Chapter 3 - Once Upon a Time: Narrative Strategies

Chapter 3

Raoul Servais once said that "every animated film must have a story", and I fully agree with that statement, because without a proper concept or structure the film would be nothing. It seems so often that many animated films don't properly tell a story, so the viewer's left with nothing but fancy visuals. Sometimes the visuals can tell way more about the characters or concept than any of the writing in the film, and that's what this chapter was about: the different ways to tell a story, visually and in the writing. 

This Chapter had a lot of key terms:

1. Metamorphosis-Ability for an image to literally change into another completely different image; fluid linkage

2. Condensation-Shortening narrational information into a limited period of time

Two processes: 

Elliptical Cut-cuts between events

Comic Elision-Sequence of comic events that form a self-determining process

3. Synecdote-Part of a figure/object represents the whole of a figure/object

4. Symbolism and Metaphor-An item which is consciously/unconsciously placed to develop another depth to the story. Symbol is invested with meaning. A metaphor grows from the symbolism and serves to embody a system of ideas. 

5. Fabrication-A film's alternative version of material existense: meta-reality formed from constructed environments, substances, and art forms

6. Associative Relations-Based on models of suggestion and allusion, which bring together previously unconnected or disconnected images to logic and inform, rather than being a simple surreal effect

7. Sound-Helps to form mood and atmosphere

8. Acting and Performance-Actions created by characters constructed movements, but the voice helps to add personality to the character. Animation and voice acting work together. 

9. Choreography-Importance of the character's movements. Important to see how the character acts and reacts

10. Penetration-A  revelatory tool, used to reveal conditions or principles which are hidden or beyond the comprehension of the viewer

I found these terms to be interesting to read through, especially the idea that a voice actor and animator work together to bring a character to life. These terms also helped me to appreciate how animated films can use visual presentation to tell a story; I knew that before, but didn't know to what extent the importance of the animation was. A simple character's movement can tell you so much about who they are as a person. Rudolf Laban detailed an ingenious process, known as the 16 Basic Movement Themes, in order to help artists tap their character's inner-being. 

To Die By Your Side

A short film I saw recently with friends was Spike Jonze's "To Die By Your Side". It's a whimsical tale about a skeleton trying to get to a mystery woman, and the mishaps of him trying to get to her. What's so great about it is that it's a simple tale, with terrific animation, especially the underwater effects. I also love the sense of movement in the characters. There's little dialogue, but you truly understanding these characters due to their movements, and that fit in with the ideas of Chapter 3. 

http://www.thevine.com.au/entertainment/news/to-die-by-your-side-_-an-animated-short-film-by-spike-jones20111020.aspx

Animation Film Progress

As a group, we haven't officially all met, but certain members have been discussing ideas together. Soon we will meet as a group and write a script that we're all happy with, because right now there's some clashing ideas. I expect the project to go a lot smoother once the script is written.