Animation: Technology, Culture and Industry

Learning Outcomes

Subject Specific Intellectual and Research Skills

Having successfully completed this module you will be able to:

• Position animated works within their cultural context and examine their place in the international history of animation.
• Describe the economic and technological basis of a selection of animated works and relate this to their aesthetic and historical meaning.
• Discuss a variety of definitions of animation and relate their implications to provide readings of specific films.
• Situate animation in the context of wider histories and theories of cinema and assess gaps in them relating to animation as an artistic practice and philosophical concept.
• Apply the histories and theories studied on the module to provide readings of new animated works.

Knowledge and Understanding

Having successfully completed this module, you will be able to demonstrate knowledge and understanding of:

• Key theories and theoreticians of animation studies
• A range of (inter)national animation traditions
• Artists’ films that use animation techniques
• A range of techniques used to produce animated films and the periods and countries they are commonly associated with
• Advertising and commercial use of animation
• Early, ‘Golden age’ and contemporary Hollywood animation
• The intermedial relationships that have shaped animation

Transferable and Generic Skills

Having successfully completed this module you will be able to:

• Communicate effectively
• Produce a competent critical analysis
• Independently research appropriate resources
• Research and compose different forms of written essay/report

The aesthetic and historical understanding of animation in this module will be structured around three themes: technology, culture, and industry.

The first section of this module will examine technological approaches to animation and look at the history and aesthetics of the three most common techniques: drawn, object, and computer-generated animation. It will explore the shared characteristics and implications of these techniques, while identifying their distinctive qualities. This raises questions about the ability to create a common definition of animation, as well as challenging their separation from ‘live action’ cinema. It will typically consider examples of these techniques from mainstream studios like Disney, Pixar, Aardman, and Dreamworks, as well as international and independent work from filmmakers such as Sylvain Chomet, the Brothers Quay, David Oreilly, and Nina Paley.

The second section of this module will place animation in its varying cultural contexts through cases studies of specific countries or regions. Like cinema in general, animation has been dominated by American films and interests, especially through the work of the Disney studio. However, its artisanal nature and aesthetic possibilities have also seen it adopted by filmmakers looking to express their own historical and cultural circumstances. This section will understand specific works within their national context, while also using the liminality of animation as a way to interrogate and challenge the complex ideas of national cinema and

identity and their place in a global marketplace. Countries/regions addressed may include Japan, Eastern Europe, and Britain. Indicative examples of films to be screened are landmark work from Studio Ghibli, Jan Švankmajer, Priit Pärn, Joanna Quinn, and Bob Godfrey.

The third section of this module will consider the institutional models within which animation has been produced. Since the 1910s mainstream animation has been produced on an industrial scale as part of the Hollywood studio system, with the Disney studio being the foremost example of this approach. Yet animation has also been produced using different funding models, including sponsored and artists’ films, and the use

of animation for advertising purposes. This section of the module will consider the implications of these varying models, both for the aesthetic results they produce, as well as their political repercussions, such as labour relations and the representation of race and gender. Films examined in this section will likely cover ‘Golden Age’ Hollywood animation from Disney and UPA, independent and avant-garde work by filmmakers such as Lotte Reiniger, Norman McLaren, Len Lye, and Oskar Fischinger, as well as advertising, video game, and web animation.

Teaching and learning methods

Teaching methods include

• Lectures
• Seminars
• Screenings
• Tutorials

Learning activities include

• Seminar discussion
• Independent study, viewing, and research
• A seminar presentation that communicates empirical information about the technology, culture or industrial context of an animated work, and leads group discussion on their impact on the film aesthetically.
• Writing a critical essay that addresses a particular definition of animation and discusses its implications, strengths, and weaknesses.
• Writing an analytical essay that studies the form of one or more animated works.

Resources & Reading list

General Resources

Sen to Chihiro no kamikakushi/Spirited Away (2001). Film

Hotel E (1991). Film

Coraline (2009). Film

Toy Story (1995). Film

Madeline (1952). Film

The Adventures of Tintin: The Secret of the Unicorn (2011). Film

Die Abenteuer des Prinzen Achmed/The Adventures of Prince Achmed (1926).

Ghost in the Shell (1995). Film

Frankenweenie (1984/2012). Film

Možnosti dialogu/Dimensions of Dialogue (1982). Film

Please Say Something (2009). Film

Neighbours (1952). Film

Street of Crocodiles (1986). Film

The Cameraman's Revenge (1912). Film

Gerald McBoing-Boing (1951). Film

Great (1975). Film

Kaze no Tani no Naushika/Nausicaä of the Valley of the Wind (1984). Film

A Colour Box (1935). Film

Fuji (1974). Film

Kreise/Circles (1933-34). Film

L'Illusionniste/The Illusionist (2010). Film

Bambi (1942). Film

Textbooks

Eisenstein, Sergei, Jay Leyda, Alan Upchurch, and N. I. Kleiman (1986). Eisenstein on Disney. Calcutta: Seagull.

Buchan, Suzanne (ed.) (2013). Pervasive Animation (AFI Film Readers Series). Abingdon: Routledge.

Furniss, Maureen (2008). Art in Motion. Animation Aesthetics (revised ed). Eastleigh: John Libbey.

Pilling, Jayne (ed.) (1997). A Reader in Animation Studies. Eastleigh: John Libbey.

Crafton, Donald (2013). Shadow of a mouse: Performance, belief, and world-making in animation. Berkeley: University of California Press.

Russett, Robert & Cecile Starr (1976). Experimental Animation. New York: Reinhold.

Crafton, Donald (1982). Before Mickey. The Animated Film 1898-1928. Cambridge, MA: MIT Press.

Sito, Tom (2013). Moving Innovation: A History of Computer Animation. Cambridge, MA: MIT Press.

Wells, Paul (1998). Understanding Animation. Abingdon: Routledge.

Clements, Jonathan (2013). Anime: A History. London: British Film Institute.

Beckman, Karen (ed.) (2014). Animating Film Theory. Durham, NC: Duke University Press.

Summative

This is how we’ll formally assess what you have learned in this module.

Referral

This is how we’ll assess you if you don’t meet the criteria to pass this module.

Repeat Information

Repeat type: Internal & External