Academic literature on the topic 'Computer animation Computer animation Animated films Animated films Abstract films Abstract films Experimental films Experimental films'

Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian animation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.

ResumoO presente artigo tem como tema a animação experimental e suas características, campo repleto de inovações técnicas e artísticas que é mantido à margem dos estudos sobre o cinema animado. Portanto, tem como objetivos definir certas características de uma animação experimental e identificar e descrever traços e características do que se considera uma animação experimental no curta animado “Begone Dull Care” (1949) de Norman McLaren (1914-1987) e Evelyn Lambart (1914-1999) através de uma pesquisa teórica, bibliográfica e descritiva do tipo qualitativa, de natureza básica/pura a partir da coleta de dados e análise documental que compreende a identificação, verificação e apreciação de documentos (bibliográficos e obras audiovisuais) com determinados fins, como análise de conteúdo por meio da descrição do filme de animação “Begone Dull Care” (1949). Diferente da animação comercial que tem como objetivo comercial agradar o público sem a preocupação da satisfação artística ou pessoal dos animadores dos estúdios, e buscar soluções formais que facilitem a produção em larga escala dos filmes animados, a animação experimental vai se distinguir por experimentações técnicas e estéticas que desafiam os limites da linguagem e ampliam seu potencial expressivo. Com caráter de vanguarda, voltada à criação artística e à experimentação, a animação experimental terá desenvolvimento na Europa do início do séc. XX. Artistas como McLaren e Oskar Fischinger exploraram técnicas que ampliam o potencial plástico das animações. O termo incorporou diversas nomenclaturas ao longo dos anos como animação independente ou de autor. “Begone Dull Care” é produto desse espírito que desafia o tradicional através de experimentações. Nele, McLaren utiliza o método de animação direto sobre a película e sincroniza cores e formas gráficas animadas pelo som de jazz. McLaren e Lambart adotam formas simplificadas e abstratas para maior liberdade de criação e, durante tal processo empírico, incorporam imprevistos, acidentes e materiais não convencionais como potencializadores da expressividade através de suas experimentações com a materialidade do filme.AbstractThe present article has as its theme the experimental animation and its characteristics, a field full of technical and artistic innovations that is kept aside from the studies on animated cinema. Therefore, it aims to define certain characteristics of an experimental animation and to identify and describe traits and characteristics of what is considered an experimental animation in the animated short film Begone Dull Care in Norman McLaren’s (1914-1987) and Evelyn Lambart (1914). Bibliographical and audio-visual works with a specific purpose, such as the identification, verification and evaluation of documents (bibliographical and audiovisual works), of a basic / pure nature, based on data collection and documentary analysis, as content analysis through the description of the animated film “Begone Dull Care” (1949). Unlike commercial animation that aims to please the public without the concern of the artistic or personal satisfaction of studio animators, and seek formal solutions that facilitate the large-scale production of animated films, the experimental animation will be distinguished by technical experimentation and aesthetics that challenge the limits of language and amplify its expressive potential. With avant-garde character, focused on artistic creation and experimentation, the experimental animation will be developed in Europe at the beginning of the century. XX. Artists like McLaren and Oskar Fischinger explored techniques that amplify the plastic potential of animations. The term has incorporated several nomenclatures over the years as independent or author animation. “Begone Dull Care” is a product of this spirit that challenges the traditional through experimentation. In it, McLaren uses the direct animation method on the film and synchronizes colors and graphic shapes animated by the sound of jazz. McLaren and Lambart adopt simplified and abstract forms for greater freedom of creation and, during such an empirical process, incorporate contingencies, accidents and unconventional materials as enhancers of expressiveness through their experimentation with the materiality of the film.