Category: Design for Animation, Narrative Structures and Film Language

Critical Report Presentation

(Please switch on the subtitles on the right bottom corner)

About the Lesson

Today’s lesson was a reminder to stay aware of the critical report and audiovisual task.

Critical Report: Image List

Today’s lesson clarified the purpose of the image list. Initially, I thought it was similar to a reference or bibliography page, but I realized it is used to detail images and enhance the essay’s clarity. Using an image list allows images to be organized separately, preventing the text from appearing cluttered or resembling a magazine format.

My images were in text, as I have my text clearly indicating the things from the image.

Audio Visual Task

I was quite worried about this task as it feels different from what I have done before. During my previous bachelor’s degree in Hong Kong, formal essays did not usually require a presentation video. If they did, it was more of a simple recording of ourselves discussing the key points of the essay, without much informality. This task feels like a new challenge for me.

I am referencing the video shown in class to gain insights into how to approach this task. I aim to ensure that my presentation is both engaging and clear, while effectively conveying the key points.

Progress on Critical Report

I have been consulting five language tutors, along with Matthew, and have received substantial feedback on my essay.

Referencing Issue

Although I have been using the Harvard referencing format for my report, I was unaware that I needed to include the accessed dates for the websites I visited. Since websites are often unstable and may be removed or the links may become invalid over time, it is essential to note the date when the website was accessed.

I was also unaware, or had forgotten, that the references should be arranged in alphabetical order. Consequently, I have reorganized them accordingly.

Word Count Issue

After including all the necessary content, my word count exceeded the requirement by approximately 500 words. As a result, I need to reduce the word count by eliminating unnecessary adjectives and adverbs, removing repetitive phrases, linking sentences more precisely, and deleting irrelevant paragraphs.

Clarity Issue

After completing my first task and presenting it to the tutor, I was informed that some of my points were not directly related to the topic, which not only wasted word count but also affected the clarity of the essay. I attempted to remove or modify these sections, but other issues arose.

Some of my points lacked sufficient elaboration, leading the tutors to ask questions such as, “What does that mean?” “Can you elaborate?” and “Why did this happen?”

I also realized that it is important not to include points that I cannot support or that lack evidence. Otherwise, they do not form a strong argument, but rather appear as unsupported claims.

I aim to refine my critical report and complete the audiovisual video to the best of my ability.

Progress on Critical Report

I have completed the first draft of the critical report, incorporating a number of images to substantiate my arguments and references.

Throughout the writing process, I have encountered challenges in linking and transitioning between paragraphs, as well as organizing the extensive research information drawn from a variety of sources, including historical accounts, videos, scholarly articles, and books. To address this, I decided to adopt a clear structural approach. I now begin each paragraph in the main discussion with a concise topic sentence, followed by elaboration and explanation, supported by references or quotations. This is then followed by further analysis and reinforcement of the argument. By using this method, I aim to ensure that the essay is more organized and coherent.

I plan to consult with a few language tutors to seek guidance on improving and refining this approach.

About the Lesson

During today’s lesson, we were provided with various guidelines for writing a critical report. These include:

1. Paraphrasing
   • Understand the readings thoroughly and take clear, concise notes.
2. Summarizing
   • Condense the main ideas of the readings effectively.
3. In-Text Citation
   • Ensure citations are included consistently throughout the text.
4. Key Considerations
   • Relate all resources back to the research question being addressed.
5. Quoting
   • Use quotation marks (“ ”) for direct quotations. For example:
     • Paul Wells suggests, “…”
     • Use terms like “clearly” or phrases such as “clearly, this might be a factor” to indicate uncertainty or nuance in your argument.

Additionally, we learned that a literature review involves critical analysis and evaluation of previous research on a given topic. It should be well-organized and structured to address a clearly articulated research question.

Progress on Critical Report

At present, I have completed the following sections of my work:

• Abstract
• Keywords
• Introduction
• Literature Review
• References

I have conducted research using Google Scholar and books from the library. I now plan to begin writing the main discussion chapters.

Below are some key findings from my research so far:

The History Of Looney Tunes Explained

Bugs vs. Mickey: Why Looney Tunes is Winning the Streaming Wars

10 Ways Bugs Bunny Has Changed Since 1940

Mickey Mouse occupies a significant, if secondary, position in Benjamin’s writings on cinema and experience. 

Impact of Medium Shifts from Cinema to Television

The transition from cinema films to television significantly impacted the portrayal of animated characters, expanding their reach to larger and more diverse audiences. With television, characters appeared in longer and more frequent segments, often totaling eight hours a week rather than the shorter 50-minute runtime of traditional cinema. This extended exposure allowed audiences to see these animated personalities evolve in depth and nuance, fostering a stronger connection with viewers and establishing them as regular, relatable figures in daily life.

Changing Presentation of Animated Characters as Performers

As animated characters adapted to the television format, they often took on new roles as hosts or guides, developing a sense of self-awareness that let audiences perceive them as performers. This approach gave viewers a glimpse into the “real” side of these characters, encouraging a more personal connection. For example, in The Mickey Mouse Club, Mickey Mouse took on a hosting role, frequently engaging directly with viewers and guiding them through the program’s segments, reinforcing his role as a leader and friendly companion. Similarly, in The Bugs Bunny Show, Bugs Bunny was presented more as an actor in various roles rather than as a singular, fixed character, making him feel more dynamic and versatile to audiences.

Remodeling the Rabbit

http://www.michaelbarrier.com/Interviews/McKimson/RemodelingRabbit.html

About the Lesson

In today’s lesson, we explored various aspects of animation narrative, editing, and character roles. We reviewed foundational narrative structures, including the three-act structure, Freytag’s Triangle, and the Monomyth, among others. These frameworks provide a basis for building compelling and cohesive stories in animation.

Three-act structure

This is a fundamental structure common to all stories, consisting of a beginning, middle, and end. In the beginning, the background of the characters is introduced, and they soon face various conflicts. The climax represents the peak of tension, where characters experience the most intense conflicts, often through a pivotal or action-packed scene that serves as the story’s most thrilling moment. Importantly, the story’s beginning and end should reflect change, ensuring that the characters or circumstances are different by the story’s conclusion.

Examples of Montage Editing

In addition to narrative structures, we also explored film editing techniques, with a particular focus on montage editing. I find montage editing especially interesting, as it conveys messages without depicting the entire scene. Instead, it presents select shots related to the action, prompting the audience to infer what occurred. For instance, in a murder scene, rather than showing the actual stabbing, the film might show a knife dripping with blood, allowing viewers to imagine the event themselves. This approach engages the audience’s imagination, making the scene both powerful and suggestive.

I decided to search for more film examples that effectively use montage editing to convey action or emotions without showing explicit details. This technique fascinates me, and seeing how different films use it could deepen my understanding of how selective shots can shape audience perception and heighten the storytelling impact.

Up (2009)

In this well-known Pixar movie, montage editing is used masterfully to depict the lifelong relationship between the protagonist, Carl, and his wife, Ellie. In just 2-3 minutes, this scene encapsulates their entire journey together, from childhood, through marriage, to old age, and ultimately to Ellie’s passing. This condensed portrayal, achieved through a series of carefully selected shots, allows the audience to experience the depth of their relationship in a brief but profoundly emotional sequence, illustrating how montage can convey complex, time-spanning narratives in an impactful way.

Tangeled (2010)

In Tangled, there is a similar montage sequence, but with a unique twist: it’s a musical montage. The narrative progression is guided by the song “When Will My Life Begin?” which reflects Rapunzel’s emotions and daily routines. This form of montage, where music drives the narrative flow, is commonly found in Disney and Pixar films. The song’s lyrics and rhythm not only enhance the visuals but also provide insight into the character’s feelings and desires, making the sequence both entertaining and revealing of Rapunzel’s inner life.

Continuity

In terms of continuity, we explored several techniques for connecting two or more unrelated shots, each offering unique methods to enhance storytelling. Here are some examples:

• Graphic Relations
  • Graphic Matching: This technique links two unrelated scenes by using similar visual elements. For example, a shot might transition seamlessly from a circular object in one scene to a similar shape in the next, creating a cohesive visual flow.
• Rhythmic Relations
  • This method connects unrelated shots through the use of rhythm or music, providing a sense of continuity by aligning with the beats or mood of the soundtrack.

One concept that particularly surprised me was how animation conveys messages that live action sometimes cannot. Animation brings the impossible into reality, making it easier to accept unusual or exaggerated ideas. Even if a story appears bizarre or fantastical, animation allows it to seem natural rather than odd. This unique quality of animation encourages audiences to think outside the box and embrace creative possibilities that may be challenging to convey in live action.

Story having ending as the beginning

In today’s class, we also discussed films that have endings mirroring their beginnings. This concept immediately reminded me of The Lion King (1994). The film begins with the birth of Simba, the future king of the Pride Lands, and Mufasa proudly presenting him to the animals in a grand ceremony. The movie then concludes with Simba returning to the Pride Lands, symbolically taking his place as king, and mirroring the opening scene as he presents his own cub. This circular structure is a clever narrative device that does not confuse the audience but rather adds depth to the story, showcasing Simba’s growth and the cyclical nature of life.

Imitations or Influences of Disney’s Hyperreal Animation Aesthetic

Several animation studios and forms have been influenced by Disney’s hyperreal aesthetic, characterized by highly detailed, fluid character movements, and expressive environments. For instance, Pixar, a subsidiary of Disney, has perpetuated this style in films like Toy Story (1995) and Finding Nemo (2003), where realistic textures, lighting, and smooth animation contribute to a hyperreal world. Similarly, DreamWorks’ Shrek (2001) employs a similar aesthetic, using detailed environments and character animation to enhance visual storytelling. Both studios aim for a balance of realism and fantasy, following Disney’s example but with their own innovations in terms of technology and thematic exploration.

Studios/Animators Resisting Disney’s Aesthetic

In contrast, some animation studios actively resist Disney’s hyperreal aesthetic by embracing different styles that emphasize abstraction, artifice, or visual simplicity. For example, Studio Ghibli, under Hayao Miyazaki, tends to favor a more hand-drawn, organic approach to animation, focusing on naturalistic yet stylized visuals that prioritize atmosphere and emotional depth over hyperrealism. In Princess Mononoke (1997), the studio’s aesthetic is marked by less emphasis on smooth, fluid movement and more on expressionist backgrounds and a stylized rendering of characters. Similarly, Aardman Animations’ stop-motion films like Wallace & Gromit (1989) resist hyperrealism by focusing on textured, often exaggerated character models and exaggerated, non-realistic movement.

Aesthetic Comparison of Dumbo Sequences

In the Pink Elephants on Parade sequence from Dumbo (1941), two distinct animation traditions emerge. The sequence exemplifies Disney’s West Coast style, which is grounded in the classic Hollywood tradition, with smooth, realistic character movements and detailed animation, as seen in the rest of the film. However, the “Pink Elephants” scene employs a more avant-garde, surreal East Coast style, characterized by nonlinear narrative, exaggerated, rubbery graphics, and an emphasis on visual experimentation. The scene’s abstract style, with its dreamlike sequences, contrasts sharply with the film’s otherwise realistic visual tone, providing a unique, jarring aesthetic shift.

Disney might have included this sequence to push the boundaries of animation and show the versatility of the medium. It highlights the ability of animation to evoke complex emotions and depict surreal experiences that live-action cinema could not. The inclusion of this scene may also reflect Disney’s desire to explore different artistic expressions within the framework of mainstream animation, offering a playful and imaginative divergence from the film’s usual realism.

Progress on Critical Report

I am currently working on my Critical Report. While the topic has been confirmed, the content is still in development. During a recent discussion with my language tutor, I was advised that my current draft resembled more of a summary and description than a critical analysis. He suggested that I include more background information about the relevant historical period and explore the underlying reasons for changes in animated personalities. To address this feedback, I plan to consult additional resources, such as Re-Imagining Animation: The Changing Face of the Moving Image by Paul Wells, as well as scholarly essays and reports, including “Animating Hierarchy: Disney and the Globalization of Capitalism,” “Animation and Critical Theory” by Alla Gadassik, Richard McIntire’s work for the NAACP in The New York Times, and animated short films available on platforms like YouTube.

Furthermore, I intend to focus on three prominent animated characters, examining their history, characteristics, and conceptual evolution in depth.

About the lesson

In today’s lesson, we examined the concept of mise-en-scène, which encompasses all elements present within a scene, including settings, props, costumes, hair and makeup, facial expressions, body language, lighting, color, and the positioning of characters and objects. It is evident that the components utilized in film production are more extensive than we initially anticipated.

Moreover, the various elements within a scene convey distinct emotions, perspectives, and dynamics concerning both the shot and the characters. For example, a high-angle shot, which involves filming from above the character, creates a sense of diminishment and exerts pressure on the subjects positioned below. In contrast, deep focus, which employs both close and distant planes to maintain sharp clarity throughout the scene, emphasizes the actions and facial expressions of the characters.

A crucial point to consider is that every element included in the frame must be thoughtfully selected, as each choice influences the overall narrative and emotional impact.

Before taking this lesson today, I did not realize that the elements included in an animation or film are often intentional; I previously thought they were merely for artistic expression. I began researching the mise-en-scène of the classic film Joker, which features a multitude of artistic shots and a wide variety of lenses and camera angles used to convey different emotions and messages throughout the film.

Jocker (2019)

Shallow depth of field

The use of shallow depth of field in Joker effectively creates a sense of isolation for the character, enhancing the viewer’s emotional engagement. This technique establishes intimacy, allowing the audience to connect more deeply with the character’s emotions and struggles. By limiting the focus to Joaquin’s performances, the cinematography draws attention to his nuanced expressions and movements, emphasizing the psychological depth of the character and intensifying the overall impact of the film.

Long Lenses

The Zeiss Compact Zoom CZ.2 70-200mm T2.9 lens offers full-frame coverage and eliminates focus shift, making it ideal for various cinematic applications. It is predominantly used in action scenes, such as chase and fight sequences, to effectively showcase the dynamics of the action. By utilizing long lenses, the cinematography allows the audience to immerse themselves in the energy of the scene, enhancing the overall viewing experience and heightening the sense of intensity and excitement.

Wide shots

The use of long lenses in Joker mimics the character’s perspective, creating a sense of intimacy that allows the audience to connect more profoundly with the character’s emotions. This technique draws viewers into the character’s experiences, enhancing the emotional resonance of the narrative. By delving deeper into Joker, I began to recognize the significance of the various languages employed in animation and film, highlighting how these techniques contribute to storytelling and emotional engagement.

Progress on Critical Report

I have drafted several sections of the report, including the abstract and the main discussion chapter. In the latter, I intend to address the following topics:

1. The Impact of Medium Shifts from Cinema to Television
2. The Changing Presentation of Animated Characters as Performers
3. The Influence of Merchandising on Character Personalities

Additionally, I have encountered uncertainty regarding certain components, such as the selection of keywords and the distinction between the abstract and the introduction. I will seek clarification on these matters and inquire whether they are appropriate topics for discussion with my course tutor and my language tutor.

About the lesson

In today’s lesson, we explored various forms of entertainment media that incorporate political themes, as well as the genre of animated documentary. I am particularly intrigued by the 1992 film A Is for Autism, directed by Tim Webb. This film uniquely portrays the lives of children with autism through the use of animation and an external voiceover, rather than relying on their own narration. I believe that animation can play a significant role in addressing social issues while preserving the dignity and privacy of the children depicted. The following video illustrates this concept.

Political Animations Examples

In addition to the political animations discussed in class, such as The Simpsons and American Dad, I conducted further research into additional examples within this genre. I discovered that several other notable animated works also convey significant political messages.

South Park: Bigger, Longer & Uncut (1999)

South Park: Bigger, Longer & Uncut (1999) is considered politically charged due to its sharp satire on issues like censorship and political correctness, modern parenting, and geopolitical tensions, particularly with its portrayal of figures like Saddam Hussein. The film critiques societal biases and reflects on race relations while using humour to engage with serious themes. Its commentary remains relevant, showcasing its ability to reflect contemporary issues and making it a notable work of political satire.

The Lego Movie (2014)

The Lego Movie is political due to its satirical portrayal of a totalitarian regime led by the villain President Business, who symbolizes corporate control and conformity. The film critiques societal issues like surveillance, media manipulation, and authoritarianism, all while wrapped in the playful and accessible format of a children’s movie. Its clever use of humour and pop culture references allows it to engage both kids and adults, making serious themes relatable and entertaining. This combination of fun and political commentary has garnered widespread acclaim, highlighting its depth beyond a typical animated film.

Animal Farm

Animal Farm is a political allegory that critiques Soviet Communism through the story of farm animals overthrowing their human owner, only to suffer under a new tyrannical regime. George Orwell uses this fable to illustrate how revolutionary ideals can lead to oppression when power is concentrated in the hands of a few.

The narrative serves as a warning about the dangers of totalitarianism, propaganda, and the betrayal of revolutionary goals. The book’s simplicity and humor make its complex themes accessible, allowing it to resonate widely and even serve as a propaganda tool during the Cold War. This dual purpose—both literary and political—demonstrates its enduring relevance as a critique of power and corruption.

More about animated documentary

1. What constitutes an animated documentary?

• An animated documentary combines elements of documentary filmmaking with animation to convey real-life events, stories, or issues. This genre uses animated visuals to illustrate factual narratives, often incorporating interviews, archival footage, and voiceovers. By blending these techniques, animated documentaries can make complex topics more engaging and accessible to a wider audience, allowing for creative storytelling that resonates emotionally.

2. What are the implications of using animation in a non-fiction context?

• Animations with a non-fiction context can significantly alter viewers’ perceptions and knowledge. While many people associate animation with imagination, fantasy, or childhood, using it to convey real-world messages can change how audiences view the medium. As I mentioned earlier, animation can effectively communicate serious topics, such as autism, in a more engaging and visually captivating manner.

3. What issues arise from the use of animation in documentary?

• Using animation in documentaries raises concerns about artistic interpretation and perception of authenticity. The creator’s stylistic choices can significantly shape the narrative; for example, a whimsical animation style used for serious topics might undermine the gravity of the issue. Additionally, viewers may question the credibility of animated representations, feeling that they lack the realism of live-action footage. This skepticism can affect how seriously audiences take the information presented, as seen in animated documentaries on sensitive subjects like climate change, which may be perceived as less credible than traditional formats.

4. Do you think that all non-fiction work that contains animation can be considered to be an animated documentary? Why/Why not?

• Not necessarily. An animated documentary requires a key message that the creator intends to convey, often related to a political, social, or environmental issue that warrants attention. However, not all non-fiction works contain a central message to communicate. Therefore, not all non-fiction that includes animation should be classified as an animated documentary.

Progress on Critical Report

Today, I have confirmed my research topic: “How do animated characters such as Bugs Bunny develop personalities beyond the author’s original intent over time?” I have been advised to outline a structure for the report and to include relevant references. Additionally, I will address the merchandising of these characters, including their presence on items such as mugs and t-shirts.

About the Lesson

An auteur refers to a director with a distinct, personal style. Unlike traditional directors, auteurs are in control of the film’s interior meaning and possess strong technical competence. This auteur theory traditionally applies to live-action cinema, but it has also sparked debates in animation, especially when considering a studio like Pixar. Pixar’s unique position as a collaborative studio challenges yet supports the notion of auteurism within animation. Even though Pixar operates as a collective, individual directors like Brad Bird or Pete Docter are often celebrated for their distinctive contributions, shaping the discussion around animation auteurs.

Can Pixar be considered an auteur studio?

Pixar can indeed be considered an auteur studio. Despite its team-based structure, the studio has maintained consistent thematic and stylistic elements across its films, such as emotionally resonant storytelling, existential themes, and technical innovation in animation. These recurring elements create a recognizable identity, which is characteristic of an auteur approach. Directors like Brad Bird, Pete Docter, and Andrew Stanton bring their unique personal visions to Pixar’s films, but always within the framework of Pixar’s signature style. This allows the studio to both function as a collective auteur and highlight individual director-auteurs who contribute to its creative output. Pixar’s emotional depth, attention to narrative, and technological mastery in storytelling are all hallmarks that establish its auteur status.

Why do they privilege or name individual directors?

Pixar privileges or names individual directors to acknowledge the personal visions that shape their films. Directors like Brad Bird (with The Incredibles and Ratatouille) or Pete Docter (with Up and Inside Out) infuse their projects with distinct personal themes and styles, contributing significantly to Pixar’s overall brand. Naming directors also helps the studio build a recognizable identity in the eyes of the audience, as certain themes or emotional depths are attributed to specific creators. This strategy allows Pixar to honor the auteur influence within its collaborative structure, while also drawing attention to the creative minds responsible for shaping specific narratives.

Case Study: Choosing an Auteur Studio

When considering the status of another animator or studio as an auteur, let’s take Studio Ghibli as an example. Like Pixar, Ghibli is recognized for its consistent themes, style, and ideological perspective, particularly through the works of Hayao Miyazaki.

• Themes: Ghibli films often explore themes of environmentalism, pacifism, and coming-of-age journeys. These recurring topics make Ghibli’s works distinct in their ideological stance.
• Ideology: Many Ghibli films advocate for the protection of nature, anti-war sentiments, and a deep appreciation for childhood innocence, giving the studio a clear ideological viewpoint.
• Style: The hand-drawn, painterly aesthetic of Ghibli’s animation is instantly recognizable, contributing to its auteur status. Even with different directors, this style remains consistent.
• Aesthetic: Ghibli’s use of soft colors, fantastical landscapes, and the fluidity of animation create a specific visual language that is closely associated with its films.
• Characters: Ghibli characters often possess a quiet strength and resilience, with many protagonists being young girls who must navigate complex worlds. These consistent character traits add to the studio’s auteur identity.
• Merchandising: Like Pixar, Ghibli has a strong presence in merchandising, with its characters like Totoro and Spirited Away’s No-Face becoming cultural icons. This reflects how the studio’s aesthetics and themes resonate beyond the screen into broader consumer culture.

In advocating for Ghibli’s auteur status, we see similar elements to Pixar—consistent thematic depth, a distinct aesthetic, and iconic characters—despite operating as a collective studio with multiple directors. Ghibli’s films are unmistakably its own, shaped by the personal visions of directors, particularly Miyazaki, while staying true to the studio’s overarching identity.

Learning through Analysis

When analyzing Pixar’s or Ghibli’s auteur status, I realize the importance of recognizing the balance between individual vision and collective studio identity. Both studios succeed because they offer emotional depth and technical mastery, yet their films are shaped by distinct directorial contributions. I also see how my personal tastes in animation—such as a preference for emotionally engaging stories and visually stunning worlds—align with the auteur elements I appreciate in these studios. Reflecting on these aspects deepens my understanding of how auteurism extends beyond live-action cinema into animation, where personal vision and collective collaboration intersect to shape some of the most beloved films today.

Progress on Critical Report

Below are some questions I have developed for the report. I am uncertain about their adequacy and plan to discuss them with my professor for further guidance.

• How does Pixar use storytelling, color, and cinematic techniques to enhance narratives?
• How do cinema and screening practices affect audience engagement with animated films?
• What role does color play in shaping character and emotion in animation?
• How do interactive elements improve viewer engagement in animation?
• What are the core differences between experimental and commercial animation?
• How do animated characters develop personalities beyond the author’s original intent, especially in abstract works?

About the lesson

In this lesson, I gained insight into the significant relationship between abstraction and experimental animation. Although abstract animation may initially appear to lack the necessity for professional techniques, it is, in fact, underpinned by a range of specialized skills.

For instance, the film we examined employs a technique known as “bypacking.” This method involves a meticulous process of coloring the film incrementally, utilizing both positive and negative images. Specifically, when certain areas are intended to be rendered in red, the process begins with the creation of a negative image, followed by the application of red light to those designated sections. This highlights the complexity and intentionality inherent in abstract animation techniques.

In summary, experimental work also requires technical proficiency; the distinction lies in the conceptual framework it embodies.

Progress of Critical Report

In the meantime, I have started brainstorming ideas for my critical report. My interest in Pixar animation has led me to explore its narrative techniques, particularly through Pixar Storytelling by Dean Movshovitz. I’m also investigating screening, cinema, and the use of color within this context. Additionally, I’m considering a study on interactive animation and the contrasts between experimental and commercial forms. My fascination with character development has guided me to Animated Personalities by David McGowan, which delves into how character personalities are shaped and interact with each other. I find this behind-the-scenes perspective particularly intriguing, as it offers fresh insights from a unique angle. After completing this secondary research, I plan to solidify a more focused topic for discussion with my tutor.

Summary and Reflection

In the initial lesson of the course, we explored the structure of a critical report, methodologies for locating useful resources, and various theoretical frameworks in art.

Prior to enrolling in this course, I was unaware of the necessity of theoretical studies in the field of animation. I had assumed that animation primarily involved extensive practical exercises. However, after this introductory session, I have come to realize that a comprehensive understanding of color, shapes, shadows, lines, camera angles, spatial dynamics, narrative techniques, and the historical context of animation is equally essential. These theoretical components are crucial for developing a deeper comprehension of animation and art, ultimately aiding us in our future creative endeavors.

Notable Historical Animations

During the lesson, our lecturer referenced a fascinating genre of film from the past that prominently features the visible hands of the artist. This prompted me to conduct further research, and I have compiled a selection of notable examples.