HowItHasMovedOnFromBeingGoofy
Animation:HowItHasMovedOnFromBeingGoofy
AndrewConnorPhDCreativeMusicPractice
UniversityofEdinburgh
In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013PostgraduateSymposiumfortheCreativeSonicArts
DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013.
Abstract
Animation,oftenregardedasalittlebrothertomainstreamcinema,actuallyhasamuchlongerhistory–possiblyfromaslongagoas50BCdependingonyourinterpretationofDeRerumNatura.CertainlyaprimitiveformoftheZoetropewasinexistenceinChinain180AD.
Andyetanimationhasfailedtocapitaliseonitshistory,andhasbeenupstagedoverthepastcenturybylive-actionfilm.Foryears,ithadanimageproblem–thefunnies,theDisneycartoon,simpleSundaymorningtelly.Disneyepitomisedtheghettoisationofanimationasaharmlesstime-waster,insistingonstrongcharacters,adherencetoanarrative,theruleofphysicallaws.EventheWarnerBrothers,thoughmoreanarchic,remainedinthecartoonghetto.
Butanimationhashadaresurgence.Whilestillaimedprimarilyatchildren,worksbyPixarandbineedywithmoresubtleadulthumour,andrealsubversioninparts.Andinmainstreamfilms,blockbusterssuchasTheLordoftheRingsrelyheavilyonCGIanimationtorealisetheirownintricateworlds.
Animationhasadirectrelevancetothemusicmadebymanyofus–thefreedomtouserandomsounds,positionsofsoundscape,effectsandtheoddWilhelmscream.Itcanberealistic,conformingtophysicallawsmuchasoursoundscapesportraytherealworld–oritcanbeamazinglyabstractandintricate,matchingacousmatic,spectromorphologicalexplorationsofsound.Thetwoarenaturalbedfellows,exuberantintheirchameleonqualitiesandtheirfreedomtoexpresswhatevertheartistdesires.
posersshouldbeawareoftheproudheritageoftheanimatedimage,andexplorepastinnovationswhichcanbeexploitedinourcreationsofthefuture.Thispaperwilladdressthedevelopmentofanimation,linkingitwithelectroacousticmusictoinspirefurtherworkinthiscross-disciplinaryfield.
1 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy Introduction Mycurrentresearchfocusesonthefusionofpositionsandabstractanimationtocreateanimmersiveaudiovisualexperience.MyinitialworkinthisfieldconcentratedontheworkofPierreSchaeffer,hisideasconcerningthesoundobjectandotheraspectsofelectroacoustictheoryandpractice,andthelaterworkbyEmmerson,Smalleyandotherswhichexpandedthetheoreticalfieldmuchfurther. shouldregardtheattributionofanimationas'beingjustforkids'asanoffshootofDisney'sinfluenceinthefield. Therehavealwaysbeenpeoplemakingmore'grown-up'animation,fromtheexperimentalworksofFischinger,Richter,Eggeling,Belson,throughtothemoreanarchicapproachoftheWarnerBrothers,theinnovativeseriessuchastheSimpsonsandFamilyGuy,andtheadultorientedanimefromJapan. Followingonfromthisinitialresearch,Idecidedtoalsolookatitfromthevisualpointofview,thatoftheabstractanimator,toseehowanimationphilosophyandtheoriescanbeappliedparedtoelectroacousticmusictheories.Thereismuchlessmaterialinthisarea,unlessoneexpandstheremitfromanimationtogeneraltheoriesoffilmmaking.ThekeyreferencetextonanimationandthetheoriessurroundingitisPaulWells'UnderstandingAnimation.iWhileIhavemadeuseofthisasastartingpoint,Ihavealsoexaminedimportantanimationsfromthestartoffilmmakingthroughtomorerecenttimestogainabetterunderstandingofdevelopmentsinthefield. WhileIhavetitledthispapertoindicatethatanimationhasbeenregardedas'goofy'inthepast,thatcouldbeslightlymisleading.Animationhasoftenbeenrelegatedtoaminorroleinfilm-making,cartoonsareusuallyregardedasbeingaimedprimarilyatchildrenandshouldnotbetakenseriously.Myintentionistoshowthatanimationisaseriousartform,andwasconceivedassuchfromitsearlybeginnings.Infact,we But'goofiness',thatrelegationofcartoonsastheSundaymorning'funnies'hasleftalegacyofanimationassomehownotbeingaseriousartform.Ithasasmuchaclaimtothatrightasanyfilm-basedformat,andinmanywaysitcanbeseenasaperfectfoilforelectroacousticmusic. EarlyReferencesto'Animation' Howlongagowasanimationinvented?
ThereisinfactareferenceinLucretius'sworkDeRerumNaturathatcouldbetakenastheearliestreferencetothebasicsofanimation- “For,asoneimagedies,anotherisborn,inanotherposition,andsowethinkthereismovement;Ofcourseallthishappensatincrediblespeed.”ii Lucretius'linescouldalmostbetakenasareferencetopersistenceofvision,theessionof'frames'thatallowustofooltheeyeintothinkingthatmovingimagesreflectaversionofreality.
2 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy Inmorepracticalterms,therearedescriptionsfromChinafromaround158ADwhichrefertoapipethatproducesdreams,whichwasprobablyanearlyformofzoetropeormagiclantern–adevicewhichisoftenpointedtoasaprecursoroftoday'sanimatedfilm. “Thiswascalledchaohuachihkuan(thepipewhichmakesfantasiesappear).RisingcurrentsofhotairwereevidentlyusedbyTingHuan(c.180AD)whomadea'ninestoriedhillcenser'onwhichmanystrangebirdsandmysteriousanimalswereattached.Allthesewonderfulcreaturesmovedquitenaturally,presumablyassoonasthelampwaslit.”iii However,goingbacktoRomanandearlyChinesehistoryforevidenceofanimationwouldparabletoequatingthestartofelectroacousticmusicwithlithophones.AmoreappropriatepointtoparinganimationwithpositionwouldbefromSchaeffer'soriginalwork-thedevelopmentoftherecord-playerand,moreimportantly,recordingontotape,allowingtheprocessingandmanipulationofsoundandthestartofposition.Thiscanparedtotheearlydaysofmovingimages,theperiodwewouldconsiderthestartofcinematicanimation,whichgoeshandin-handwiththedevelopmentofcinematography.Infact,theearliestcinematographicfilmsmadeuseofmanyanimationtechniques,especiallyusing'specialeffects'forlive-actionfilms,whichareinessencethetechniquesusedfor-motionanimation,andwhichliebehindalotofvisualspecialeffectseventoday. shortfilmTheHauntedHoteliv,releasedin1907.Itprovedaninstanthit,andstayed'upthereinthecharts'foroverayear,leadingtomanyotherfilmproducerstryingtoexploitanimationtechniquestoachievethesameess. TheHauntedHotelwasanAmericancreation,directedbyJamesStuartBlacktonandreleasedinMarch1907.Thereisapopularmyththatthiswasthefirst'animated'film.Thisisnottrue-Blacktonhimselfhaddirectedseveralothersintheprevioussevenoreightyears.Butthisfilm,andparticularlywhenitwasreleasedinParis,resultedinamassivepublicreaction.Thepublicwerefascinatedbythesequenceswhereobjectsmovedandinteractedwithouthumaninterference,anditsparkedareactionamongstFrenchfilmproducerstolearnandreproducethetricksshownonscreen. Supposedly,thesecretsofanimationwerecarefullyguarded.Thatis,ofcourse,ridiculous.Anyoneworkinginthefilmindustryrapidlybecamefamiliarwithjumpcuts,whereobjectswouldpletelyinthe'wrong'place,ifcontinuitywaslackingduringthefilming.Butanimationmadeuseofthese'errors'inawaythatenthralledandintriguedtheaudience. 'Live-action'Animation Asthefilmindustrydevelopedinthe1910sand1920s,thosemakingshortfilmsneededinspirationfortheirwork.Theyspecificallyneedednarrativesthatwereshortenoughtofilm,butwhichcouldbeguaranteedtohooktheaudience. Oneoftheearliestexamplesisthe Theylookedaround,andfoundthattherewasalreadyanarrative,visually
3 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy basedgenrethatfilledtheserequirements,andwhichhadalreadyestablisheditselfwiththegeneralpublic–icstrip. Strangely,however,theinitialadaptationsoficstripwerenotdrawnanimation,asyoumighthaveexpectedfromourviewpoint100yearslater.Infact,thefirstscreenversionswerelive-action,althoughoftenwiththeanimatedspecialeffectsthatwereusedinTheHauntedHotel. GiventhepopularityofLittleNemoinprintithadanimmediateappealtothepublic. Isthisperhapswhyanimationstartedtobeseenasachildren'sghetto?
Probablynot,asicstripsatthistimewereuniversallypopular,andweren'tnecessarilyregardedasonlyforchildren.Butitmayhavebeenastepontheway. Therecurringcharacter Whywasthis?
Maybeit'sbecauseitwasalotsimplerandcheapertoshootsomeliveaction,,moveafewobjects,andstartagain,thantophysicallydrawthe3,500oddframesyou'dneedfora5minuteshort. Havinghookedtheaudiencewiththeshortfilmwithrecognisablecharacters,theproducerssawthebenefitinmakingthenextstep–aseriesofshortfilmsstarringthesamecharacterorcharacters. Itmighthavebeentheinvolvementofsomegraphicartistsintothefilmanimationindustry,thosewhohadbeenworkingon'lightningsketches'thatledtodrawnanimation,orpossiblytheinterestshownbyaicstripartistofthetime–WinsorMcCayandhisLittleNemoinSlumberlandstrip. In1911,McCayreleaseda10.5minutefilm,nowknownasLittleNemov.Intheearlierpartofthefilm,McCayisshownbeingridiculedbyhiscroniesforproposingtheideathaticstripcreationscouldbeanimated–aftervarioussequencesshowingtheartistatworkinhisworkshop,wefinishupatasequence,startingatapproximately8'20”,showinghisfamouscharactersbeingbroughttolife.Notethatthefilmdatesfrom1911,andsomeofthecharacterisationsheresufferfromattitudestoraceatthetime. Thisfilmwasagain,well-received. Astheaudiencealreadyknowwhattoexpectfromthecharacter,thereisnoneedtosetupanybackstory.Theycanjustsettleinandenjoythestoryasitis. SomeofthefirstcharactersestablishedinthiswaywereKo-KotheClown,whoappearedOutoftheInkwellincartoonsbytheFleischerBrothers,ColonelHeezaLiarbyWalterLantz,laterthecreatorofWoodyWoodpecker,andthepopularFelixtheCat–createdbyOttoMessmerforPatSullivan'sstudios. ParticularlywithKo-koandFelix,therewasaninterestinhowtomanipulatethedrawnmedium.Ko-kowoulddrawanobjectforhisownuse,whileFelixwouldbothdrawobjectsbutalsousepartsofhisownbodytoaffectthesceneryaroundhim. FelixmadehisfirstofficialappearanceinTheAdventuresofFelixin1919,althoughprecursorstothisvery
4 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy recognisableblackandwhitecathadappearedinsomeearlierproductions. WhileFelixshowedsomeoftheexpectedupationsofacat–oftenattemptingtoacquirefishfromalocalshop,forexample–hewasanthropomorphised,intherapidlyestablishedfashionofthetime.Hisupiedpacingupanddown,handslinkedbehindhisback,asheponderedanewschemebecameaninstanttrademarkofthecharacter.Hisworldwasasurrealdevelopmentofourown.Whilechildrenplayedballinthestreet,andshop-ownersthrewFelixoutwhenhetriedtosneakinandstealfoodfromtheirshops,thelawsofphysicswereoftenplayedwithicandnarrativeeffect.Felix'stail,inparticular,wouldoftenbedetachedandchangedintowhateveritemwasnecessaryatthetime–anumbrella,ashovel,thisworldwasmalleable,flexibleandenticing. Felixhadagreatfollowing,andinthoseimmortalwords–hecould'vebeenacontender.Felixhadaloyalfollowing,andMickeyMousestillhadtomakehisdébutin1928.Butforsomereason,PatSullivan,thoughjustasambitiousasDisney,wouldnotbeconvincedthatsoundwasimportant,orthatheneededtoinvestinnewfilmequipment,andSullivan'scontractforEducationalFilmswasnotrenewedafterthe1928-29season,leavingFelixoutinthecold. TheDominationofDisney WaltDisneydominatedthecartoonworld(intheWest,atleast)fromthe1930sonwards.Hismethodofproductiontookhimawayfromfrontlineanimation,butheremaineddeterminedtoretaintheartisticcontrolhehadwhenworkingasasolitaryauteur. Overthecourseofthenext10years,Felixwouldcreatealadderoutofquestionmarksthatappearedoverhisheadasheponderedhowtoessanatticjailcell(FelixSavesTheDay,1922);detachhistailanduseitasawalkingcaneinaCharlieChaplinimpersonation(FelixinHollywood,1923);andusequestionmarksagaintocreatesledgerunners(FelixGetsTheGun,1924). By1927,Felixwasverywellestablished,andhissurrealinteractionswithhissurroundingswerestillongoing.InPedigreedy,releasedinthisyear,hepullsonhisskinliketrousers,andwhenhecan'tfindhistail,aquestionmarkpopsupoverhishead,whichhethenpullsdowntoattachtohimselfashistail.vi Heknewtheimportanceofthe'nameabovethedoor'.WhonowknowsthatSteamboatWilliewasmainlytheworkofDisney'searlypartnerUbIwerks?
Disney'snamewasupfront,andthatfuelledhisess. Disneywasakeycharacterinthedevelopmentofanimationandtheongoingpromotionoftheartform.Hiscartoonswerepopularandprovidedemploymentfortheburgeoningranksofyoungaspiringanimators. Buthissweatshopmodelcametodominatetheindustrymethods–eventhoughtheWarnerBrothersandotherscarriedonwithamoreanarchicapproachtotheiranimationonscreen,theyhadtoadoptthesweatshopmodelinorderpetewithDisney. InEuropeandAsia,thevicissitudesof
5 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy theSecondWorldWardisruptedtheirburgeoningfilmindustries,andanimatorswerestillworkingmainlyasauteurs.Famously,theGermananimatorOskarFischingerfledNaziGermanyandwenttoworkforDisneyonFantasia,onlytoquitduetocreativedifferences.CreditmustgotoDisneyforcreatingFantasia,andforrecognisingthetalentsofgiftedanimatorslikeFischinger,buthisinsistenceonmicroscopiccontrolkeptthattalentinastraitjacket.AudiencereactiontoFantasiawasmixed–somethoughtitwastoo'high-brow',anditfailedtomakeaprofit.Butwhoknowsifitmighthavebeenmoreessible,notless,ifanimatorssuchasFischingerhadbeengivenafreerhand. TheBachattaandFugueinDminorsectionfromFantasiaviishowsaglimpseofFischinger'sstyle,withclearcorrelationstohisownanimations.ThoseofyoufamiliarwithFischinger'sworkwillseehisinfluence–sadly,hisoriginalconceptswereadaptedafterhisdeparturefromtheproject,andgiventootheranimatorswhoweremoreamenabletoDisney'smethods,sothisisonlyasmallhintatwhatcouldhavebeen. AlternativestoDisney?
experimentalandidiosyncraticwork.Insomecases,suchasGeraldMcBoingBoing:JollyFrolicsviii(1950),theresultswereverywellreceived,butothersweremuchlessessful. PlowingtheirownpathasauteursagainstthecurrentweretheWhitneyBrothers,JordanBelsonandtheiressorssuchasBillAlvesintheStates.InEurope,wehadJanSvankmajerandtheQuayBrothersflyingtheflagforexperimentalanimation InJapan,animeroseoutoftheaftermathofthecollapseoftheirstudiosattheendofthewar,mirroringtheearlyinspirationofUSanimationicstrips,inthiscasefrommanga.StudioGhibliwasparticularlyessful,anddoesallowfantasticaltransformationstotakeplaceinitsfilms,althoughtome,itoftenfeelsasifit'shalfwaybetweentheDisney'orthodox'standardandamorefreeflowingexperimentalstyle.Interestingly,WaltDisneyStudioshasinternationaldistributionrightstomuchofStudioGhbli'searlieroutput. AnimationanditscorrespondencestoElectroacousticMusic TheWarnerBrotherssetupshopataroundthesametimeasDisney,andcontinuedwiththemoreanarchicanimationseeninFelixandhiscontemporaries.However,inorderpete,theyalsoadoptedthesweatshopmodel,whichagainlimitedthecreativityandexpressivenessoftheiranimators. UPAwasanoffshootofdisaffectedanimatorswhowantedtocreatemore Sowhyarewelookingatthehistoryofanimation,andwhyareparingtheauteurexperimentalanimatortotheworkshoporthodoxmodelestablishedbyDisney?
Thereareparallelstopositionofelectroacousticmusic.Likeanimation,electroacousticmusichasbeenmadepossiblebecauseoftechnologicaladvances.Andlikeanimation,electroacousticmusicis
6 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy perceivedasaspecialistgenrewithlimitedappeal. Theanimatorpletecontroloverthevisualenvironment.Theycanchoosewhereanyobjectappearsonscreen–howlongitsappearancelasts–whatmovementsitcarriesout–whatcoloursarefeatured–whatinteractionstherearebetweenforegroundandbackgroundelements.Thisisfarmorecontroloverthevisualenvironmentthanotherfilmgenres,suchasdocumentaries,andmirrorsthefullcontrolwehaveposersinthisarea. poserswhoprefertoworkinsoundscape,inacousmatic,orbinetapemusicwithliveinstruments.Byorthodoxanimation,Wellsisreferringtothesweatshopmodel,epitomisedbyDisney.Inmanyways,thisattemptstoreplicatelive-action,evenifthereareelementsthatcanonlyhappeninanimation(evenifwe'reconsidering'live-action'filmssuchasLordoftheRings,thefantasticalelementsaremainlyachievedthroughCGIanimation).Evenifwe'relookingatDaffyDuckonMars,atheartnaturalphysicsarestillobserved,ifexaggerated,andthe ReproducedfromWells,1998. Havingsaidthat,animationhasitsowncategoriescontainedwithinit,suchasthespecialeffectsusedinliveactionfilms–motionanimation–hand-drawncelanimation–CGI3Danimation.Thiscanparedtoposition,wherewe animationisdrivenbydialogueandnarrative. Inexperimentalanimation,narrativeisnotimportant–itcanbethere,butmaynotbethedrivingfactor.Oftendialogueisunnecessary.Ratherthansubsumingtheartistintothe
7 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy homogeneityofthestudio,thevisionoftheanimatoristhedrivingforce. Ifparethistotheapproachestakenbytheposer,wecanseeseveralparallels.Botharetime-basedbuthavetoconsiderthe'space'beingcreatedwithinthepiece.Whileabstractionmaybethoughtofasbeinginimicaltomusiqueconcrète,inthiscaseitrefersmoretothefreedomtoregardanyelementasvalidinimportancetothework–justastheposerisnotrestrictedtonotesandinstruments,theexperimentalanimatorisnotrestrictedtocharactersandnarrative,althoughtheycanmakeuseoftheseiftheywantto. IfindWells'definitionofexperimentalanimationashavingthedynamicsofmusicalityratherthandialogueinteresting–anacknowledgementbyaleadingvoiceinthefieldthatinmanyexperimentalanimationsthereisafeelingofposition,anunderlyingmusicalitythatdrivesthepieceratherthanthenarrativedialoguewearefamiliarwithfromliveactionfilms. Thecorrelationsneedtobeexploredfurther–howwouldsoundscapesasopposedtoacousmaticmusicmatchagainstananimationschemasuchasthis?
Butthisstilloffersanintriguingcrossoverbetweentheartforms AudiovisualComposition–puttingthetwotogether WilliamMoritz,OskarFischinger'sbiographer,regarded'true'animationasbeingonlythatwhichwasnonlinearand/ornon-objectivei.e.lackingdiscerniblecharactersoradriving narrative.ix WhileIwouldcontendthathisdefinitionisalittlerestrictive,Iwouldputforwardhisidealthatthecreativityandskillsneededforthistypeofexperimentalanimationaredemanding,andinmanywaysmirrortheskillsandcreativitydemandedoftheposer.Aswithposition,theanimatorhastofindthebinationofelementsfromaninfinityofpossibilitiestoaddtothatstartingblankcanvas–aswithanposer,theanimatorhastomarrytheircreativitywithhard-earnedskills. Movingontotheveryrelevantfieldoffilmsounddesign,theHollywoodsounddesignerRandyThomhasbeenresponsibleformanyoutstandingsoundtracks,especiallyinthefieldofanimation(TheIncredibles,HowtoTrainYourDragon).Hetakestheviewthatsoundandvisionhavetobeconsideredinpartnershipinordertobreathelifeandvitalityintothecinematicexperience.Film-makingisacollaborativeprocess,wherethesoundisatleastasimportantasthevision.Hehascalledforthesounddesignertobeinvolvedatamuchearlierstage,andtobeviewedasequallyimportantasthedirectorofphotography. “Imeannewcreativeideas,storytellingideas.Newwaystocollaborate,newwaystomakevisualandauralinformationenricheachotherandeindistinguishableasanexperience. “SoundisNOTthereto"helpthevisuals."That'skindergartenfilmmaking.Anyonewhosaysthat"filmis
8 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy avisualmedium"isbeingfoolishandnaive.Sound,whengivenhalfachance,isnolessimportanttotheaudience'sexperiencethanthepictures.”x Thismirrorsmyownopinionofaudiovisualwork–itshouldfuse,itshouldbeanpassingexperiencewheresoundandvisionintertwineinextricably.Whethercreatingyourownwork,orworkingwithacollaborator,thisistheidealtowardswhichweshouldallbestriving. Opportunitiesabound Thisisagreattimetobeworkinginthisfield. Wehaveincredibleesstotechnologyallowingtheauteurtocreateandself-publish.sitessuchasYoutubeandVimeoofferrichsourcesofimages,inspirationandmaybeevenpotentialcollaborators. Fortheposerwhoisstilldevelopingfilm-makingor animationskills,therearemanyfilmsonlinewhichyoucanuseasavisualinspiration,creatingyourownsoundtrackinterpretationtopanythevisuals.AndtheanimatorwhowantstolearnmoreaboutsoundcantakeexperimentalmusicfromSoundcloud,andexperimentwithavarietyofanimationstylestocreatetheirown'musicvideo'.Andwiththeopportunitiesforglobalcontactnow,ifsomeone'sworkprovesparticularlyinspiring,itisnowincrediblyeasytocontactthemtodiscusspotentialcollaboration,nomatterwhichcountrytheyhappentolivein. Inadditiontotheuniversalityofthe,therearenowveryessible,freewaresoftwarepackageswhichalloweveryonetolearnhowtoanimate,editsound,editandassemblevideo.Cross-fertilisationofthedisciplines,whetherthroughexperimentationonyourown,orincollaborationwithothersisthewayofthefuture.
9 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy Bibliography AllClassicVideo,2012.GeraldMcBoing-Boing:JollyFrolics(1950)–ClassicShortFilm.[videoonline]Availableatv=rDCwg0Xcji4>[essed27September2013] Moritz,
W.,1988SomeObservationsonNon-ObjectiveandNon-linearAnimation.InJCanemaker,ed.1998StorytellinginAnimation:TheArtoftheAnimatedImageVol.2;LosAngeles:AFI.Ch.2. LucretiusCarus,Titus(c.99–c.55BC),1992.OntheNatureofThings(DeRerumNatura)TranslatedbyW.H.A.Rouse.London:HarvardUniversityPress. Needham,
J.,1962.ScienceandCivilisationinChina.Vol.IV:
1.Cambridge:CambridgeUniversityPress. Praytaa,2010.LaMaisonEnsorcelée(1907,SegundodeChomòn).[videoonline]Availableatv=EqvtRPFnEMo>[essed27September2013]. Thereisonly0neNM,2011.Fantasia{TheAbstractPart}.[videoonline]Availableatv=zt9iy5THnbk>[essed27September2013]. ,2009.Whatisthebasicphilosophyofsounddesign?
[online]Availableat<>[essed27September2013]. Tvdays,2008.FelixtheCatPedigreedy.[videoonline]Availableatv=XjjMuqvy7yw>[essed27September2013]. Wangjacup,2006.WinsorMcCay–1911–LittleNemo.[videoonline]Availableatv=kcSp2ej2S00>[essed27September2013]. Wells,
P.,1998.UnderstandingAnimation.London:Routledge. Notes 1Wells,1998.2Lucretius,1992.3Needham,1962p.123.4Praytaa,2010.5Wangjacup,2006.6Tvdays,2008.7Thereisonly0neNM,2011.8AllClassicVideo,2012.9Moritz,1988.10,2009. 10 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013.
1 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy Introduction Mycurrentresearchfocusesonthefusionofpositionsandabstractanimationtocreateanimmersiveaudiovisualexperience.MyinitialworkinthisfieldconcentratedontheworkofPierreSchaeffer,hisideasconcerningthesoundobjectandotheraspectsofelectroacoustictheoryandpractice,andthelaterworkbyEmmerson,Smalleyandotherswhichexpandedthetheoreticalfieldmuchfurther. shouldregardtheattributionofanimationas'beingjustforkids'asanoffshootofDisney'sinfluenceinthefield. Therehavealwaysbeenpeoplemakingmore'grown-up'animation,fromtheexperimentalworksofFischinger,Richter,Eggeling,Belson,throughtothemoreanarchicapproachoftheWarnerBrothers,theinnovativeseriessuchastheSimpsonsandFamilyGuy,andtheadultorientedanimefromJapan. Followingonfromthisinitialresearch,Idecidedtoalsolookatitfromthevisualpointofview,thatoftheabstractanimator,toseehowanimationphilosophyandtheoriescanbeappliedparedtoelectroacousticmusictheories.Thereismuchlessmaterialinthisarea,unlessoneexpandstheremitfromanimationtogeneraltheoriesoffilmmaking.ThekeyreferencetextonanimationandthetheoriessurroundingitisPaulWells'UnderstandingAnimation.iWhileIhavemadeuseofthisasastartingpoint,Ihavealsoexaminedimportantanimationsfromthestartoffilmmakingthroughtomorerecenttimestogainabetterunderstandingofdevelopmentsinthefield. WhileIhavetitledthispapertoindicatethatanimationhasbeenregardedas'goofy'inthepast,thatcouldbeslightlymisleading.Animationhasoftenbeenrelegatedtoaminorroleinfilm-making,cartoonsareusuallyregardedasbeingaimedprimarilyatchildrenandshouldnotbetakenseriously.Myintentionistoshowthatanimationisaseriousartform,andwasconceivedassuchfromitsearlybeginnings.Infact,we But'goofiness',thatrelegationofcartoonsastheSundaymorning'funnies'hasleftalegacyofanimationassomehownotbeingaseriousartform.Ithasasmuchaclaimtothatrightasanyfilm-basedformat,andinmanywaysitcanbeseenasaperfectfoilforelectroacousticmusic. EarlyReferencesto'Animation' Howlongagowasanimationinvented?
ThereisinfactareferenceinLucretius'sworkDeRerumNaturathatcouldbetakenastheearliestreferencetothebasicsofanimation- “For,asoneimagedies,anotherisborn,inanotherposition,andsowethinkthereismovement;Ofcourseallthishappensatincrediblespeed.”ii Lucretius'linescouldalmostbetakenasareferencetopersistenceofvision,theessionof'frames'thatallowustofooltheeyeintothinkingthatmovingimagesreflectaversionofreality.
2 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy Inmorepracticalterms,therearedescriptionsfromChinafromaround158ADwhichrefertoapipethatproducesdreams,whichwasprobablyanearlyformofzoetropeormagiclantern–adevicewhichisoftenpointedtoasaprecursoroftoday'sanimatedfilm. “Thiswascalledchaohuachihkuan(thepipewhichmakesfantasiesappear).RisingcurrentsofhotairwereevidentlyusedbyTingHuan(c.180AD)whomadea'ninestoriedhillcenser'onwhichmanystrangebirdsandmysteriousanimalswereattached.Allthesewonderfulcreaturesmovedquitenaturally,presumablyassoonasthelampwaslit.”iii However,goingbacktoRomanandearlyChinesehistoryforevidenceofanimationwouldparabletoequatingthestartofelectroacousticmusicwithlithophones.AmoreappropriatepointtoparinganimationwithpositionwouldbefromSchaeffer'soriginalwork-thedevelopmentoftherecord-playerand,moreimportantly,recordingontotape,allowingtheprocessingandmanipulationofsoundandthestartofposition.Thiscanparedtotheearlydaysofmovingimages,theperiodwewouldconsiderthestartofcinematicanimation,whichgoeshandin-handwiththedevelopmentofcinematography.Infact,theearliestcinematographicfilmsmadeuseofmanyanimationtechniques,especiallyusing'specialeffects'forlive-actionfilms,whichareinessencethetechniquesusedfor-motionanimation,andwhichliebehindalotofvisualspecialeffectseventoday. shortfilmTheHauntedHoteliv,releasedin1907.Itprovedaninstanthit,andstayed'upthereinthecharts'foroverayear,leadingtomanyotherfilmproducerstryingtoexploitanimationtechniquestoachievethesameess. TheHauntedHotelwasanAmericancreation,directedbyJamesStuartBlacktonandreleasedinMarch1907.Thereisapopularmyththatthiswasthefirst'animated'film.Thisisnottrue-Blacktonhimselfhaddirectedseveralothersintheprevioussevenoreightyears.Butthisfilm,andparticularlywhenitwasreleasedinParis,resultedinamassivepublicreaction.Thepublicwerefascinatedbythesequenceswhereobjectsmovedandinteractedwithouthumaninterference,anditsparkedareactionamongstFrenchfilmproducerstolearnandreproducethetricksshownonscreen. Supposedly,thesecretsofanimationwerecarefullyguarded.Thatis,ofcourse,ridiculous.Anyoneworkinginthefilmindustryrapidlybecamefamiliarwithjumpcuts,whereobjectswouldpletelyinthe'wrong'place,ifcontinuitywaslackingduringthefilming.Butanimationmadeuseofthese'errors'inawaythatenthralledandintriguedtheaudience. 'Live-action'Animation Asthefilmindustrydevelopedinthe1910sand1920s,thosemakingshortfilmsneededinspirationfortheirwork.Theyspecificallyneedednarrativesthatwereshortenoughtofilm,butwhichcouldbeguaranteedtohooktheaudience. Oneoftheearliestexamplesisthe Theylookedaround,andfoundthattherewasalreadyanarrative,visually
3 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy basedgenrethatfilledtheserequirements,andwhichhadalreadyestablisheditselfwiththegeneralpublic–icstrip. Strangely,however,theinitialadaptationsoficstripwerenotdrawnanimation,asyoumighthaveexpectedfromourviewpoint100yearslater.Infact,thefirstscreenversionswerelive-action,althoughoftenwiththeanimatedspecialeffectsthatwereusedinTheHauntedHotel. GiventhepopularityofLittleNemoinprintithadanimmediateappealtothepublic. Isthisperhapswhyanimationstartedtobeseenasachildren'sghetto?
Probablynot,asicstripsatthistimewereuniversallypopular,andweren'tnecessarilyregardedasonlyforchildren.Butitmayhavebeenastepontheway. Therecurringcharacter Whywasthis?
Maybeit'sbecauseitwasalotsimplerandcheapertoshootsomeliveaction,,moveafewobjects,andstartagain,thantophysicallydrawthe3,500oddframesyou'dneedfora5minuteshort. Havinghookedtheaudiencewiththeshortfilmwithrecognisablecharacters,theproducerssawthebenefitinmakingthenextstep–aseriesofshortfilmsstarringthesamecharacterorcharacters. Itmighthavebeentheinvolvementofsomegraphicartistsintothefilmanimationindustry,thosewhohadbeenworkingon'lightningsketches'thatledtodrawnanimation,orpossiblytheinterestshownbyaicstripartistofthetime–WinsorMcCayandhisLittleNemoinSlumberlandstrip. In1911,McCayreleaseda10.5minutefilm,nowknownasLittleNemov.Intheearlierpartofthefilm,McCayisshownbeingridiculedbyhiscroniesforproposingtheideathaticstripcreationscouldbeanimated–aftervarioussequencesshowingtheartistatworkinhisworkshop,wefinishupatasequence,startingatapproximately8'20”,showinghisfamouscharactersbeingbroughttolife.Notethatthefilmdatesfrom1911,andsomeofthecharacterisationsheresufferfromattitudestoraceatthetime. Thisfilmwasagain,well-received. Astheaudiencealreadyknowwhattoexpectfromthecharacter,thereisnoneedtosetupanybackstory.Theycanjustsettleinandenjoythestoryasitis. SomeofthefirstcharactersestablishedinthiswaywereKo-KotheClown,whoappearedOutoftheInkwellincartoonsbytheFleischerBrothers,ColonelHeezaLiarbyWalterLantz,laterthecreatorofWoodyWoodpecker,andthepopularFelixtheCat–createdbyOttoMessmerforPatSullivan'sstudios. ParticularlywithKo-koandFelix,therewasaninterestinhowtomanipulatethedrawnmedium.Ko-kowoulddrawanobjectforhisownuse,whileFelixwouldbothdrawobjectsbutalsousepartsofhisownbodytoaffectthesceneryaroundhim. FelixmadehisfirstofficialappearanceinTheAdventuresofFelixin1919,althoughprecursorstothisvery
4 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy recognisableblackandwhitecathadappearedinsomeearlierproductions. WhileFelixshowedsomeoftheexpectedupationsofacat–oftenattemptingtoacquirefishfromalocalshop,forexample–hewasanthropomorphised,intherapidlyestablishedfashionofthetime.Hisupiedpacingupanddown,handslinkedbehindhisback,asheponderedanewschemebecameaninstanttrademarkofthecharacter.Hisworldwasasurrealdevelopmentofourown.Whilechildrenplayedballinthestreet,andshop-ownersthrewFelixoutwhenhetriedtosneakinandstealfoodfromtheirshops,thelawsofphysicswereoftenplayedwithicandnarrativeeffect.Felix'stail,inparticular,wouldoftenbedetachedandchangedintowhateveritemwasnecessaryatthetime–anumbrella,ashovel,thisworldwasmalleable,flexibleandenticing. Felixhadagreatfollowing,andinthoseimmortalwords–hecould'vebeenacontender.Felixhadaloyalfollowing,andMickeyMousestillhadtomakehisdébutin1928.Butforsomereason,PatSullivan,thoughjustasambitiousasDisney,wouldnotbeconvincedthatsoundwasimportant,orthatheneededtoinvestinnewfilmequipment,andSullivan'scontractforEducationalFilmswasnotrenewedafterthe1928-29season,leavingFelixoutinthecold. TheDominationofDisney WaltDisneydominatedthecartoonworld(intheWest,atleast)fromthe1930sonwards.Hismethodofproductiontookhimawayfromfrontlineanimation,butheremaineddeterminedtoretaintheartisticcontrolhehadwhenworkingasasolitaryauteur. Overthecourseofthenext10years,Felixwouldcreatealadderoutofquestionmarksthatappearedoverhisheadasheponderedhowtoessanatticjailcell(FelixSavesTheDay,1922);detachhistailanduseitasawalkingcaneinaCharlieChaplinimpersonation(FelixinHollywood,1923);andusequestionmarksagaintocreatesledgerunners(FelixGetsTheGun,1924). By1927,Felixwasverywellestablished,andhissurrealinteractionswithhissurroundingswerestillongoing.InPedigreedy,releasedinthisyear,hepullsonhisskinliketrousers,andwhenhecan'tfindhistail,aquestionmarkpopsupoverhishead,whichhethenpullsdowntoattachtohimselfashistail.vi Heknewtheimportanceofthe'nameabovethedoor'.WhonowknowsthatSteamboatWilliewasmainlytheworkofDisney'searlypartnerUbIwerks?
Disney'snamewasupfront,andthatfuelledhisess. Disneywasakeycharacterinthedevelopmentofanimationandtheongoingpromotionoftheartform.Hiscartoonswerepopularandprovidedemploymentfortheburgeoningranksofyoungaspiringanimators. Buthissweatshopmodelcametodominatetheindustrymethods–eventhoughtheWarnerBrothersandotherscarriedonwithamoreanarchicapproachtotheiranimationonscreen,theyhadtoadoptthesweatshopmodelinorderpetewithDisney. InEuropeandAsia,thevicissitudesof
5 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy theSecondWorldWardisruptedtheirburgeoningfilmindustries,andanimatorswerestillworkingmainlyasauteurs.Famously,theGermananimatorOskarFischingerfledNaziGermanyandwenttoworkforDisneyonFantasia,onlytoquitduetocreativedifferences.CreditmustgotoDisneyforcreatingFantasia,andforrecognisingthetalentsofgiftedanimatorslikeFischinger,buthisinsistenceonmicroscopiccontrolkeptthattalentinastraitjacket.AudiencereactiontoFantasiawasmixed–somethoughtitwastoo'high-brow',anditfailedtomakeaprofit.Butwhoknowsifitmighthavebeenmoreessible,notless,ifanimatorssuchasFischingerhadbeengivenafreerhand. TheBachattaandFugueinDminorsectionfromFantasiaviishowsaglimpseofFischinger'sstyle,withclearcorrelationstohisownanimations.ThoseofyoufamiliarwithFischinger'sworkwillseehisinfluence–sadly,hisoriginalconceptswereadaptedafterhisdeparturefromtheproject,andgiventootheranimatorswhoweremoreamenabletoDisney'smethods,sothisisonlyasmallhintatwhatcouldhavebeen. AlternativestoDisney?
experimentalandidiosyncraticwork.Insomecases,suchasGeraldMcBoingBoing:JollyFrolicsviii(1950),theresultswereverywellreceived,butothersweremuchlessessful. PlowingtheirownpathasauteursagainstthecurrentweretheWhitneyBrothers,JordanBelsonandtheiressorssuchasBillAlvesintheStates.InEurope,wehadJanSvankmajerandtheQuayBrothersflyingtheflagforexperimentalanimation InJapan,animeroseoutoftheaftermathofthecollapseoftheirstudiosattheendofthewar,mirroringtheearlyinspirationofUSanimationicstrips,inthiscasefrommanga.StudioGhibliwasparticularlyessful,anddoesallowfantasticaltransformationstotakeplaceinitsfilms,althoughtome,itoftenfeelsasifit'shalfwaybetweentheDisney'orthodox'standardandamorefreeflowingexperimentalstyle.Interestingly,WaltDisneyStudioshasinternationaldistributionrightstomuchofStudioGhbli'searlieroutput. AnimationanditscorrespondencestoElectroacousticMusic TheWarnerBrotherssetupshopataroundthesametimeasDisney,andcontinuedwiththemoreanarchicanimationseeninFelixandhiscontemporaries.However,inorderpete,theyalsoadoptedthesweatshopmodel,whichagainlimitedthecreativityandexpressivenessoftheiranimators. UPAwasanoffshootofdisaffectedanimatorswhowantedtocreatemore Sowhyarewelookingatthehistoryofanimation,andwhyareparingtheauteurexperimentalanimatortotheworkshoporthodoxmodelestablishedbyDisney?
Thereareparallelstopositionofelectroacousticmusic.Likeanimation,electroacousticmusichasbeenmadepossiblebecauseoftechnologicaladvances.Andlikeanimation,electroacousticmusicis
6 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy perceivedasaspecialistgenrewithlimitedappeal. Theanimatorpletecontroloverthevisualenvironment.Theycanchoosewhereanyobjectappearsonscreen–howlongitsappearancelasts–whatmovementsitcarriesout–whatcoloursarefeatured–whatinteractionstherearebetweenforegroundandbackgroundelements.Thisisfarmorecontroloverthevisualenvironmentthanotherfilmgenres,suchasdocumentaries,andmirrorsthefullcontrolwehaveposersinthisarea. poserswhoprefertoworkinsoundscape,inacousmatic,orbinetapemusicwithliveinstruments.Byorthodoxanimation,Wellsisreferringtothesweatshopmodel,epitomisedbyDisney.Inmanyways,thisattemptstoreplicatelive-action,evenifthereareelementsthatcanonlyhappeninanimation(evenifwe'reconsidering'live-action'filmssuchasLordoftheRings,thefantasticalelementsaremainlyachievedthroughCGIanimation).Evenifwe'relookingatDaffyDuckonMars,atheartnaturalphysicsarestillobserved,ifexaggerated,andthe ReproducedfromWells,1998. Havingsaidthat,animationhasitsowncategoriescontainedwithinit,suchasthespecialeffectsusedinliveactionfilms–motionanimation–hand-drawncelanimation–CGI3Danimation.Thiscanparedtoposition,wherewe animationisdrivenbydialogueandnarrative. Inexperimentalanimation,narrativeisnotimportant–itcanbethere,butmaynotbethedrivingfactor.Oftendialogueisunnecessary.Ratherthansubsumingtheartistintothe
7 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy homogeneityofthestudio,thevisionoftheanimatoristhedrivingforce. Ifparethistotheapproachestakenbytheposer,wecanseeseveralparallels.Botharetime-basedbuthavetoconsiderthe'space'beingcreatedwithinthepiece.Whileabstractionmaybethoughtofasbeinginimicaltomusiqueconcrète,inthiscaseitrefersmoretothefreedomtoregardanyelementasvalidinimportancetothework–justastheposerisnotrestrictedtonotesandinstruments,theexperimentalanimatorisnotrestrictedtocharactersandnarrative,althoughtheycanmakeuseoftheseiftheywantto. IfindWells'definitionofexperimentalanimationashavingthedynamicsofmusicalityratherthandialogueinteresting–anacknowledgementbyaleadingvoiceinthefieldthatinmanyexperimentalanimationsthereisafeelingofposition,anunderlyingmusicalitythatdrivesthepieceratherthanthenarrativedialoguewearefamiliarwithfromliveactionfilms. Thecorrelationsneedtobeexploredfurther–howwouldsoundscapesasopposedtoacousmaticmusicmatchagainstananimationschemasuchasthis?
Butthisstilloffersanintriguingcrossoverbetweentheartforms AudiovisualComposition–puttingthetwotogether WilliamMoritz,OskarFischinger'sbiographer,regarded'true'animationasbeingonlythatwhichwasnonlinearand/ornon-objectivei.e.lackingdiscerniblecharactersoradriving narrative.ix WhileIwouldcontendthathisdefinitionisalittlerestrictive,Iwouldputforwardhisidealthatthecreativityandskillsneededforthistypeofexperimentalanimationaredemanding,andinmanywaysmirrortheskillsandcreativitydemandedoftheposer.Aswithposition,theanimatorhastofindthebinationofelementsfromaninfinityofpossibilitiestoaddtothatstartingblankcanvas–aswithanposer,theanimatorhastomarrytheircreativitywithhard-earnedskills. Movingontotheveryrelevantfieldoffilmsounddesign,theHollywoodsounddesignerRandyThomhasbeenresponsibleformanyoutstandingsoundtracks,especiallyinthefieldofanimation(TheIncredibles,HowtoTrainYourDragon).Hetakestheviewthatsoundandvisionhavetobeconsideredinpartnershipinordertobreathelifeandvitalityintothecinematicexperience.Film-makingisacollaborativeprocess,wherethesoundisatleastasimportantasthevision.Hehascalledforthesounddesignertobeinvolvedatamuchearlierstage,andtobeviewedasequallyimportantasthedirectorofphotography. “Imeannewcreativeideas,storytellingideas.Newwaystocollaborate,newwaystomakevisualandauralinformationenricheachotherandeindistinguishableasanexperience. “SoundisNOTthereto"helpthevisuals."That'skindergartenfilmmaking.Anyonewhosaysthat"filmis
8 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy avisualmedium"isbeingfoolishandnaive.Sound,whengivenhalfachance,isnolessimportanttotheaudience'sexperiencethanthepictures.”x Thismirrorsmyownopinionofaudiovisualwork–itshouldfuse,itshouldbeanpassingexperiencewheresoundandvisionintertwineinextricably.Whethercreatingyourownwork,orworkingwithacollaborator,thisistheidealtowardswhichweshouldallbestriving. Opportunitiesabound Thisisagreattimetobeworkinginthisfield. Wehaveincredibleesstotechnologyallowingtheauteurtocreateandself-publish.sitessuchasYoutubeandVimeoofferrichsourcesofimages,inspirationandmaybeevenpotentialcollaborators. Fortheposerwhoisstilldevelopingfilm-makingor animationskills,therearemanyfilmsonlinewhichyoucanuseasavisualinspiration,creatingyourownsoundtrackinterpretationtopanythevisuals.AndtheanimatorwhowantstolearnmoreaboutsoundcantakeexperimentalmusicfromSoundcloud,andexperimentwithavarietyofanimationstylestocreatetheirown'musicvideo'.Andwiththeopportunitiesforglobalcontactnow,ifsomeone'sworkprovesparticularlyinspiring,itisnowincrediblyeasytocontactthemtodiscusspotentialcollaboration,nomatterwhichcountrytheyhappentolivein. Inadditiontotheuniversalityofthe,therearenowveryessible,freewaresoftwarepackageswhichalloweveryonetolearnhowtoanimate,editsound,editandassemblevideo.Cross-fertilisationofthedisciplines,whetherthroughexperimentationonyourown,orincollaborationwithothersisthewayofthefuture.
9 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013. Animation:HowItHasMovedOnFromBeingGoofy Bibliography AllClassicVideo,2012.GeraldMcBoing-Boing:JollyFrolics(1950)–ClassicShortFilm.[videoonline]Availableatv=rDCwg0Xcji4>[essed27September2013] Moritz,
W.,1988SomeObservationsonNon-ObjectiveandNon-linearAnimation.InJCanemaker,ed.1998StorytellinginAnimation:TheArtoftheAnimatedImageVol.2;LosAngeles:AFI.Ch.2. LucretiusCarus,Titus(c.99–c.55BC),1992.OntheNatureofThings(DeRerumNatura)TranslatedbyW.H.A.Rouse.London:HarvardUniversityPress. Needham,
J.,1962.ScienceandCivilisationinChina.Vol.IV:
1.Cambridge:CambridgeUniversityPress. Praytaa,2010.LaMaisonEnsorcelée(1907,SegundodeChomòn).[videoonline]Availableatv=EqvtRPFnEMo>[essed27September2013]. Thereisonly0neNM,2011.Fantasia{TheAbstractPart}.[videoonline]Availableatv=zt9iy5THnbk>[essed27September2013]. ,2009.Whatisthebasicphilosophyofsounddesign?
[online]Availableat<>[essed27September2013]. Tvdays,2008.FelixtheCatPedigreedy.[videoonline]Availableatv=XjjMuqvy7yw>[essed27September2013]. Wangjacup,2006.WinsorMcCay–1911–LittleNemo.[videoonline]Availableatv=kcSp2ej2S00>[essed27September2013]. Wells,
P.,1998.UnderstandingAnimation.London:Routledge. Notes 1Wells,1998.2Lucretius,1992.3Needham,1962p.123.4Praytaa,2010.5Wangjacup,2006.6Tvdays,2008.7Thereisonly0neNM,2011.8AllClassicVideo,2012.9Moritz,1988.10,2009. 10 In:DavidHolland,LouiseRossiter(Eds.)ProceedingsofSound,Sight,SpaceandPlay2013 PostgraduateSymposiumfortheCreativeSonicArts DeMontfortUniversityLeicester,UnitedKingdom,5-7June2013.
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