narrative.
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Pub Date : 2020-07-01DOI: 10.1177/1746847720937443
George Crosthwait
This article situates the Pixar computer animation Coco (dir. Lee Unkrich and Adrian Molina, 2017) within a recent selection of afterlife fictions and questions why such narratives might appeal to our contemporary moment. The author’s response is structured around the idea of utopia. In Coco, he identifies several conceptions of utopic space and ideals. The afterlife fiction places characters and viewers in a reflexive location which affords them the opportunity to examine their lives as lived (rather than in death). Transplanting Richard Dyer’s work on classic Hollywood musicals as entertainment utopia to a contemporary animated musical, the article proposes that such a film can be seen as adhering to a kind of ‘new cinematic sincerity’. Coco’s particular depiction of The Day of the Dead fiesta and the Land of the Dead has its roots in the Mexican writer Octavio Paz’s poetic and romantic treatise The Labyrinth of Solitude (1950). A comparison between these two texts suggests that willing encounters with death can be connected to an openness to transitional states of being. Through close readings of key musical sequences in Coco, the author demonstrates how the properties of the musical are combined with animation aesthetics (baby schemata, virtual camera) to lead viewers into their own utopian space of heightened emotions and transition.
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Pub Date : 2020-07-01DOI: 10.1177/1746847720937446
Marco Pellitteri
Fiddle-de-dee (1947) (image), dir. McLaren N. Available at: https://vimeo.com/32646367 (accessed 7 January 2020). Hell Unltd (1936) (video), dir. McLaren N and Biggar H. Available at: https://player.bfi.org.uk/rentals/film/ watch-hell-unltd-1936-online (accessed 7 January 2020). Narcissus (1983) (video), dir. McLaren N. Available at: https://www.nfb.ca/film/narcissus/ (accessed 7 January 2020). Neighbours (1952) (video), dir. McLaren N. Available at: https://www.nfb.ca/film/neighbours_voisins/ (accessed 7 January 2020). Pas de deux (1968) (video), dir. McLaren N. Available at: https://www.nfb.ca/film/pas_de_deux_en/ (accessed 7 January 2020).
Fiddle de dee（1947）（图片），目录。McLaren N.可在：https://vimeo.com/32646367（2020年1月7日查阅）。Hell Unltd（1936）（视频），导演。McLaren N和Biggar H.可在：https://player.bfi.org.uk/rentals/film/watch-hell-unltd-1936-online（2020年1月7日访问）。Narcissus（1983）（视频），导演。McLaren Nhttps://www.nfb.ca/film/narcissus/（2020年1月7日查阅）。《邻居》（1952）（视频），导演McLaren Nhttps://www.nfb.ca/film/neighbours_voisins/（2020年1月7日查阅）。Pas de deux（1968）（视频），导演。McLaren Nhttps://www.nfb.ca/film/pas_de_deux_en/（2020年1月7日查阅）。
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