Rough Notes/Outline/Brainstorm

Collage, Intuition and Accidental Rotoscoping in Producing “Meta-realism”

(Rough Question)

Key words/Juxtapositions/Concepts

Involutionary art

Intuition

Sentimentality

Observational (<->Urban/Visual anthropology)

Anti-realism

Experimental animation

Unplanned casuality, Accidental Animation, Casual Animation

Photographic/non-photographic

Drawn/photo-indexical

Fragmentary

Representational

Detail/abstraction

Motion Paintings

Intensity, Tension

Motion/Still Image
Sensuous Reflexivity

Assemblage-Based style

Graphic Noise

Perspective (and conventions of linear perspective)

Relationship between memory and moving image

The “real”, the observable/the conceptual

 

Cultural Context

Experimental Animation

Collage Tradition (Dadaism)

Observational  cinema e.g. cinema verite’

 

Methodology

Collage

Experimental Rotoscope

Observational documentary mode

Cinema Verite’

 

Case Studies

Jeff Scher (Milk of Amnesia)

Robert Breer (Fuji)
Jonathan Hodgson (Feeling my Way)
Other Frames of Reeference

 

Urban Photographer/Visual Anthropologist David Kendall http://www.david-kendall.co.uk/Disappearing-into-Night

Chronicle of a Summer

 

Meta-realism

Metaphysical Art ( scuola metafisica)

  • http://www.metarealism.com/
  • Metaphysical art refers to a type of art that captures the mysterious in life. It is less about specific content, more about creating a mood
  • proto surrealism=>quite different from what I mean by the usage of the word

Metarealism

 

Quotes

  • Norman McLaren: “Animation is not the art of drawings that move, but rather the art of movements that are drawn.”
  • Definition of rotoscoping: “a hybrid product that combines technolopgy and the human body to create something that fuses and exceeds both the machine and the body to create a simultaneous presence of the drawn and the photo-indexical, in which the rotoscoped body is not so much fused wioth the human body as it is mapped over it” (Romancing the rotoscope)=> we make sense of it by comparing to original representation
  • Description of Jeff Scher: “fast-paced, narratively fragmentary barrage of largely representational scenes” (-//- as all the ones below before stated otherwise)
  • The role of Live action footage (in this case about Robert Breer):”as means of orienting the viewer’s [erception and understanding of the subsequent cycles of pulsing, constantly morphing hand-drawn lines and shapes)
  • iconic relationship with original source is preserved but degree varies (about Scher): mimetic line drawings -> abstract configurations of colour, shape and line => looping effect clarity-unclarity-clarity
  • Collage = “Exploits the tension between the individual indentity of the inrepolated image and the new whole that comprises it); it foregrounds “issues of visual perception, comprehension and understanding”
  • “Perspective is not important because because it shows how we “really” see…but because it allows us to order and control what we see”
  • Jeff exploits “perceptual paradox” -> create worlds that represent our imagination’s perceptions more than photorealistic reality

 

To Research:

  • “New sincerity” movement

Bibliography

“A Transition in the French Left.” Quarterly Review of Film and Video 21.3 (2004): 173-85. Taylor & Francis Online

An article on Chronicle of a Summer and Cinema Verite’

 

Cinema: A Visual Anthropology, Markus Oliver Splitz

 

Fore, S. “Romancing the Rotoscope: Self-Reflexivity and the Reality Effect in the Animations of Jeff Scher.” Animation 2.2 (2007): 111-27. Web. .

 

The article criticizes the current trend of synthetized realism in high-end commercial computer animation and juxtaposes it with the praised innovative works of Jeff Scher. The paper analyses his animated methods of motion picture and rotoscoping. One of the best features of this article is that it is beautifully illustrated with paintings from Scher’s work in progress.

 

Jeanne-Marie Viljoen, Waltz with Bashir: between representation and experience, 2014. . Critical Arts 28, 40–50

I am not using Waltz with Bashir as a case study, but the article has some useful insights about  the distinctions and boundaries between experience and representation, how certain representations can be “rigid”

Jones, N. “Quantification and Substitution: The Abstract Space of Virtual Cinematography.” Animation 8.3 (2013): 253-66. Web. .

 

The paper explores the transformation of spacial representation in virtual cinematography. It relies on the theories of sociologist and philosopher Henry Lefebvre to analyse the common logistics behind the newly emerged computerized spaces in filmmaking and contemporary capitalist states, forming an interesting study of the politics of aesthetics.

 

Martinez, Omar O Linarez. “Criteria for Defining Animation: A Revision of the Definition of Animation in the Advent of Digital Moving Images.”Criteria for Defining Animation: A Revision of the Definition of Animation in the Advent of Digital Moving Images. Animation: An Interdisciplinary Journal, 01 Mar. 2015. Web. 12 Oct. 2016. .

 

The article builds on important innovations in the sphere of animated productions in the context of advance of digital media. It analyses the essence of contemporary animation by placing it out of the limits of traditional definition and into the realm of digital moving images with blurred boundaries between animated and reconstituted motion.

 

Ramos, FP 2014, ‘What is documentary mise-en-scène? Coutinho’s mannerism and Salles’s ‘mauvaise conscience’’, Studies In Documentary Film, 8, 2, pp. 143-155, Art Full Text (H.W. Wilson), EBSCOhost, viewed 11 October 2016

Juxtaposition between ditect acting and constrected acting

 

Tai, Peng-Yi. “The Aesthetics of Keyframe Animation: Labor, Early Development, and Peter Foldes.” The Aesthetics of Keyframe Animation: Labor, Early Development, and Peter Foldes. Animation: An Interdisciplinary Journal, 01 July 2013. Web. 12 Oct. 2016. .

 

Peng-Yi explores the new aesthetics and kinetics of computer animation caused by the introduction of keyframing. The author analyses the deformed weight (“lack of gravity”) and automated timing of productions executed through mechanized methods.

 

 

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