In animation history class we discussed animated films from all over the world. We discussed animations coming out of China, Hong Kong, the United States of America, Russia, and many more countries. In this post I will discuss the Taiwanese animated film On Happiness Road. This film was created by Sung Hsin-yin, a young director and screen writer from Taiwan. The film itself is a slice of life story that comments on Taiwanese society, and its changes in the recent years. The South China Morning Post wrote an article about the animation, and in it reported “But as she looked back at her life, Sung recalled the street in Taiwan where she grew up and the intriguing juxtaposition between its name – Happiness Road – and the reality of life in the neighbourhood. Despite its cheery name, at the end of the road was a large, dirty trench, which made headlines in 1997 when kidnappers dumped the body of a Taiwanese actress’ 16-year-old daughter in it.” While the film didn’t score big in the box office (it only made about $430,000) USD, the film itself has left a big impact on Taiwan and Taiwanese animation to come.
Major Post 13: Japanese Anime- Demon Slayer
this year, the anime Demon Slayer was released and I believe it is hands down the number one anime of the year.
This film is about a lovable, kindhearted boy named Tanijiro who takes care of his family after his father died. Tanijiro comes home one day to discover that his family was attacked by demons but also notices that his sister is still alive but the problem is, she was turned into a demon. Weird thing is, his sister shows signs of still having a little bit of human in her and she does not attack other humans even though she is transformed into a demon. The story goes on and Tanijiro and his sister travel together and Tanijiro wants to become a demon slayer to help his sister become human again.
The animation for the first season was INCREDIBLE! So beautiful that I had to rewind a few times just to watch it again. My all time favorite scene from this season was when Tanijiro and his sister fought against a very challenging demon. Watch it below! if you don’t already watch this show, I believe that this video alone will convince you to start.
Major Post 09: Abstract Animation
There is something about abstract animation that is just so mesmerizing to the point where I cannot take my eyes off the screen. It’s hard for most people to get into abstract art because there is not an obvious meaning to it. I enjoy abstract art because you can think for yourself and sometimes, you’re not even supposed to think; you’re just supposed to look.
In class, we talked about various artists that did abstract animations and one of my favorite ones was Stan Brackhage. He stood out to me in particular because he studied everyday life and interpreted it into his films. He would use objects that he gathered from outside like plants and even used live bugs! He even played around with manipulating the film. That was super creative to me. He was making films in the 80s and during that time, many people were experimenting but his style was unique.
Below is a film that he made in 1993 called Stellar. Stellar should honestly have an epilepsy warning at the beginning because its a lot of colorful lights and eventually made my head hurt from watching. But before my head started hurting, I was so fascinated by the use of colors. The speed was also really fast and reminded me of a few cut scenes from horror anime openings.
Digital era
Class Notes:
Front Screen Projecting is an in-camera visual effects process in film production for combining foreground performance with pre-filmed background footage.
Tools. Mirror tint = a one way mirror.
Oblivion (2013) is an example of front screen projection.
Optical Printing Technique = the master film is projected through a lens to expose the raw stock. In continuous printing, the master film and the raw stock both run continuously. Continuous printing is usually contact printing but can be optical, through a projected slit.
– used to make special effects.
E.g – Tango (1980) by Zbigniaw Rybonski
JohnWhitney – Father of computer Animation.
Vertigo – Title Sequence (1958)
Ivan Sutherland – Professor, Scientist, American Computer Science
Sponsored by government, invented Sketchpad
John Warnock – Founder of Adobe System Inc
Edwin Catmull – Founder of Pixar Animation Studio, Former Vice President at Industrial Light and Magic (Later bought by Steve Jobs)
Developed fundamental techniques for computer animation.
Early experiments include: A Computer Animated Hand (1972), the first computer graphics.
John Lasseter – Where the Wild Things Are = used CGI to create backgrounds. Student film = Lady and the Lamp (1976)
Major Post 16: Documination
The idea of Documented Animation primarily started off as short moving-pictures presented inside documentaries, for example, Winsor McCay’s The Sinking of the Lusitania (1918). At this point in time, animation was more like a decoration for documentaries – accompanying the information.
Eventually, it developed into more freedom for Animators and Film Makers to be more experimental towards the input of their thoughts and ideas.
My favourite that screened would be Of Stars and Men (1961) by John Hubley. This is something that could have been screened in science classes (despite it being longer than 1hr). It reflects results of the curiosity from that era – where research of the world was in motion. The moon landing had yet to happen in 1969, but the possibility of being able to explore the outskirts was already in full experiment.
As well as documenting findings, Animated Documentaries could address situations on such as political issues, illnesses, and other sensitive or complicated topics.
I was completely inspired by Tim Webb‘s A is for Autism (1992), it was informing and visually appealing; complimented with experiences of people that not everyone gets to spend time with. It showed how art-forms can be a way to channel information into chew-able pieces. Also, what professor said – The power is all there (The voices and drawings of the children with Autism), Tim Webb took it and articulated it to become something that blesses all sides that are involved.
Ryan (2004) – An animated documentary about Ryan Larkin, by Chris Landreth. It records Larkin’s difficult situations in his life, and also the encouragement from people around him. It includes mentions of his award winning creations, Walking (1968) and Street Musique (1972).
Sheila M. Sofian
Truth has Fallen (2013) – Puts into light of the twisted injustice in America, using animation as a tool to help viewers realise problems of the world.
Sheila SofianManga! (1985)
Major Post 15: Annie May
Today’s highlight is Osamu Tezuka – “The God of Manga” who created Astroy Boy and Black Jack. Tezuka sees animation and manga as a form of art to convey messages, and without holding back he is open to explore serious and mature themes in his animation – a noticeable difference between Western and Asian Animation.
Following the timeline, 1960s Japanese animation was the rising of the television era. It was a large contributing factor for mass animation, and was distributed out towards different countries.
In 1970s, sports-orientated production became the new hype. After the sports-frenzy, cinematic elements became a prominent factor. They sought to convince audiences how relatable the main character actually is, creating some sort of emotional connection, which attracts many viewers.
In 1973, Tezuka Production was founded. Most of his animations reflected his values which includes; peace, love for nature and social participation.
He questions the function of story-telling in an animation, seen especially in Jumping (1984) which portrays a a rather uncanny theme, despite its fun and outgoing impression. We see everything in the unknown character’s point of view – with no sign or clue of who this character is, until at the very end, we hear a relieved sigh that slightly reveals a part of the character, (I feel like its the audience themselves as they echo their sigh).
Another big influencer was The Animator’s Club in the 1960s, founded by the first three generation of japanese independent animation artist: Yoji Kuri, Ryohei Yanagihara and Hiroshi Manabe. They explored styles and found inspiration in “Saul Bass” and Norman McClaren films.
Yoji Kuri was very experimental in surreal composition, and distracting audio in his works. He conveyed mature-themes through animation – for example “AI”(1965); exploring the relationship between men and women, and more specifically, women’s desire for men and subtly suggests the manipulation of women over men. This theme was repeated in his work “Human Zoo”, in which his funky characters (male and female in a cage) portrayed consistently how men was the animal – the female was the zoo tamer.
Moving back to a more linear storytelling format, we looked at Tadahito Mochinaga and Kihachiro Kawamoto, who were both Japanese pioneers of puppet-animation, . Michinaga had also large influence in Chinese Animation – he had good friendship with the Chinese animators, as he worked in Xinjing, China in 1945.
We also briefly looked at large influencers like Katsuhiro Otomo (Akira [1989]) and Hayao Miyazaki, and Satoshi Kon who continues to inspire many young future generations.
Osamu Tesuka: Jumping (1987)
Broken don film
Yoji Kuri: Ironic storytelling – AOS (1964), AI (1965)
TadahitoMochinaga
Kihachiro Kawamoto: coffee break
Katsuhiro Otomo: Akira, Memories (1995)
Hayao Miyazaki
Satoshi Kon
Koji Yama – Mt.Head
Major Post 14: Old japanimation
First Generation of Animators in Japan
Which includes Seitaro Kitayama, Oten Shinokawa, and Jun’ichi Kouchi.
They mostly worked with cut-out, silhouettes due to limited budget and had to work efficiently if they wanted to gain profit. Noburo Ofuji, Jun’ichi’s apprentice was also an influential animator, similarly primarily working with cut-outs.
During the war around 1930s, propaganda films were often featured. Animation was a tool for political controversy, to educate and to spread news about the war. in Momotaro (1918) by Seitaro Kitayama showcased a “war hero” character to encourage and build people’s hope. It was also a first to be shown on TV abroad.
After the war around the 1940s, another rising animator, Kenzo Masaoka, who explored cel-animation production founded Nihon Douga, which is now known as Toei Douga. He made Kumo to Chulip (1943), which was delightful to watch. It had sweet old japanese nursery songs that kept it engaging, and a simple story plot.
Other Post 1: Shinkai Makoto
Shinkai Makoto is a Japanese animation director best known for his 2016 work, Your Name. Shinkai’s work are largely romantic melodramas centered around two characters who have to overcome obstacles in order to be with each other.
Your Name was hugely popular as soon as its release in Japan and took over the box office of the Japanese animation film industry. However, Your Name was the first film from Shinkai that I watched with a happy ending. In his past works, including but not limited to The Place Promised in Our Early Days (2004), 5 Centimeters per Second (2007), The Garden of Words (2013), the two characters in question do not have a conventional ‘happy ending’ and are not able to overcome the obstacles that block them from being with each other. Although the films listed above were not unpopular, and in fact were landmarks that steadily grew a fanbase (or at least a following), they were not financially or internationally successful as Your Name, which had the bright mood and satisfying happy ending that Shinkai’s previous works lacked.
There was a lot of international attention on Shinkai’s most recent work, Weathering with You (2019), because of the explosive success of Your Name. I feel like Shinkai felt burdened by that attention and expectation of a film that surpassed Your Name. I personally think that Shinkai was not able to meet those expectations because he trapped himself in the construction of the plot of Your Name with the bright mood and happy ending.
Eunhae Mary Park
Major Post 13: Asianimation
It was super fun looking at less main-stream animations apart from the Western and US, and diving into Chinese animation. I thought it was interesting how many adaptations of the same story exist; like remakes of Godzilla or King Kong, but with “The Journey to the West” and “Nezha”.
Many animations used Chinese Ink as their medium, giving each one a soft, elegant texture. Therefore, it was fitting that calm and slow pacing was used often.
The first artist of the day is Wan Brother, one of the earliest animators in China, who was inspired a lot by the US and has Snow-white/Disney vibes seen in their layout, set-up or background. Again, he worked with ink and used Rotoscoping which was also inspired by the US.
In 1956, a new movement began called the Hundred Flowers Campaign, which was to lift the restrictions felt imposed upon Chinese intellectuals, to stir up socialism and thus grant greater freedom of thought and speech.
It brought up the opportunity to create something new and original to represent China.
The name of the movement originated from a poem: “Let a hundred flowers bloom; let a hundred schools of thought contend” (百花齐放，百家争鸣, Bǎihuā qífàng, bǎijiā zhēngmíng).
“The policy of letting a hundred flowers bloom and a hundred schools of thought contend is designed to promote the flourishing of the arts and the progress of science”. – Mao Zhedong.
We can definitely admire the initially pure intentions to try and build creative freedom in China, and it’s something that’s worthwhile to remember and be grateful of.
It makes me curious to: if China had carried on developing their style, what would that look like?
Extra class notes:
Te Wei – Founder of Shanghai Arts and Film Studio!
Chinese manhua artist and animator, Developed chinese ink-wash animation
Studied in Changchun, Tadahito Mochinaga
Tadpoles Looking for Their Mama (1960) – Te Wei
Yu Zheugang A Clever Duckling (1960) an origami
A-Da/ Xu Jinqin –
Wan Brother:
Princess Iron Fan (1941)
Uproar in Heaven (1964) mixes in Chinese Opera make up on their characters.
Shanghai Arts and Film Studio, first coloured chinese animation (1956) Why is the Crow Black-coated.
Major Post 12: Czech Animation
I thoroughly enjoyed watching the Czech Animations – a lot of them uses stop-motion and a variety of different objects, allowing for more experimental and unexpected movements.
Two, out of many, highlights:
Ruka the Hand (1965) by Jiri Trnka had heavy symbolization within its simple story plot. An interesting character – The Hand; represented many things, including the aspect of control. The message is relevant to everyone who has experienced some sort of control or manipulation, therefore, the audience would be able to relate to it.
Jan Švankmajer
Dimensions of Dialogue (1982) – looks at miscommunication, irresponsibility, inability to work together, and disagreements, portrayed in such a visually appealing way. It uses suitable pairings, such as a pencil and a pencil-sharpener or bread and butter, to help understand compatible communication, yet then starts mixing it up pairings (e.g. pencil-sharpener plus bread), giving us a visual image of what miscommunication looks like.
It is such a smart way to convey an issue we all experience, that I feel like people could learn, or at least be aware of their actions, from watching this.
Extra Class Notes:
Hermina Tyrlova – Czech director, animator, writer.
Ferda Mravenec
Jiri Trnka – Master of the wooden puppet style, was previously a famous illustrator.
Fyodor Khitruk – Russian Animator
Ostrov (1973)
Yuri Norshteyn – Russian Animator
Hedgehog in the Fog (1975)
Miyazaki mentioned his works to be one of his fave.
ANIM223 - HISTORY OF ANIMATION - FALL 2019 