Eliane Gordeeff
Preface Vassilis Kroustallis
© 2018 Eliane Gordeeff Título/Title:
Aesthetic Interferences: The Stop Motion Technique in the Animation Narrative
1ª Edição/ 1st Edition: Novembro 2018 Autor/Author: Eliane Gordeeff Prefácio/Preface: Vassilis Kroustallis Tradução/Translated by: Colin Ginks e Eva Oddo Revisão/Editorial review: Cláudio Roberto Design da Capa e Paginação/Cover Design and desktop publishing: Quadro Vermelho Produções www.quadrovermelho.com.br Projeto gráfico/Graphic Design: Gordeeff Capa e ilustração/Cover and illustration: Cláudio Roberto Créditos de imagens dos filmes/ Movie picture credits: CTAv (De Janela Pro Cinema); National Film Board of Canada (Neighbours); Pravda (Aria); Stayer Studio (Adagio); Tonic-DNA (The Old Man and the Sea). Editores/Publishers: Booksfactory Impressão e acabamento/ Printing and finishing: ISBN: Depósito legal/Lawful depot:
www.booksfactory.pt Rua D. João V, 24, 1.03 – 1250 – 091 Lisboa – Portugal Todos os direitos reservados de acordo com a legislação em vigor./ All rights reserved in accordance with the current legislation.
Supporters
Crowdfunding Sponsorship LOGO
Crowdfunding Supporters LOGO
LOGO
Dedicated to ˇ Trnka Jirí (1912-1969) Karel Zeman (1910-1989)
7
8
Preface
S
top motion has had a very long and renowned career as an animation technique that disguises its identity and passes for the ‘real thing’. Whether this is an inanimate scene that comes to life (such as in Georges Méliès’s early 20th century stop-trick efforts in one of the early classics of silent cinema) or small furry animals interacting (as in Wes Anderson’s Fantastic Mr Fox of 2009, starring puppets created by Ian MacKinnon and Peter Saunders). And, of course, all the innumerous other examples in between by artists such as Willis O’Brien, Wladyslaw Starewicz, Ray Harryhausen, the Czechs (Jiří Trnka, Jan Švankmajer, Karel Zeman, Hermína Týrlová, Jiří Barta), Barry Purves, Elbert Tuganov, Henry Selick, Peter Lord, Nick Park, David Sproxton, Adam Elliot, Tim Burton, and many and excellent other ones, including the eerily comfortable feeling of felted wool in Oh, Willy... (Emma De Swaef & Marc James Roels, 2011).
In this incisive monograph, Eliane Gordeeff has chosen to showcase films that put a luminous focus on the animated subject (puppet, actor, and even drawn characters), looking at five films whose directors confront the viewer with experiences all humans must face: abandonment, lack of communication, solitude, and death. The work of masters like Norman McLaren and Alexander Petrov, and acclaimed auteurs like Quiá Rodrigues, Garri Bardin and Piotr Sapegin, becomes the drive to connect meaning and technique, transcendence and immanence, art and its
9
imitation in life, image and (carefully constructed) sound. Stop motion animation may present many forms to be studied, but this can also become a research weapon: it could unveil a certain narrative and aesthetic strategy that the specific materials, settings and character movements dictate can only work in one way and in no other way. Aesthetic Interferences: The Stop Motion Technique in the Animation Narrative has this as its precise objective, and it digs deeper into issues and problems that the material in question poses. Therefore, this not only makes Eliane Gordeeff’s book a commendable, but also a more than necessary (and even enjoyable) contribution to the field of animation scholarship, to which it squarely belongs and which it advances. Vassilis Kroustallis Film and Animation professional and scholar Head Editor, Zippy Frames
10
History And Acknowledgments
T
his book is the result of a collective effort from the beginning which I can divide into three distinct moments, as well as identifying their respective characters.
Firstly, it is based on my master’s dissertation presented as part of the Graduate Programme in Visual Arts at the School of Fine Arts of the Federal University of Rio de Janeiro (Brazil) in 2011. Thus, I consider that all the people who participated in my journey at the time collaborated directly or indirectly in this project, but among them stands my honourable advisor, Professor Rogério Medeiros, chief Ph.D. Then, during the execution of the research, the support and contact with the animators – Alexander Petrov, Garri Bardin, Piotr Sapegin and Quiá Rodrigues – was essencial. They kindly received me in their studios, met me by online chat or in public places, and collaborated in solidarity with the work of another animator (me); not with regards to animation itself, but rather with research about animation, which is a no less important aspect of the field. To them goes my eternal gratitude. My boss at the time, Lourdes Grzybowski, who allowed me to be more flexible with my work schedule in order for me to attend the master’s classes. For that I am also grateful. The last stage, the writing of the book itself – seven years later – entails a great deal of work, contact with the crowdfunding platforms and with the publishers in Portugal, as well as with all the companies to negotiate the use of images (from Brazil,
11
12
Thanks to João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo
Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa Maria do Carmo Pedro Fernandes João Pessoa
13
14
Introduction
J
ust as colour determines a visual sensation, form and texture also frame it, materializing the artist’s intention and message. Much has been written about techniques, new technologies, new equipment, and animation software and effects. There are also many books on film language, the study of movement, light, techniques of animation, how to build a character, and other technicalities. However, there is still much to study about how the impact of the animated image is processed, in terms of the artistic/emotional empathy of the viewer (receiver), besides what are the influences of the material processes used in the creation of these images in the “storytelling�, and what they are like. The aesthetic language of Animation is directly connected to the technique used to cheer us up. Aesthetic Interferences: The Stop Motion Technique in the Animation Narrative has the objective of analysing how the materiality of the technique influences the visual information, complementing and assisting the animated narrative, how expressiveness can be manifested by the physical, representative and/or symbolic use of the material, and used in the elaboration of the image for an animated narrative. In this process the aesthetics of the animation technique is analysed, considering its narrative, with a consequent methodology of evaluation of aesthetic forms and possibilities, this form of analysis perhaps being a means of deepening the representative aspect of an animated production, so that the (visual) form allied to the content (narrative), achieve their objective (audience empathy).
15
Consequently, only some productions that have certain characteristics serve as examples for this analysis, although it should be emphasized that no reflections about their authors were considered. What matters is the visual result of their works, and the way the animators / directors achieved it, not the work of the animators themselves as creators. Due to its unique characteristics, the set of techniques called stop motion stands out. This term is commonly known as being synonymous with the animation of puppets, but its original meaning is considered to be that of frame-by-frame animation with stop motion of the object to be animated, regardless of the nature of this object – be it puppet, paint, string or people. Another characteristic to be considered is the self-destructiveness of the technique: for each new frame, it is necessary to modify the previous one which gets lost in the process. Thus, when analysing how the expressiveness of the action and the emotion of the narrative can be represented by diverse materials, five short films that effectively translate this characteristic were chosen: • Neighbours1 - People and object animations; • De Janela Pro Cinema [Cinema From a Window]2 - Puppet animation; Canadian production of 1952 directed by Norman McLaren (1914-1987). It is considered one of the masterpieces by the Scottish animator, created while working at the National Film Board of Canada. The animation is a criticism of the Cold War.
1
2
Brazilian animation from 1999 by Quiá Rodrigues, award winner of the Brasília Film Festival, of Anima Mundi and of the Gramado Jury Special Prize (all in 1999), among others (besides participating in the Cannes and Biarritz festivals, both in 2000). It nostalgically recalls icons from the history of world cinema.
16
• Aria3 - Puppet animation; • The Old Man and the Sea4 - Painting on glass; • Adagio5 - Animation of objects (paper and puppets). These animations are part of the “class” of so-called animations with narrative style, but on the fringes of the commercial market, where individual technique, artistic challenge, and selfexpression are more present in the search for a new perspective in the exploration of the medium/technique. With this choice, the material is rich in pictorial expressiveness, propitious to the analysis, but with a fixed reference strategy – the narrative – that allows a better evaluation and elaboration of conjectures about the object of study (the aesthetic interference) as it presents a defined objective (the author’s intention is known), unlike the so-called abstract animations, where there is an absence of explicit narrative. This book is divided into four chapters. The first is intended to give a brief historical overview of the stop motion technique – to orientate the reader about its development over time, and inform how technological advances have interfered in this process. In the second chapter a summary of two aspects considered 3
Piotr Sapegin’s Russian animation of 2001, which, taking advantage of the characters’ animated figures, ended in a shocking suicide in its version of Madame Butterfly. 4 Production of 1999, by Russian animator Alexander Petrov; won the Oscar for Best Animated Short Film of 2000, using the complex technique of painting on glass. Based on the homonymous novel by Ernest Hemingway (1899-1961). 5 Garri Bardin’s 2000 Russian animation uses the music Adagio in Sol minor by Tomaso Albinoni (1671-1751) as the soundtrack and is an introspective but forceful production. Using intelligently the material possibilities of paper, Bardin makes us think about intolerance and violence, against difference and against what is not understood.
17
in the book is presented: the semiotics of animated aesthetics, and some questions on narrative. On the symbolic issues of animation, considerations are addressed on plastic, cinematographic, and virtual issues, based mainly on the studies of Roland Barthes (1915-1980), Jean Baudrillard (1929-2007), and Edmond Couchot. In relation to narrative, questions about verisimilitude, the impression of reality, and the suspension of disbelief are tackled in view of the universe of animation, and within which context the works of Jacques Aumont, Sergei Eisenstein (1898-1948), Tzvetan Todorov (1939-2017) and Christian Metz (1931-1993) are fundamental. The third chapter is devoted to the analysis of the films themselves, based on the subjects discussed in the previous chapter and with the help of other thinkers and scholars, along with information obtained through interviews with the authors of the animations and/or reports, as well as testimonials. Due to the visual and narrative variety of these animations, the analyses will be similar but will not follow the same formatting, with attention being given to and emphasising precisely to the diversity they present. In this chapter as well as the following, my own experience as an animator and lover of live-action movies was fundamental. Closing this book, we present the “Conclusion� about the set of ideas presented in this work. As a consequence of the passing years, this text was updated, rewritten and adapted in relation to the original, presented for the Master’s degree dissertation of the Graduate Program in Visual Arts of the School of Fine Arts of the Federal University of Rio de Janeiro, in 2011.
18
1. An overview of Stop Motion Development
I
n this first chapter we present a brief overview of the main technical and aesthetic developments of the stop motion animation technique. The purpose of this is to focus attention on this art form in order to understand the importance of its technological (and artistic) development and how it impacts upon the very act of creation and the action of animating. Historical data, characters and animators will be quoted according to their importance within the context presented, rather than as elements of a historical text on the history of animation. Within this scope the computerisation of the means of animated production will be considered via the technological breakthroughs that have occurred, among the many that have occurred over time and that have influenced this art and others like it. What is analysed here is its application to Animation, the way it happened and what changes it has wrought on the process of animating.
1.1 In the Beginning Nowadays when someone refers to 3D Animation – called 3D –, such a designation is understood to be for an animation made using Computer Graphics. In fact, stop motion is animation in physically real three dimensions, while 3D as we
19
2 The Animated Image: Its Aesthetic And Its Narrative 2.1 The Animated Aesthetic The process of seduction of each artistic manifestation is particular, differentiated from all others and also requires acute observation and detailed analysis. Animation wields an almost mesmerizing fascination on the public. The fact that it is possible to observe something that does not exist in the material sense – drawings are only ultimately sketches in motion on paper – a simulation of something alive, emotive and proactive, it carries an aura of inexplicable magic, magnetizes and seduces, transporting the public to a particular moment in time of this imaginary environment. This art form has unique characteristics since it is not an isolated event, after all, it carries within itself an integrated set of artistic manifestations. Animation is a graphic equivalent to opera. Animation is an amalgam of drawing, painting, sculpture, set design, photography, cinematographic language, dramatic representation and also music. Due to the complexity of its individual components, to analyse animation requires a reflection on them all – in order to evaluate their influence, common points and differences, even from the point of view of materiality and virtuality. Comparisons between theatre and film, photography and painting, static image and moving image, real and virtual image have long existed and are well known. However, to evaluate them together, having the
20
3 Analysis of Animations 3.1 Neighbours1 3.1.1 The Technique and the Film The construction of the animated image consists of numerous actions – technical and artistic – that when visualized together, in the successive exhibition of the frames, result in the movements, forms and colours projected on the screen. The technique of animation known as pixilation consists of capturing, frame by frame, the movement of the characters (represented by people) and objects. It is a technique used more often by experimental animators and achieved great popularity in singer Peter Gabriel’s video clip Sledgehammer, for example, in the 1980s. Neighbours (1952) was produced using this technique during the years that Norman McLaren worked at the National Film Board of Canada. His inspiration for the film was his view that war is no solution, based on historical events and his own personal experiences. In the 1930s, he belonged to the 1
This text was written based on a Master’s dissertation, as well as on a written monograph (with 20 pages) during the Master’s programme. Part of this text was published for the first time in the Proceedings of CONFIA 2015 - 3rd International Conference on Illustration & Animation, coordinated by Paula Tavares (IPCA) and organized by the Escola Superior de DesignInstituto Politécnico do Cávado e Ave and ID+ Research Institute for Design, Media and Culture (Portugal), pp. 87-99. The event took place from April 10th to 12th 2015, in Braga/Portugal, and the text was presented on April 11th 2015.
21
3.2 De Janela pro cinema [Cinema From a Window]2 3.2.1 The Cinema and the Film De Janela pro Cinema3 (1999) came about unintentionally ... The animator Quiá Rodrigues4 had received a request from a festival to produce a one-minute vignette in honour of Cinema’s centenary. This work was developed in partnership with Paula Nogueira, then an employee at the Technical Audio-visual Centre - CTAv5, linked to FUNARTE (The National Arts Foundation). They together developed a puppet animation sequence based on the character Nosferatu, from the eponymous film produced in Germany and directed by This text was written based on a Master’s dissertation, and alo on a monograph (with 57 pages) completed during the Master’s course. Part of this text also was published as an article, for the first time, in the Revista Estúdio, Artistas Sobre Outras Obras - CSO’2011 [:Estudio Magazine, Artists About Other Artworks] Vol.2 N. 3, summer 2011, pp. 130-135; and in the Actas do II Congresso Internacional Criadores Sobre outras Obras [Proceedings of CSO 2011], pp. 183-190. Coordinator of both publications: João Paulo Queiroz. The event happened from April 15th to 17th 2011, and the text was presented on April 17th, 2011. 3 This historical account was only made possible thanks to the information provided in an interview with the writer/director/animator, Quiá Rodrigues, on 09/21/2009, in Rio de Janeiro. 4 Quiá Rodrigues is Brazilian, from Minas Gerais. He works as a creator of TV and film puppets and as an animation filmmaker, having been assistant to animator Marcos Magalhães. Rodrigues was responsible for the direction, voice and performance of Zeca2D, a character for the TVBrasil programme, Animania, at a time, when he was talking with animators and reporting on the latest news of the genre. 5 CTAv continues being a centre of development and support for the audiovisual production sector in Brazil and is currently is connected to the Audio-visual Secretariat of the Ministry of Culture. 2
22
3.3 The Old Man and the Sea 3.3.1 Hemingway’s Story and Animation The Old Man and the Sea (1999) – based on Ernest Hemingway’s 1952 novel of the same name – is an animation produced with the complex technique of painting on glass. Created by the Russian animator and director Alexander Petrov6, it was a joint production of the Canadian company TONIC DNA (formerly Pascal Blais Productions) and the Japanese company Imagica Corporation (with the IMAX system). Like the literary work, the animation tells the story of an old fisherman and his struggle to catch a five-metre-long swordfish7 out at sea and to take it back to shore before it is eaten by sharks. The preparation for the production took about seven years, even before Petrov could transform the scenes described in the book into a script for the short film, and this was not the first adaptation of the novel for the cinema8. At first Petrov planned a narrative of about 12 minutes, mainly focused on the actual fishing. However, at the request of the producers, the film was 6
The information contained in this subchapter was provided by Alexander Petrov himself in an interview held on November 11th, 2009 in Moscow. All comments written in quotes and not referenced throughout the text are original comments from the animator. They are also, in the original speech in Russian, in the notes. The translation into Portuguese was done by Viacheslav Yakovlev in 2010, and the translation into English by the author. 7 It is the well-known narrative axis man vs. nature, so common in Hemingway’s works. Aguiar, L. A. A História de Santiago. In: HEMINGWAY, E. O Velho e o Mar. Rio de Janeiro: Ed. Bertrand Brasil Ltda, 2009, p. 10. 8 The most famous is the North American production of 1958, with the actor Spencer Tracy (1900-1967), directed by John Sturges (1910-1992).
23
3.4 Adagio9 3.4.1 The Origami and the Animation Adagio (2000) is a stop motion animation using characters made in origami10. It was produced by Studio Stayer, by animator and Russian animation director Garri Bardin11 and by Canal + (France and Spain). Bardin trained as an actor and has been involved in the art of animation for more than 50 years, and he was also a member of the professional body of the Soyuzmultfilm Studio, a state-run studio for Soviet animation. For Bardin “animation is a kind of elixir of youth”12 because it can only be created by people who never cease to be children. If they do stop being children, they “are no longer animators”13. His interest in art still stands, 9
Part of this text was published for the first time in Con A de animación [With A For Animation], [S.l.], n. 7, pp. 162-175, Mar. 2017. ISSN 21733511. Retrieved: http://polipapers.upv.es/index.php/CAA/article/view/7304. 10 Paper was introduced to Japan by Buddhist monks during the 6th century. Expensive material at the time, it was not accessible to the general public. Folding paper was not a hobby, it became an art form, evolving into what we now know as origami. During the early years, paper butterflies were used to adorn sake jars in wedding ceremonies and are probably the earliest forms of representing origami. (t.a.) Retrieved from: http://www.origami-resource-center. com/history-of-origami.html (Dec. 02, 2010). 11 The information contained in this subchapter was provided by Garri Bardin himself in an interview held on November 06, 2009, at his animation studio in Moscow. All comments written in quotes and not referenced throughout the text are original comments from the animator. They are also, in the original speech in Russian, in the notes. The translation into Portuguese was done by Viacheslav Yakovlev in 2010, and the translation into English by the author. 12 «мультипликация является своеобразным эликсиром молодости» 13 «больше не мультипликаторы»
24
3.5 ARIA14 3.5.1 The Opera and the Animation Aria15 is a 2001 animation produced with the puppet animation technique. An original project by Russian born Norwegian animator Piotr Sapegin, and co-produced by his then recently established production company Pravda (Norway) and the National Film Board of Canada. Sapegin does not remember how the idea for the project came about16, but he is clear about his interest in and the influence of theatre on his work. A son of painters, Sapegin got his first job at the age of 18, in a theatre in Russia. He worked as a stage set designer for 15 years in various theatres, including the Bolshoi. It was only when he moved to Norway, in 1990, that he came into contact with animated films and started producing ads for television and his own films. In his works, most in stop motion, Sapegin does not use digital devices to animate, as he prefers not to. As an artist he favours manual work, with the variations and the 14
Part of this text was published for the first time in the Orson – Revista dos Cursos de Cinema do Cearte UFPEL [Orson - Magazine of the Cinema Courses of the Arts Center of the Federal University of Pelotas] / Brazil - 2012 - vol.2 pp. 24-37, ISSN: 2237-3381. 15 https://www.nfb.ca/film/aria_en/ 16 Much of the information contained in this subchapter was provided by Pjotr Sapegin himself in an interview held on July 30th, 2009, by Skype (in English), and through other interviews and articles, all referenced in this text. All comments written in quotes and not referenced are original comments from the animator.
25
Conclusions
A
fter a chapter focusing on the individual analyses of the five selected short films in Stop motion, this final part of the book brings together all the topics covered so far. The goal is to elaborate a reflexive thinking about Stop motion animation, observing the concepts presented in Chapters 1 and 2.
Simulation in Animation In the face of what has been presented, it is possible to conclude that there is no animation without simulation. Movement itself in animation is already a simulation, because it is the appearance of movement through the filmed image (a succession of images with characters placed in progressive positions), which, when projected at a certain speed1, produces the illusion of movement in the brain. In fact, we do not see the characters actually in motion, we see their various progressive positions sequentially. However, it is not only in relation to movement that there is a simulation. But why do we have simulation and not just representation? Recalling what Baudrillard says, in simulation there is the equivalence value, not the representation value of the image. Of course, every image in itself represents something, but it can also be something else, something “independent�, having 1
This has an explanation in the physiology of how the eye captures the image and the brain processes it.
26
References Aguiar, L. A. A História de Santiago. In: HEMINGWAY, E. O Velho e o Mar. Rio de Janeiro: Ed. Bertrand Brasil Ltda, 2009. ANDRADE, M. – Macunaíma [On-line]. Florianópolis: Editora UFSC, 1988 [1928]. Retrieved from: https://books.google. pt/books?id=Fw05XMI8sU8C&printsec=frontcover&hl=ptBR&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false [Aug. 20, 2018]. Andrade, O. O Manifesto Antropófago [On-line]. In: Teles, Gilberto Mendonça. Vanguarda Européia e Modernismo Brasileiro: Apresentação e crítica dos principais manifestos vanguardistas. 3rd Ed. Petrópolis: Editora Vozes; Brasília: INL, 1976. Retrieved from: http://www.ufrgs.br/ cdrom/oandrade/oandrade.pdf [Nov. 15, 2009]. Animation World Magazine in March 2000. Retrieved from: http:// www.awn.com/mag/issue4.12/4.12pages/ robinsonoldman2. php3 [Oct. 10, 2010]. ARISTOTLE. De Anima, Books II and III (with passages from book I). Translated by D. W. Hamlyn. Reprinted. Oxford / New York: Clarendon Press, Oxford University Press, 2002. ARISTOTLE. The Poetics of Aristotle. Translated by S. H. Butcher. 4th Ed. London: MacMillan and Co., Limited, 1922. ARNHEIM, R. Art and Visual Perception: A psychology of the creative eye. The New Version. Berkeley Los Angeles/London: University of California Press, 2004. AUMONT, J. The Image. Translated by Claire Pajackowska. London: British Film Institute Publishing, 1997.
27
________. Aesthetics of Film. Translated by Richard Neupert. 2nd Ed. Austin: University of Texas Press, 1994. BANDA, D.; MOURE, J. Le Cinéma: Naissance d’un art 18951920. Paris: Èditions Flammarion, 2008, pp. 131-139. BARTHES, R. Camera Lucida: Reflections on photography. Translated by Richard Howard. New York: Publisher Farrar, Straus and Giroux, 1981. ________. S/Z. Translated by Richard Miller. Oxford: Blackwell Publishing, 2002. BAUDRILLARD, J. Simulacra and Simulation. Translated by Sheila Faria Glaser. Ann Arbor: University of Michigan Press, 1994. BAZIN, A. What Is Cinema? Essays selected and translated by Hugh Gray. Vol. I. Berkeley/Los Angeles/London: University of California Press, 1967. BERGSON, H. Of the Selection of Images for Conscious Presentation. In: ______. Matter and Memory. Translated by Nancy Margaret Paul and W. Scott Palmer. 8th Print. New York: Zone Books, 2005, pp. 17-76. ________. The perception of change. In: ________. The Creative Mind: An introduction to metaphysics. Nova York: Dover Publications Inc., 2007, pp. 107-132. CANDIDO, A., et al. A Personagem de Ficção. 2nd Ed. São Paulo: Perspectiva, 2000. CAVALIERE, A. O Inspetor Geral de Gógol/Meyerhold. In: Beltrame, V. N. A Marionetização do Ator. Revista de Estudos Sobre Teatro de Formas Animadas. Universidade do Estado de Santa Catarina (UDESC), Jaraguá do Sul - SC, no1, 2005, pp.53-78.
28
COLERIDGE, S. T. Biographia Literaria [On-line]. In: SHEDD. P. (Ed.). The Complete -Works of Samuel Taylor Coleridge, With an Introductory Essay Upon His Philosophical and Theological Opinions. New York: Harper & Brothers. Vol. 3, 1853. Retrieved from: https://archive.org/details/ theoligicalopinions03colerich [Aug. 2, 2017]. COUCHOT, E. De la Représentation à la Simulation: Évolution des techniques et des arts de la figuration [Online]. In: Images Technique Société. Culture Technique, n°22, 1991. Neuilly-sur-Seine: Centre de recherche sur la culture technique, pp. 53-61. Retrieved from: http://hdl.handle. net/2042/32658 [Jun. 8, 2017]. DELEUZE, G. Cinema 1: The movement-image. Translated by Hugh Tomlinson and Barbara Habberjam. 5th Print. Minneapolis: University of Minnesota Press, 1997a. ________. Cinema 2: The Time-Image. Translated by Hugh Tomlinson and Robert Caleta. 5th Print. Minneapolis: University of Minnesota Press, 1997b. EISENSTEIN, S. Film Form: Essays in film theory. Translated by Jay Leyda. New York/London: Harvest/HBJ, 1977. ________. The Film Sense. Translated by Jay Leyda. New York: Meridian Books, 1957. FREUD, S. Jokes and Their Relation to The Unconscious. Translated by James Strachey. New York: W. W. Norton & Company, 1989. FURNISS, M. Art in Motion: Animation aesthetics. Sidney: John Libbey & Company Pty Limited.,1998. GENNETE, G. Figure III. Collection Poétique. Paris: Éditions du Seuil, 1972.
29
HARRYHAUSEN, Ray; DALTON, T. A Century of Stop motion Animation: From Méliès to Aardman. New York: Watson-Guptill Publications, 2008. HEMINGWAY, E. O Velho e o Mar. Rio de Janeiro: Ed. Bertrand Brasil Ltda, 2009. Joly, M. Introdução à Análise da Imagem. Translated by José Eduardo Rodil. Lisbon: EDIÇÕES 70, Lda. 2007. KOEHLER, R. Some aspects of Norman McLaren [On-line]. In Cinemascope: Expanding the frame of international cinema. Retrieved from: http://www.cinema-scope.com/cs28/spot_ koehler_mclaren_canadian.html [Set. 24, 2009]. KONTTINEN, S. Pjotr Sapegin on Giving Soul to a Puppet [Online]: Dvoted. 12/22/2007. Retrieved from: http://www. dvoted.net/Knowledge/Articles/Animation/Pjotr-Sapegin-onGiving-Soul-to-a-Puppet-/ [Oct. 30, 2010]. KUSANO, D. Os Teatros Bunraku e Kabuki: Uma visada barroca. São Paulo: Editora Perspectiva, 1993. MANOVICH, L. The Language of New Media. London/ Massachusetts: The MIT Press, 2001. McLaren, Norman. Encyclopedia of World Biography/ Encyclopedia.com [On-line]. The Gale Group. 2016. Retrieved from: http://www.encyclopedia.com/doc/1G2 -3446400137. html [Aug. 20, 2018]. MCWILLIAMS, D. Norman McLaren. On the creative process. Montreal: National Film Board of Canada, 1991. METZ, C. Psychoanalyses and Cinema: The imaginary signifier. Translated by Celia Britton, Annwyl Williams, Ben Brewster and Alfred Guzzetti. London: MacMillan Press, 1983. ________. Film Language: A semiotics of the cinema. Translated by
30
Michael Taylor. Chicago: University of Chicago Press. 1991. SHORT FILM ARIA. Norwegian Film Institute [Online]. Retrieved from: https://www.nfi.no/eng/ film?name=aria&id=1381 [Aug. 28, 2018]. Origami Resource Center Site [On-line]. Retrieved from: http:// www.origami-resource-center.com/history-of-origami.html [Dec. 02, 2010). PAVIS, P. A Análise dos Espetáculos. Translated by Sérgio Coelho. São Paulo: Editora Perspectiva, 2011. PURVES, B. J. C. Stop motion, Passion, Process and Performance. Oxford: Elsevier Ltd., 2008. PURVES, D.; AUGUSTINE, G.J.; FITZPATRICK, D., et al. (Ed.). The Premotor Cortex [On-line]. In Neuroscience. 2nd Ed. Sunderland (MA): Sinauer Associates, 2001. Retrieved from: https://www.ncbi.nlm.nih.gov/books/NBK10796/ [Aug. 30, 2018]. RENE, C. Neighbours [On-line]. Western Connecticut State University Site, 2003. Retrieved from: http://people.wcsu.edu/ mccarneyh/fva/M/neighbors.html [Set. 17, 2009]. SBD. Site da Sociedade Brasileira de Diabetes [On-line]. Retrieved from: http://www.diabetes.org.br/sala-de-noticias/reportagensonline/126-cobertura-do-congresso-da-ada/888-estados-unidosda-obesidade [Jan. 15, 2010]. SURRELL, J. Os Segredos dos Roteiros da Disney. Translated by Beatriz Sidou. São Paulo: Panda Books, 2009. TARKOVSKY, A. Sculpting in Time: The great Russian Filmmaker discusses his Arts. Texas: University of Texas Press, 1989. TODOROV, T. As Estruturas Narrativas. Translated by Moysés Baumstein. 2nd. Ed. São Paulo: Editora Perspectiva S.A,
31
1970. ________.; Weinstein, A. Structural Analysis of Narrative [Online]. In: NOVEL: A Forum on Fiction, Vol. 3, No. 1 (Autumn, 1969). Durham: Duke University Press, pp. 70-76. Retrieved from: http://www.jstor.org/stable/1345003 [Aug. 11, 2017]. ________. Poétique de la Prose - (choix) suivi de Nouvelles recherches sur le récit. Paris : Éditions du Seuil, 1978. THOMAS, F., JOHNSON, O. The Illusion of Life. New York: Disney Edition, 1991. VERNET, M. Cinema and Narration. In: AUMONT, J. Aesthetics of Film. Translated by Richard Neupert. 2nd Ed. Austin: University of Texas Press, 1994. WELLS, P. Understanding Animation. London: Routledge, 1998. ________. The Fundamentals of Animation. Lausanne: AVA Publishing S.A., 2006.
Films Adagio (original title, Адажио). Direction: Garri Bardin. Russia: Stayer Studio, 2001, 10 min. Amarcord. Direction: Federico Fellini. Italy/France: F.C. Produzioni, PECF, 1973, 123 min. American Beauty. Direction: Sam Mendes. USA: DreamWorks, 1999, 122 min. A Night (original title, Una Nit) [On-line]. Direction: Jordi Moragues. Spain: Institut Universitari de l’Audiovisual, Universitat Ponpeu Fabra, 1997, 26:30 min. Available:
32
https://vimeo.com/71036123 [Accessed: Aug. 10, 2018]. Animando. Direction: Marcos Magalhães. Brazil/Canada: National Film Board of Canada, Embrafilme, 1987. 35mm. Aria. Direction: Piotr Sapegin. Canada/ Russia: National Film Board of Canada, Pravda, 2001, 11 min. Available: https:// www.onf.ca/film/aria_fr/. [Accessed: Sep. 18, 2017]. A Trip to the Moon (original title, Le Voyage dans la Lune). Direction: George Méliès. France: Star-Film, 1902. P&B (16 fps), no sound, 13 min. Available: https://archive.org/ details/Levoyagedanslalune [Accessed: Jan. 15, 2010]. Bambi. Direction: James Algar [et al.]. USA: Walt Disney Productions. 1942, 70 min. Belle de Jour. Direction: Luis Buñuel. France: Robert et Raymond Hakim, Paris Film Productions, Five Film, 1967, 100 min. Chairy Tale [On-line]. Direction: Norman McLaren, Claude Jutra. Canada: National Film Board of Canada, 1957, 9:54 min. Available: http://www.onf.ca/film/a_Chairy_tale/ [Accessed: Aug 01, 2010]. Cinema From a Window. (original title, De Janela pro Cinema). Direção: Quiá Rodrigues. Brazil: Ctav, QFilmes, 1999, 13 min. Citizen Kane. Direction: Orson Wells. USA: RKO Radio Pictures, Mercury Productions, 1941, 119 min, B&W. Clash of Titans. Direction: Desmond Davis. USA: Charles H. Schneer Productions, Peerford Ltd., 1981, 118 min. Clockwork Orange. Direction: Stanley Kubrick. USA: Warner Bros., Hawk Films, 1971, 136 min. Coraline. Direction: Henry Selick. USA: Focus Features, Laika Entertainment, Pandemonium, 2009, 100 min.
33
Corpse Bride. Direction: Tim Burton, Michael Johnson. USA/UK: Warner Bros. Pictures [et al.], 2005, 77 min. Creature Conforts. Direction: Nick Park. UK: Aardman Animations, Channel Four Films, 1989, 5 min. Dimensions of Dialogue (original title, Možnosti Dialogu). Direction: Jan Švankmajer. Czechoslovakia: Krátký Film Praha, 1982, 12 min. Early Man. Direction: Nick Parker. UK/USA: Aardman Animations, et al., 2018, 89 min. El Apóstol. Direction: Quirino Cristiani. Argentina: Federico Valle, 1917, 70 min. E.T. the Extra-Terrestrial. Direction: Steven Spielberg. USA: Universal Pictures, Amblin Entertainment, 1982, 115 min. Fantasia. Direction: James Algar [et al.]. USA: Walt Disney Productions, 1940, 125min. Father and Daughter. Direction: Michaël Dudok de Wit. UK/ Belgium/Netherlands/Canada: CinéTÉ Filmproductie BV, Cloudrunner Ltd., 2000, 9 min. Food Fight. Direction: Stefan Nadelman [On-line]. USA: Tourist Picture, 2006, 06 min. Available: http://www.touristpictures. com/foodfight/index.htm [Accessed: Jan. 15, 2010]. In Passing (original title, En Passant). Direction: Alexander Alexeieff & Claire Parker. Canada: National Film Board of Canada, 1944. On-line, 02 min, B&W. Available: http://www.youtube. com/watch?v=oCQFVEGQ9xk&feature=related [Accessed: Apr. 20, 2008]. Interview (original title, Intervista). Direction: Federico Fellini. Italy: Aljosha, Cinecittà, RAI Radiotelevisione Italiana, Fernlyn, 1987, 108 min.
34
King Kong. Direction: Merian C. Cooper e Ernest B. Schoedsack. USA: RKO Radio Pictures, 1933, 100 min, P&B. Kubo and the Two Strings. Direction: Travis Knight. USA: Focus Features, Laika Entertainment, 2016, 101 min. Limit (original title, Limite) [On-line] Direction: Mário Peixoto. Brazil: Mário Peixoto, 1931, 120 min, B&W, silent. Available: http://www.youtube.com/watch?v=9rl8_ O5BgN4&feature=related [Accessed: Jan. 10, 2010]. Lines: Horizontal [On-line]. Direction: Norman McLaren, Evelyn Lambart. Canada: National Film Board of Canada, 1962, 5:50 min. Available: https://www.nfb.ca/film/lines_horizontal/ [Accessed: Jan. 15, 2010]. M - A City Searches for a Murderer (original tilte, M - Eine Stadt Sucht einen Mörder). Direction: Fritz Lang. Germany: Nero-Film AG, 1931, 117 min, B&W. Macunaíma. Direction: Joaquim Pedro de Andrade. Brazil: Condor Filmes, Filmes do Serro, Grupo Filmes, Instituto Nacional de Cinema, 1969, 110 min. Média. Direction: Pavel Koutský. Czech Republic: Krátký Film Praha, Studio Bratri v triku, 2000, 5 min. Metropolis. Direction: Fritz Lang. Germany: Universum Film, 1927, 153 min, B&W, silent. Moby Dick. Direction: John Huston. UK/USA: Moulin Productions Inc., Warner Bros., 1956, 116 min. MoonWalker. Direction: Jerry Kramer, Jim Blashfield, Colin Chilvers. USA: MJJ Productions, Ultimate Productions, 1988, 93 min. My Uncle (original title, Mon Oncle). Direction: Jacques Tati. France: Specta Films, Gray-Film, Alter Films, Film del
35
Centauro, Cady Films, Gaumont, 1958, 117 min. Neighbours. Direction: Norman McLaren. Canada: National Film Board of Canada, 1952, 8 min. Nosferatu. Direction: F.W. Murnau. Germany: Jofa-Atelier BerlinJohannisthal, Prana-Film GmbH, 1922, 94 min, B&W, silent. Pinocchio. Direction: Norman Ferguson [et al.]. USA: Walt Disney Productions. 1940, 88 min. Rear Window. Direction: Alfred Hichtcock. USA: Alfred J. Hitchcock Productions, 1954, 112 min. Romeo and Juliet. Direction: Franco Zeffirelli. Italy/UK: BHE Films, Verona Produzione, Dino de Laurentiis Cinematografica, 1968, 138 min. Romeo + Juliet. Direction: Baz Luhrmann. USA/Mexico: Bazmark Films, Twentieth Century Fox, 1996, 120 min. Ryan. Direction: Chris Landreth. Canada: National Film Board of Canada, 2004, 13 min. Short Cuts. Direction: Robert Altman. USA: Fine Line Features, Spelling Films International, Avenue Pictures, 1993, 188 min. Sledgehammer. Direction: Stephen R. Johnson. UK: Peter Gabriel, Daniel Lanois, 1986, Videoclip, 5 min. Star Wars: Episode V - The Empire Strikes Back. Direction: Irvin Kershner. USA: Lucasfilm, 1980, 124 min. The 7th Voyage of Simba. Direction: Nathan H. Juran. USA/UK: Morningside Productions, 1958, 88 min. The Adventures of Prince Achmed (original title, Die Abenteuer des Prinzen Achmed). Direction: Lotte Reiniger. Germany: ComeniusFilm GmbH, 1926, 86 min.
36
The Cabinet of Dr. Caligari (original title, Das Kabinett des Doktor Caligari). Direction: Robert Wiene. Germany: Decla-Bioscop AG, 1920, 76 min, B&W, silent. The Cameramen’s Revenge (original title, Месть кинематографического оператора). Direction: Wladyslaw Starewicz. Russia: Khanzhonvov, 1912, 12 min, B&W, silent. The Dinosaur and the Missing Link: A Prehistoric Tragedy. Direction: Willis H. O’Brien. USA: Conquest Pictures Company, Herman Wobber, 1915, 05 min, B&W, silent. The Hunchback of Notre Dame. Direction: Gary Trousdale, Kirk Wise. USA: Walt Disney Feature Animation [et al.], 1996, 91 min. The Inspiration [original title, Inspirace] Direction: Karel Zeman. Czechoslovakia: Karel Zeman, 1949, 11 min. The Line (original title La Linea). Creation (1969): Oswaldo Cavandoli. Italy: Belokapi, Monitorpop Entertainment, Télécip, TV Series (1972–1991), 3 min. The Lion King. Direction: Roger Allers, Rob Minkoff. USA: Walt Disney Pictures, Walt Disney Feature Animation, 1994, 88 min. The Lord of the Rings: The Fellowship of the Ring. Direction: Peter Jackson. USA, New Zeland: New Line Cinema, WingNut Films, The Saul Zaentz Company , 2001, 178 min. The Nightmare Before Christmas. Direction: Henry Selick. USA: Touchstone Pictures, Skellington Productions Inc., Tim Burton Productions, 1993, 76 min. The Old Man and the Sea. Direction: Alexander Petrov. Russia, Canada, Japan: Dentsu Tec, IMAX, Imagica Corp., Les Productions Pascal Blais, NHK, Ogden Entertainment,
37
Panorama, 1999, 20 min. The Pirates! In an Adventure with Scientists! Direction: Peter Lord, Jeff Newitt. UK, USA: Columbia Pictures Corporation, Sony Pictures Animation, Aardman Animation, 2012, 88 min. The Seven Year Itch. Direction: Billy Wilder. USA: Charles K. Feldman Group, Twentieth Century Fox, 1955, 105 min. The Terminator. Direction: James Cameron. USA, UK: Hemdale, Pacific Western, Euro Film Funding, Cinema‘84/Greenberg Brothers Partnership, 1984, 107 min. Tie Me Up! Tie Me Down! (original title, ¡Átame!). Direction: Pedro Almodóvar. Spain: El Deseo, 1990, 101 min. Tubby the Tuba. Direction: George Pal. USA: Paramount Pictures, 1947, 10 min. Une Nuit sur le Mont Chauve. Direction: Alexander Alexeiff and Claire Parker. France: Alexander Alexeieff and Claire Parker, 1933, 8 min, B&W. Wings of Desire (original title, Der Himmel über Berlin). Direction: Win Wenders. West Germany, France: Road Movies Filmproduktion, Argos Films, Westdeutscher Rundfunk, Wim Wenders Stiftung, 1987, 128 min.
38
Summary Preface...................................................................................... About This Book....................................................................... Thanks...................................................................................... Introduction.............................................................................. 1. A Stop-motion Development Overview................................... The Beginning.............................................................................. Development with Creativity....................................................... Stop motion and Technology.............................................................
2. The Animated Image: Its Aesthetics and its Narrative ....................................................................... The Animated Aesthetics..................................................................... Animation in the Artistic Context.................................................... The Animation, the Live-action Cinema, the Photography and the Virtual...................................................... A Brief Comparison: Animation and Live-action Cinema................................................................... Narrative Aspects.................................................................................... The Types of Narrative..................................................................... Narrative and Non-Narrative in Cinema......................................... The Narrative in Live-action Cinema and Animation..................... Narrative, time and history.................................................. The narrative codes.............................................................. The impression of reality and the suspension of disbelief........................................... Functions, characters and verisimilitude.............................
39
Narrative in Stop Motion Animation............................................... 3. Animation Analysis Neighbours................................................................................... The Technic and the Film................................................................. The Narrative and the Elements of Spectacles.................................. The Aesthetic Multiplicity of Pixilation............................................ De Janela Pro Cinema [Cinema From a Window]...................... The Cinema and the Film................................................................ The Narrative and its Cinematographic References.......................... The Cultural Reflex in the Aesthetics of Animation......................... The Old Man and the Sea............................................................ Hemingway’s Story and Animation.................................................. The Painting, the Narrative and the Time........................................ The Perception of Animation in Painting on Glass........................... Adagio . ........................................................................................ Origami and Animation................................................................... The Narrative, the Symbolic and the Material................................. The Plastic Unit and the Animation................................................ Aria .............................................................................................. The Opera and the Animation......................................................... The Narrative, the Puppets and TheirAnima................................... Materiality in Animation with Puppets........................................... Conclusions............................................................................... The Simulation in Animation.......................................................... The Animation Representation......................................................... Final Considerations........................................................................ References.................................................................................
40
