Movement
- Tacit vocabulary of expression through leitmotifs and plasticity of image in Chaplinesque comedy.
- Image as abstractions, cut out by senses and understanding progresses, manner of consciousness.
- Movement as a whole indivisible continuity. Transition between frames.
- Performance with social significance.
- Synaesthesia and overcoming language barrier.
Acoustic
- Diegetic and non-diegetic sound
- Temporalisation: timing and spacing in movement
- Listening modes
- Naturally and culturally based influence. e.g: Stan Brakhage (relevant to responding to environmental condition)
- Animism and dynamism apparatus
Audiovisual relation
- Wassily Kandinsky
- Visual music: Music as model, movement as primary design factor.
- Examples: Oskar Fischinger, Norman McLaren, Len Lye,
- Laban movement thematics (choreography / flow of movements)
- Abstraction of geometry and colour in animated composition
- Accentuation and exaggerated silhouette in gestures
- Play around with intuitive animated compositions, shapes and forms.
- Sound-image relationship: iconic, isomorphic, anarchic
- Textual analysis: How mood and meaning is conveyed through different sound-image relationship.
Cultural Aesthetic and Technological Development
- Reproducibility: made accessible for everyone
- Constant shift between low brow and high brow: animators constantly experimenting ways to deviate the conventional structure
- Constant experimentation with sound: Disney's Metronome, McLaren Neighbours (synthetic sound), Carl Stalling (illogical SFX for gags), Hans Zimmer (shepard tone - illusion of rising tension
- Relate this back to the purposes of animation: consider their structures.
Practical
- Create an animation based on sounds, take into account textures and noises of audio pieces selected when designing the characters and the environment.
- Consider mood and meaning when listening to the audio. (outcome: chaos or order?)
- Experiment with different traditional medium to best express my response to the audio.
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