![]() ![]() Juan Carlos Fresnadillo (the director and screenwriter), with Rowan Joffe, Jesús Olmo, and Enrique López Lavigne had a big job ahead of them, and they did some great, great work on this film. Unfortunately, the film seemed to stumble at every turn where 28 Days came out running. Its predecessor, 28 Days Later, was an excellent reinvigoration of the zombie attack genre.Īlisa and I went to see 28 Weeks last night, excited about the expansion on the sharp, distinct zombie thriller that is 28 Days. Keywords: Chronophotography, Golden Age of animation, animation techniques, imperceptible, experimental, strata-stencil, sequences, aesthetics.28 Weeks Later is a music video. This study is about making the imperceptible, perceptible and raises questions about how sequential images speak to us. In doing this, I challenge the viewer to look at cartoons in a different way. I propose that we look at the individual frames not in isolation but simultaneously as sequences, so that the notion of seriality informs the viewer’s understanding of animated movement as a distinct aesthetic experience. Together these works provoke the viewer to question their understanding of animated movement and the aesthetics involved in seeing more than one frame at a time. I therefore ask, how can the animator exploit these ‘moments’ that are barely visible to the audience? Also, if exposing these ‘unseen’ frames proves effective, what would it reveal about the movement itself? Using techniques of chronophotography to inform my creative practice, I expand on the strata-stencil animation technique to create an experimental short film and art exhibition that reveal movement for the viewer in a deliberately playful manner. I argue that they are the fleeting ‘moments’ that give meaning to animated movement, enhancing the visual style of the animation – but due to the technical nature of cinema, are never actually seen by the viewer. I am interested in the representation of movement in these cartoons – the squashes and stretches, the ‘smears’ and ‘multiples’ – and how these techniques go unseen by the viewer in standard viewing practice. By considering these artistic engagements with chronophotography, I focus on animation techniques from the Golden Age of American animation. Chronophotography has inspired artists interested in the representation of movement throughout history. These images encouraged the viewer to expand their sight into a new mode of seeing. Nineteenth-century chronophotography captured what the eye cannot see due to the physical limitations of human perception. This creative research project addresses the question of how to reveal the construction of character animation in order to influence viewer engagement. In the end, the graphical interfaces of early personal computers and video games borrowed the economical model of limited animation, building a foundation for future digital media devices. ![]() This is how animation survived in new forms, and the industry transformed. These include rationalization, story, character, style, sound, and performance. This dissertation builds upon the tentative consensus of earlier accounts to proposes a theoretical model to explain the early television cartoon as a media form through seven familiar principles, largely in Part 2. Bill Hanna and Joe Barbera then undertook a decades-long enterprise of sending simple but entertaining characters out to viewers. Jay Ward and Alex Anderson first succeeded in producing a “comic strip of television” in 1950. In the 1940s, Disney’s elaborate animation process caused a counter-reaction, and newer studios chose to limit animation. The creators of early television cartoons trained at early cinema cartoon studios. Part 1 begins by uncovering media precedents that made this possible, including print cartoons and radio comedy. What remained after the radical reforms needed to adapt to television, the first home screen-based electronic medium, was a new kind of designed cartoon. Traditional artistic animation may be a technique particular to cinema, I suggest. This vibrant media form has long since outgrown comparisons with cinema animation, for today its influence is everywhere. The television cartoon emerged in the postwar United States when animation mediated television and television simplified animation. ![]()
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