Lecture Topics：An outline and review of the course, Developing support for your practice objectives, and context for your work.
Reading
Wells, P. (1998). Understanding Animation. London: Routledge
Furniss, M. (2017) Animation: The Global History. London:Thames and Hudson Ltd
1. Wells, P. (1998). Understanding Animation
Core Aim of the Study
Paul Wells aims to establish animation as an independent artistic and cinematic medium, rather than a subsidiary form of live-action film or a genre exclusively for children. Through theoretical analysis, he demonstrates that animation possesses its own formal, narrative, and ideological characteristics.
Ontological Characteristics of Animation
Wells argues that the defining feature of animation lies not in the imitation of reality, but in its capacity to transform reality. Key ontological characteristics include:
- Non-realism: Animation is not constrained by physical laws and can freely distort time, space, and bodily form.
- Plasticity: Animated forms are highly malleable and can change in response to emotion, narrative, or conceptual intent.
- Symbolism: Meaning in animation is often conveyed through simplification, exaggeration, and metaphor rather than literal representation.
Animated Language and Visual Grammar
According to Wells, animation operates through a distinct visual grammar that includes:
- Subjective control of time and rhythm
- Metamorphosis and transformation of form
- Repetition, cycles, and rhythmic movement
- Exaggerated physical performance and alternative logics of motion
These elements enable animation to express psychological states, abstract ideas, and imagined worlds in ways that live-action cinema cannot.
Narrative and Ideological Dimensions
Wells suggests that animated narratives do not need to adhere to classical cause-and-effect structures. Instead, they often prioritise:
- Emotion-driven storytelling
- Fragmented or non-linear narrative forms
- Metaphorical or allegorical critiques of social norms and power structures
Animation, particularly in experimental and auteur traditions, is presented as a medium capable of challenging dominant ideologies.
2. Furniss, M. (2017). Animation: The Global History
Core Aim of the Study
Maureen Furniss seeks to reconstruct animation history from a global perspective, moving beyond Hollywood- and Disney-centred narratives. Her work highlights the diverse ways in which animation has developed across different cultural, political, and technological contexts.
Methodological Approach
Furniss adopts a comparative and interdisciplinary methodology, emphasising that:
- Animation history is not linear but consists of multiple parallel developments
- Technological innovation, industrial structures, political conditions, and cultural traditions jointly shape animation practices
- Regional animation cultures influence one another while maintaining distinct identities
Origins and Early Development of Animation
The book traces animation’s roots from pre-cinematic visual devices to early experimental films, emphasising the intersections of scientific experimentation, artistic exploration, and popular entertainment.
National and Regional Traditions
- The United States: Characterised by industrial production, studio systems, and the establishment of classical narrative and character animation through companies such as Disney.
- Europe: Marked by strong auteur traditions, experimentation, and close ties between animation and fine art practices, often supported by public cultural institutions.
- Japan: Developed a distinctive aesthetic and production model, with animation aimed at audiences of all ages and deeply connected to manga and contemporary social themes.
- Other Regions: Including China, Eastern Europe, and Latin America, where animation has often been shaped by political ideologies, national identity, and educational or cultural agendas.
Technological Change and Contemporary Animation
Furniss examines how shifts from hand-drawn animation to stop-motion and digital technologies have transformed both production methods and aesthetic possibilities, leading to increasing hybridity and cross-media practices in contemporary animation.