By Paul Wells
What is new in animation? discover! * Works from artists, animators, film-makers, students, archivists * excellent for critical scholars of movie making and animation during this special examine animation this present day, a sequence of fascinating case experiences are explored from creation to ultimate end result. each is taken into account when it comes to which means, goal, and influence, then positioned into context as a part of trendy animation tradition. hundreds and hundreds of illustrations make it effortless to stick to experimental paintings from script to display, exploring the intersections among animation, movie, image layout, and artwork. With insights from best U.K. authors on animation, in addition to Oscar-winning animators, artists, movie makers, students, and archivists, "Re-Imagining Animation "offers the definitive examine animation this present day.
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Additional info for Re-Imagining Animation: The Changing Face of the Moving Image (Required Reading Range)
Using antiquated televisions and outmoded graphics as an image of ‘modernity gone wrong’, Ulbrich points out the complicity of arts cultures and mass media in reinforcing and ‘en-culturing’ a particular status quo, privileging those in power. (2) Ulbrich’s abstraction of the key issues is unashamedly committed to making the viewer think about the work and not become complicit in an explicit or too easily accessible narrative. This, of course, is creative risk. ’ Most of the animators and artists participating in this discussion see their work in a spirit that foregrounds art as an important presence in its own right, offering insight and revelation about material culture and alternative perspectives about the human condition.
Equally, as a generally replicable and distributable mass medium or form, animation has largely been deemed undesirable by an art world immured in a very different commercial model. This seeming innocuousness is very useful, and the acceptance of it as a distinctive characteristic of the form by art culture, or immersion of it within the art world and its commercial markets, is distinctly undesirable. This is especially so if animation is to be further groomed and maintained as a highly effective and (very interestingly) trustworthy medium for the delivery of corporate directives.
This question represents the problem of endless human desire. I thought that this idea could be developed into a story for my final year animation. I was also interested in the juncture between the organic and the mechanical, which I wanted to represent in my film. I wanted to draw something uncanny and create scenery that was dreamlike in Mirage, because I did not want to mimic the real world. ’ Mirage boasts a high degree of technical skill in its execution of 3D computer animation, creating a futuristic boy-figure – part skeleton, part robot, part flesh and blood.