• Share
  • Email
  • Embed
  • Like
  • Save
  • Private Content
Mc1week8 09

Mc1week8 09



media cultures newm1001 Tracey Meziane Benson

media cultures newm1001 Tracey Meziane Benson



Total Views
Views on SlideShare
Embed Views



2 Embeds 2

http://www.slideshare.net 1
http://www.linkedin.com 1


Upload Details

Uploaded via as Microsoft PowerPoint

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
Post Comment
Edit your comment

    Mc1week8 09 Mc1week8 09 Presentation Transcript

    • Media Cultures 1 ‘Real Worlds of Animation’ Week 8 Tracey Meziane Benson
    • To explore animation in the context of 3 issues
      • Realism effects in animation
      • The distinctions that we make between fiction and non-fiction in screen media
      • How we can tell stories through animation
      • eg. Waltz With Bashir (2008)
    • Some animations to consider
    • Other examples:
      • The Nightmare Before Christmas (Tim Burton,1993)
      • Big Buck Bunny (Blender 2007)
      • Howl’s Moving Castle (Miyazaki Hayao, 2004)
      • Final Fantasy: The Spirits Within (Hironobu Sakaguchi, 2001)
    • Cinematic Animation
      • traditional cel animation – frame by frame
      • Drawing into the computer and animating via software programs
      • Compositing
      • Rotoscoping
      • Stop-action: claymation, puppets, frame by frame
      • Computer generated (CG) animation
      • CG Figural Morphing
    • Digital Compositing
      • Operates new process of ‘super-imposition’ in editing film. This process is a layering of many digitalised images in the creation of a ‘shot’ – a sequence of images created through a single camera ‘set-up’. It involves matching a real camera’s position with a ‘virtual camera’s’ viewing position to create a high level of realism. The aim is usually to create effects which cannot be noticed.
    • ‘ Bullet Time’ – ‘timeslice technique’
      • A combination of new and old media techniques: green screens, wireframe computer simulations, an arc of still cameras, motion cameras, compositing …
    • Questions
      • How do we understand animation as representation?
      • What is the relationship between animation and the real world.
      • Has this relationship changed with animations created via computer technologies?
      • What happens to the story when animation and human acted cinema combine?
    • Can we understand animation as Puppetry?
      • A definition of puppetry in the context of computers?
      • ‘ if the signification of life can be created by people, then the site of that signification is to be considered a puppet.’
      • Tillis, Steve (1999). ‘The Art of Puppetry in the Age of Media Production’, The Drama Review , 43.3, 185. http://muse.jhu.edu/journals/the_drama_review/v043/43.3tillis.html
    • Realism : what does it mean in the context of animation?
      • We can define here ‘realism’ to mean the relationship between a representation of an object (through sound, image, movement) and how closely we think this representation evokes in us how the object exists for us in real life.
      • Are line drawings, stop action any less realistic then for us than CGI animation such as Final Fantasy, The Spirit Within ?
    • Have our ideas of realism changed with computer technologies?
      • This is an open question still
      • Perceptual Realism : where we pretend for a while that the filmmakers really know what dinosaurs look like because they are contextualised in what looks like a representation of real space:
      • A ‘perceptually realistic image is one which structurally corresponds to the viewer’s audiovisual experience of three-dimensional space’
      • Prince, Stephen (1996). ‘True Lies: Perceptual Realism, Digital Images and Film Theory’, Film Quarterly , 49:3, 32.
    • DV Realism - Manovich
      • ‘ I do believe that new media re-configures a moving image in a number of very important ways … the shift from montage to compositing; the slow historical transition from lens-based recording to 3-D image synthesis; the new identity of cinema as a hybrid of cinematography and animation.’
      • Lev Manovich, ‘Reality Media’, 2001
      • http://www.manovich.net/TEXT/cinema-cultural.html
    • Virtual Puppets
      • Animatronics
      • Stop Action
      • Scanning from models in real life to produce moving CGIs – Computer Generated Images:
      • - ‘the strings’ – articulation variables
      • - Kinematics – creating and saving gestures
      • - Motion capture
    • Vactors
      • CG virtual actors meant to do the same theatrical, storytelling work as a human actor – often used in crowd scenes and in special effects via compositing
      • ‘ In the coming era of digitized representation the crucial questions have less to do with reality than with communication’.
      • Creed, Barbara (2000). ‘The cyberstar: digital pleasures and the end of the Unconscious’, Screen , 41, Spring 2000, 83.
    • BUT can animation also be REAL?
      • The boundaries between fiction and
      • non-fiction:
      • Can we record real life via animation? Eg. William Kentridge, Ari Folman, Richard Linklater
        • What will come (Kentridge)
        • Waltz With Bashir (Folman)
        • Waking Life (Linklater)
    • And William Kentridge
      • ‘ stone age animation’