By Jayne Pilling
As serious curiosity has grown within the specified ways that paintings animation explores and depicts subjective adventure -- quite relating to hope, sexuality, social buildings of gender, confessional modes, myth, and the lively documentary -- this quantity deals unique research of either the method and perform of key modern filmmakers, whereas additionally elevating extra common concerns round the specificities of animation. Combining severe essays with interview fabric, visible mapping of the inventive procedure, attention of the overlooked factor of ways using sound differs from that of traditional live-action, and filmmakers' reviews of every others' paintings, this special assortment goals to either impress and light up through an insightful multi-faceted approach.
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Extra info for Animating the Unconscious: Desire, Sexuality, and Animation
I threw away the sequence and Martin picked it out of the garbage. Once I’d got it OK I said it was not good and if Martin had not picked it up it would not be in the film. Metamorphoses: It’s about getting to know your shapes to do transitions … do the ones that recur. Before going to bed, just prepare drawings for the next morning, just doing little drawings … then getting up in the morning, I didn’t use them … sometimes I was just checking if there were other options. I was repeating myself, sometimes it just works: I’d do two hundred drawings and it just works.
The Body and the Unconscious as Creative Elements in the Work of Michèle Cournoyer by Julie Roy For Michèle Cournoyer, a leading figure in contemporary animation cinema, the body is central to the aesthetic and thematic concerns of her work. Her films are characterised by their powers of evocation and surrealistic use of metamorphoses and collages. The films derive from a highly personal vision, marked by a quest for a female form of cinematic writing as part of an enterprise in autofiction. Thus she deals with male/female relationships, incest, ageing, and so on from a resolutely female point-of-view.
Indb 30 17/10/11 17:26:56 Michèle Cournoyer: Comments on making The Hat1 Research and development: I went to see exotic dancers, I took photos, and photos of people in bars. I had all these images, backgrounds. I had other research: I interviewed a lot of girls, and an adult, who had been abused. And then… what do I do with all this material? Someone who encouraged me told me not to censor myself; so I just started drawing in bed by myself. I have to go inside myself just to do the essential; because it is an intimate story.
Animating the Unconscious: Desire, Sexuality, and Animation by Jayne Pilling