Hi,
my names Stefan John Costain. I have been studying software for the arts and media for over six years now and am currently finishing my final year in Hatfield (Herts uni). I have a essay to write which I have to hand in very soon.
Im very keen on animation and hope to develop a career in this area. Because of this Im choosing animation as my topic for my essay. Obviously this is a broad topic so I am aiming at the specific topic of mixed animation types (e.g.2D&3D) but more specifically mixed with live-action.
I have had meetings with my tutors and they have suggested:-
----looking at works and careers of - Paul Wells, George Melies, Winsor McKay, J.Stuart Blackton, Tom gunning and Andrew Darley.
Im just emailing to ask if anyone can help me:-
----arise any issues or ideas surrounding my subject area. Any quotes ect that I could base an argument around
----suggest any other animators that would be good to research
----any other help
I need to find issues, arguements, subjects within the area of animation hybris. Any suggestions??
If anyone can help with arising issues or arguments I could base my essay on I would be eternally grateful!!!!!!!!!!!!!
Stefan John Costain
Thanks My Friend!
Post Closed Now Everyone Else!
You could base your essay on the increasingly blurred line between live-action and animation, and the questions it raises vis-a-vis old lines and traditional categories.
For example:
When do live-action movies such as "Star Wars: Episode III" or "Return of the King" cross the line into animated film? How are 100% computer-animated scenes from the Battle of Pellennor Fields in ROTK different from 100% computer-animated scenes from "Final Fantasy", "The Incredibles", or "Appleseed"... and how does/could/should this impact the way in which these films are reviewed, judged and awarded? Is style or substance the determining factor? By what criteria should a digital performance be judged - as a feat of animation, or as an acting performance... and why? If motion capture is used as grounds for considering a digital performance on its acting merits, then by the same token should animators who act out scenes in their offices before translating this into their characters also be considered actors? What is the line (if any) between distinction in special effects and distinction in animation? Can/should we identify criteria for this, and upon what should we base these criteria? Are there different levels of performance that should be judged accordingly (ie. - a convincing galloping horse as a great special effect, but a convincing emotional human as a animation achievement)? And in any event, who cares? Who do these demarcations serve? Awards shows? Professional organizations? Trade journals? Labor unions? Are we trying to cram new things into old boxes? Are we heading into uncharted territory, or are we simply in the same place with new toys?
Lots to dig into there. Have fun! :o
Kevin Geiger
[I]Kevin Geiger
Director & Co-founder
The Animation Co-op
http://www.animationcoop.org/[/I]