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Figure and Force in Animation Aesthetics最新文献

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Rotoscoping 自动全景
Figure and Force in Animation Aesthetics Pub Date : 2019-11-21 DOI: 10.1093/oso/9780190949754.003.0005
R. Pierson
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引用次数: 3
Walk Cycles 步行周期
Figure and Force in Animation Aesthetics Pub Date : 2019-11-21 DOI: 10.1093/oso/9780190949754.003.0003
R. Pierson
{"title":"Walk Cycles","authors":"R. Pierson","doi":"10.1093/oso/9780190949754.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190949754.003.0003","url":null,"abstract":"This chapter examines the use of walk cycles in animation practice. Walk cycles—frames of characters’ actions that can be repeated in loops—have been important in animation not only for portraying coordinations of moving parts to convey lifelike movement but also for saving labor. However, if a cycle is noticed by the viewer, the figure’s movement will appear imposed and not self-directed, leaving the figure lifeless. Through a study of Norman McLaren and Grant Munro’s film Canon (1964), this chapter further argues that cycles can be layered to create a living, open system of cyclical parts.","PeriodicalId":439910,"journal":{"name":"Figure and Force in Animation Aesthetics","volume":"196 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120865975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Soft Edges 软边
Figure and Force in Animation Aesthetics Pub Date : 2019-11-21 DOI: 10.1093/oso/9780190949754.003.0002
R. Pierson
{"title":"Soft Edges","authors":"R. Pierson","doi":"10.1093/oso/9780190949754.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780190949754.003.0002","url":null,"abstract":"This chapter examines the use of soft edges in animation practice. Unlike hard-edged forms, such as the contour-based characters found in studio cartoons, figures with patchy forms often appear to not hold together strongly. Consequently, when these forms change shape, their metamorphoses appear passive, coming from without—as opposed to the active, self-directed metamorphoses of cartoon figures. Through a history of cloudy forms in animation, focusing especially on Alexander Alexeieff and Claire Parker’s 1933 short film Night on Bald Mountain, this chapter argues that soft-edged forms provoke a special kind of engagement called “exposure,” which makes concrete our vulnerability to the world of forces that undergirds us.","PeriodicalId":439910,"journal":{"name":"Figure and Force in Animation Aesthetics","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134011719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Perspectival Movement 透视运动
Figure and Force in Animation Aesthetics Pub Date : 2019-11-21 DOI: 10.1093/oso/9780190949754.003.0004
R. Pierson
{"title":"Perspectival Movement","authors":"R. Pierson","doi":"10.1093/oso/9780190949754.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780190949754.003.0004","url":null,"abstract":"This chapter examines the use of perspectival movement (or camera movement) in animation practice. In particular, it argues that the ambiguity of the out-of-field space that perspectival movement creates entails a suppression of another kind of ambiguity: the graphic ambiguity of marks on a surface. Thus, much of the history of animated space can be seen as a history of trade-offs between the possibilities of camera movement and those of graphic metamorphoses. However, two films—Norman McLaren’s Blinkity Blank (1955) and Caroline Leaf’s The Metamorphosis of Mr. Samsa (1977)—manage to combine these possibilities, creating spaces that seem to transform themselves as the camera moves through them.","PeriodicalId":439910,"journal":{"name":"Figure and Force in Animation Aesthetics","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132765056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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