Stop motion

master's thesis

• Author: Davorin Švaner
• Mentor: Jesenka Pibernik (mentor)
• Committee member: Maja Brozović (član povjerenstva)
• Committee member: Dubravko Banić (član povjerenstva)
• Committee member: Jesenka Pibernik (član povjerenstva)
• Granter: University of Zagreb; Faculty of Graphic Arts; Zagreb
• Defense date and country: 2011-10-6, Croatia
• Scientific / art field, discipline and subdiscipline: TECHNICAL SCIENCES; Graphic Technology

Abstract

Mnogi su načini za napraviti film sekvencu po sekvencu: crtajući ih rukom kao Walt Disney-ev „Pinocchio“ i Hayao Miyazaki-ev „Spirited Away“, računalnom grafikom kao Pixar-ov „Toy Story“ i „The Incredibles“, 2D kolažom kao „Spirited Away“, animiranjem pjeska ili crtanjem po staklu, struganjem filmske emulzije, micanjem iglica po ekranu, i još svakakvim tehnikama koje postoje. Ja nekako najviše volim stop-motion.

Toliko puno povijesti animacije je bilo loveći stvari da bolje i glađe funkcioniraju, da sakriju ruku umjetnika. Kad je računalna grafika postigla svoj cvat, prvo sa specijalnim efektima i onda sa Pixar-ovim dodacima, zadatak se ispunio. Animacija je bila savršeno glatka, bez ijednog, ne namjernog pokreta. Sve je bilo „bajno i sjajno“ i to je publika progutala... i još uvijek je tako.

Računalna grafika može sve, ali ne može napraviti ono što je u stop-motionu: dati prikaz da je umjetnikova ruka bila tu negdje kroz niz neizbježnih pogrešaka, kroz komunikaciju s publikom da ono što ona gleda zaista i postoji.

Zašto i sirova stop-motion animacija ima utjecaja na nas? Ken Priebe, autor knjige čiju sam literaturu koristio, i ja, djelimo slično mišljenje: stop-motion animacija nas spaja s vremenom kada su naše igračke bile žive kroz moć naše mašte.

Abstract (english)

There are many ways to make movies a frame at a time: drawing them by hand like Walt Disney’s Pinocchio and Hayao Miyazaki’s Spirited Away, computer graphics like Pixar’s Toy Story and The Incredibles, 2D cut-outs like the cult feature Twice Upon a Time, animating sand or paint on glass, scratching film emulsion, moving pins on a screen, slicing wax and clay, and no doubt other techniques that exists. I happen to love stopmotion best.

So much of animation’s history has been about the pursuit of making things move smoothly, to hide the artist’s hand. When CG animation hit the big time, first as special effects and then with the Pixar features, it delivered on this goal in spades. The animation was perfectly smooth, without a single, unintended bump or jerk. It was sexy and shiny, and audiences ate it up . . . and they still are.

CG can do anything, but it can’t do easily what is inherent in stop-motion: give proof of the artist’s hand through the inescapable mistakes made and communicate to the audience that what they are watching really, truly exists. It was this part that grabbed and haunted me when I first saw Ray Harryhausen’s work at age 5—I knew his Cyclops actually existed!

Why does even crude stop-motion animation have an effect on us? Ken Priebe, the author of this great book, and I share a similar theory: stop-motion connects us to the time when our toys came to life through the power of our imaginations.

• Keywords: Stop motion; Animacija; Pokret; Računalo; Grafika
• Keywords (english): Stop motion; Animation; Motion; Computer; Graphics
• Language: croatian
• URN:NBN: urn:nbn:hr:216:820109
• Study programme: Title: Graphic technology; specializations in: Graphic technology, Design of graphic products; Course: Graphic technology; Study programme type: university; Study level: graduate; Academic / professional title: sveučilišni/a magistar/magistra inženjer/inženjerka grafičke tehnologije (sveučilišni/a magistar/magistra inženjer/inženjerka grafičke tehnologije)
• Type of resource: Text
• File origin: Born digital
• Access conditions: Closed access
• Created on: 2024-04-20 23:35:44