Introduction
To begin with, this seminar paper will contain further information about the development of animating expressions and dialogue. Since the animation is tightly connected with art, the beginnings of animation are influenced with artists taking self-portraits. Due to their opinion, when a person watches itself in the mirror, lowering a chin and looking out from under its brows, the person's real nature is visible. Hence, people's facial expressions reveal a lot about their personality and their mental and emotional state.
When observing the Renaissance works, their main figures were always drawn with their heads looking up, as the authors wanted to achieve an innocent and the pure look of their characters, albeit it does not seem to be based on truth and reality. When an animator wanted to present a cute vulnerable character, he would use this technique, some would use it on purpose, but for Fred Moore it was an instinctive way of drawing and due to that reason he was the one who really created the Disney style. Furthermore, considering any existent art , it can be noticed that every author has his special mark, his own attitude, that he conveys throughout his work, therefore the same thing happens with animation or paintings, except the fact that in animation in a single drawing could not be shown anything but the author's own attitude. But regarding more drawings which all contain different moves, that follows one after another, a change of expression could be presented. For an example : “ When the subject gradually lowers his brows into a frown—paused—and then lifts one brow and glances to the side, he changes from one thought to another“ . Therefore, just through a change of expression the wh...
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...-thin by Pluto. Ham Luske, to whom was given this last gag, did not know how to present a persuasive scene so he was consulting with his assistant Ward Kimball. They agreed to design the cat with steam coming out of its ears right at the moment when it mentions the steamroller. Walt hearing their ridiculous idea, banished it and order a new way of presenting the scene, more realistic, the one that their audience was expecting. Eventually the arbitrariness began to disappear and a natural type of acting was initiated. When an animator was in position to understand the feelings of his character, he would draw it perfectly. And thereafter animators were not just designing characters and movements, they became to capture the feeling of life.
Works Cited
Thomas, Frank, and Ollie Johnston. Disney Animation: The Illusion of Life. New York: Abbeville Press, 2009.
Available technologies during the time of the creation also influence how the picture looks and is represented, but not necessarily how the story is told. This right balance and blend of accepted traditions and drifts from the princess archetype, utilization of technology, and focus on audience creates a perfect potion, making the Disney Animated Studios a jugunate in children’s animation for years to come. Works Cited Disney’s Tangled. Disney Enterprises, Inc., 2010.
Maltin, Lenard. Of Mice and Magic: A History of American Animated Cartoons, Revised and Updated Edition. 3rd ed. Plume, 1987. Print.
The standard Disney story from the mid 1930s to the beginning of the 1940s is one of the pursuit and somewhat linear progression towards realism. Many theorists used the term ‘hyperrealism’ to describe what appeared to be Disney’s “attempt to represent reality in a medium predicated on artificiality” during the Disney-Formalist period (Disney Formalism, Pallant, 40). Indeed, as the animation and technology employed by the company became more advanced, productions relied less on gag-based humor and metamorphosis and more on realistic animation to develop character and narrative. Many critics of this evolution viewed them as “a move away from animation’s main province, as well as a kind of non-artistry produced from simply duplicating live
Throughout time we’ve come to terms on different versions of stories that have been altered to fit what we want to read or see for our enjoyment. Having variations of a story can demonstrate what type of audience is in the sight of the creator. The term “disneyfication” is the word to describe the idea of turning a story into a modern day version that creates an illusion to the real story written before. This has happened several times in past decades, where stories are altered to set an example for the audience, whether it’s believing in oneself or getting the job done, to get what you want, is different from the original tale. The comparison between Hans Christian Andersen “The Little Mermaid” and Disney’s “The Little Mermaid,” are a set
If children or adults think of the great classical fairy tales today, be it Snow White, Sleeping Beauty, or Cinderella, they will think Walt Disney. Their first and perhaps lasting impression of these tales and others will have emanated from Disney film, book, or artefacts (Zipes 72)
Produced in 2009, The Frog Princess is a Disney animation inspired by the Grimm Brothers’ fairytale, The Frog Prince. Both The Frog Princess and The Frog Prince deal with a multiplicity of issues, all of which contribute to supporting positive messages and morals (Ceaser, 2009). However, though The Frog Princess is based on a classic fairytale, it is far from being the same. The writers at Disney have taken a classic fairytale and created a “Monster” (Prince, 2001). This essay will examine the evolution of the original Grimm Brothers’ fairytale, the messages both main characters represent, and how the adaptation to fit a modern child readership diminishes a classic fairytale. Through discussing these arguments, this paper will prove that Disney’s adaptation into The Princess and The Frog is counter-productive in representing the original story’s messages, morals, and values.
Smith, Caroline. “The Not So Wonderful Word of Disney.” University of Alabama Arts & Sciences Department. Retrieved 13 Dec. 2013 from < http://www.english.uga.ed u/fyc/barnett/smith2006-07.pdf>.
In the end, what Halberstam is doing in her essay “Animating Revolt and Revolting Animation”, is providing a new way of thinking. Not just about the animated films she discusses, but also about humanity as a whole. Films such as Toy Story, Over the Hedge, and even Finding Nemo are used to represent a new utopia for children where they can escape the troubles of reality that are created by those that they are surrounded with. And other films such as March of the Penguins , that are used to rework humanity. Altogether,
If any one has ever watched some of the really old animation such as Steamboat Willy done by Walt Disney Studios in the late 1920’s or some of the animations showing up on the Internet nowadays. They know that animation has come a long way and is still improving.
es indeed, animation is fun for children, but it also expresses important ideas for people of all ages. In some ways, ‘Shrek’ is your classic fairy tale for example, it has a hero, a beautiful Princess, and a dastardly villain. But unlike the traditional fairy tales, the hero is an ugly, ill-tempered ogre, the Princess is not all she appears to be, and the villain has some obvious shortcomings. The award-winning animated film, ‘Shrek’, is directed by Andrew Adamson and Vicky Jenson, the viewers learn that being a good person is more important than just being good-looking. It also shows that true friends help each other in difficult situations and that women can be equally as strong characters as men. These ideas are portrayed through characters such as Shrek, Princess Fiona and Donkey. The directors use camera angles and dialogue to express their ideas.
Bliss, John, Art that Moves: Animation Around the World. Chicago, Illinois: Heinemann Raintree, 2011. Print
The widely popular film Shrek, produced and distributed by DreamWorks in 2001, grossed a total of $484,409,218 in worldwide sales (Box Office Mojo). The success of the film has led DreamWorks to create several shorts, companion films, and sequels. From its memorable characters to its whimsical, edgy humor, Shrek was an amazing, highly successful animation that would pave the way for DreamWorks to make billions off the franchise. Shrek’s success can be attributed to three main factors: the range of ages it appeals to, its creative use of intertextuality, and its ability to cover a wide range of the fairy tale functions proposed by Vladimir Propp.
In this chapter, it has shown a brief history of animation and how it started in the early days of animation. It also discussed about 2D in brief and 3D. Also the techniques applied in making of animation since early ages with the evolution of 2D to 3D animation.
Animation is a visual technique that creates the illusion of motion, rather than recording motion through live action. The technique is used mainly for motion pictures. Animation can be created by illustrators, filmmakers, video makers, and computer specialists. Animation is most popular in creating cartoon movies. Advertisers also employ animation to develop commercials for television. In addition, producers of instructional films may use animation to help explain a difficult idea or one that could not be shown in live action. Animation can also be combined with live action in a movie. Many animators continue to make many drawings by hand. Since the mid-1980's, however, computer assistance combined with hand-drawn animation has become standard in many movie studios. These methods created such feature-length animated films as The Lion King (1994) and The Prince of Egypt (1998).
Animations are a series of drawings, computer graphics, or photographs of objects, like puppets and models, which are different from each to create a variety of entertainment for the audiences. Animations are what brings excitement and mystery, hooking the audience in through interest. It is a form of some sort of “magic” where things that aren’t real but from the imagination comes to life in front of people who live these mundane, ordinary lives, adding color to the eyes and mind. The creators of such amazing arts and creation are animators.