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UNDERSTANDING ANIMATION
' If it is the live-action film's job to present physical reality, animated film is concerned with metaphysical reality not how things look, but what they mean' (Hoffer)
Animation has a 'unique vocabulary', which is not the province of the live-action filmmaker.
Jan Svankmajer, Czech Surrealist animator said
'Animation enables me to give magical powers to things. In my films, I move many objects, real objects. Suddenly, everyday contact with things which people are used to acquires a new dimension and in this way casts a doubt over reality. In other words, I use animation as a means of subversion'
'animation can redefine the everyday, subvert our accepted notions of 'reality' and challenge the orthodox everyday understanding and acceptance of our existence. Animation can defy the laws of gravity, challenge our perceived view of space and time and endow lifeless things with dynamic and vibrant possibilities'
'Animation has a capacity to recreate and laugh at the world; to challenge its orthodoxy and pretension; to explore the boundaries of taste and expression'
CONVENTIONS OF ANIMATION
·CARICATURE
Caricature renders the protagonists immediately recognisable, including typical facial expressions and specialised vocabulary e.g. Homer's 'D'oh', 'Mmm.. donuts' and drooling, Bart's 'Ay carumba!'. This is a pictorial shorthand widely understood,
adding to its marketing possibilities it's universal.
·ANTHROPOMORPHISM
i.e. the endowment of creatures with human qualities, abilities and attributes.
This remains the consistent focus of a great deal of animation e.g. Itchy and Scratchy
·PARODY AND POLITICAL CRITICISM
Even early cartoons were of a subversive nature. In 11 John Bray developed a studio process for the production of cartoons his character 'Colonel Heeza Liar' was a parody of President Teddy Roosevelt. In 14, 'Felix Revolts' became a political activist against the maltreatment of cats. 'Soda Jerks' 10 by Hurd and Barre uses comic reversal like that of the Simpsons Homer, the head of the family is stupid, Marge,the woman, holds the family together.
·PARODY OF CARTOON CONVENTIONS
Many early animations were technically limited and used the same background this is parodied in 'The Front' where Lisa and Bart go to a cartoon studio.
·SUBVERSION
'Animation's acts of subversion become more complex and radical but seemingly remain innocent…'
Issues of gender, sex and sexuality and law/order are being played out in this comic scenario, but they are essentially ignored because they are part of a cartoon.
'The transgressive possibilities available to the cartoon, therefore seem limitless, and this has not been lost on animators'
·THE CREATION OF IMPOSSIBLE EVENTS
This has become the stock-in- trade of all animated films.
·DANCING
'The importance of dance in animation must not be understated as it anticipates sophisticated use in later works e.g. Disney, Tom and Jerry. The Simpsons exaggerates this as the scenes often evolve into a full-blown dance routine a parody of the genre.
·TRANSFORMATION
'one particular device is unique to the animated form; some would argue that it is the constituent core of animation itself metamorphosis the ability of an image to literally change into another completely different image'
This narrative strategy helps narrative economy and continuity; it disrupts the established notions of storytelling by resisting logical development. This destabilises the form, making the cartoon radical and surreal. This can also create horror and humour. Examples of this include Bart's Nightmare' and the way that Itchy and Scratchy re-form, even after all the violent hacking.
·SIGHT /VISUAL JOKES
·SLAPSTICK HUMOUR
·THE CHASE SEQUENCE not often used in The Simpsons, except for Itchy & Scratchy whose chases look crude/clichd and remind us that we don't see chases much in the rest of the show.
DIALOGUE
'Even though the fundamental appeal of a cartoon lies in its commitment to action, character is often defined by key aspects of dialogue. Joke orientated dialogue was a particular feature of the characters created at Warner Bros. For Looney Tunes and Merrie Melodies. E.g. Bugs Bunny's laconic 'What's up Doc?' Daffy Duck is characterised by his constant babble and his lisping 'You're despicable!' Similarly Elmer Fudd's 'Wabbit'. All these verbal dynamics served to support the visual jokes and create a specific kind of noise, which is characteristic of these animations.
·BINARY OPPOSITIONS
In particular the use of good vs. evil e.g. Sideshow Bob
·STYLE
Visual conventions echo those of live action cinema deploying establishing shots, close-ups etc. The Simpsons probably does this even more than other cartoons it has a very cinematic quality.
NARRATIVE FORM
·THE PRIORITY OF CHARACTER whether a cartoon is based on a specific story or based on a sequence of improvised sight gags, it had a logical continuity even within a madcap scenario.e.g Disney's Goofy his perpetual attempts to succeed at a task and his consistent failure creates slapstick humour. Importantly, sympathy and understanding are created for him through this.
Most narratives in animation are based on character conflict and the chase s sequence. A situation is established involving problematic, comic events aand the narrative consists of finding a resolution, mainly through the
actions of a principal character that the audience has been encouraged to usupport and sympathise with e.g. Homer.
·INTERTEXTUALITY
'The orthodox cartoon only occasionally draws the audience's attention to its construction, especially in the case of the Disney hyper-realist text'
Here the Simpsons really goes against the convention. We are continually reminded that we are an audience watching TV. This is done through
a)Homer and the family's love of TV referring to it as a person, regarding it as the centre of all knowledge
b)Direct references to other cartoons Itchy and Scratchy etc
c)Film references
d)Highlighting media and society issues e.g TV violence
e)Krusty the Clown and his behaviour a critique of celebrity culture
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