![]() ![]() The main focus is on his pre-computer painted and puppet animation and collage animation works. This article aims to flesh out how Stan VanDerBeek created what Time magazine in 1964 rather glibly describes as 'a curious chapter' in animation. Joyce’s influence on artists working in other media continues. From the Avantgarde experiments of Richter and Ruttmann and continuing into contemporary independent animation, metamorphosis and representations of inner states and fantasy remain features of many of these films (Joyce himself once referred to Ruttmann as a filmmaker who he imagined could do a film version of Ulysses). In doing so, I am acknowleging the immense potential influence of Joyce on theories of visualisation in literature and the animated cinematic image, itself a synthesis of photography, sculpture and graphic arts. In this paper, I refer to animated film sequences which exist independently of Joyce’s texts, but which utilise techniques which I propose result in a visual expression similar to the reader’s experience of particular words, phrases or passages of Ulysses. My interest, however, is centered on the form of animation film, ranging from experimental to conventional techniques. Griffiths and perfected in the Classical Hollywood period. Yet most have concentrated on a style which is limited to cinematic conventions of fictional realism, initiated by D.W. That certain chapters of Ulysses display cinematic style is clear, and has been analysed by a number of literary theorists, including Fritz Senn, Christine van Boheemen, Alan Speigel, and Eva J.M. ![]() For those unfamiliar with Joyce’s works, references have been selected which do not require knowledge of the texts. ![]() My intention is to articulate the obvious, perhaps thereby expanding our perceptions of the extended influence of Joyce on artistic production by considering one more artistic medium, that of the animated film. Assuming that animation’s fundamental ability to express metamorphosis and stream of consciousness is a primary feature of the film form, I will propose that animation is a feasible artistic medium for a cinematic transformation of these techniques employed in literary works which are otherwise unfilmable, exemplified here by Irish author James Joyce’s stylistic innovations. The animation film is a form which is ultimately defined by its use of metamorphosis, an effect in which a cinematic image, whether 2D graphic or 3 dimensional, appears to effect a transition in form over a period of time. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context. Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid. These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. This doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film.
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