Revealing the unseen: Altering modes of viewing practice to explore the aesthetics of seeing more than one frame at a time

Abstract

Contemporary animation is typically viewed in a digital format which is subject to the mechanics of cinema: a frame-by-frame presentation of a sequence of images (at a constant rate) so that the illusion of continuous motion is experienced by the viewer. In this article I argue that by altering the way we view animation, we could influence the viewer’s experience and understanding of an animated work. The research is a culmination of my Ph.D. by creative practice, which unpacks modes of viewing practice through the creation of an experimental short film and the presentation of an art exhibition that reveal movement for the viewer in a deliberately playful manner. The short film expands on the experimental animation technique known as strata-stencil that uses a multiple layered approach, revealing the consecutive frames of a movement on every frame. Drawing on techniques of nineteenth-century chronophotography, my work focuses on the representation of movement in classic cartoon-style animation and reveals the construction of animation for the viewer through static and animated sequences. My interest lies in the imperceptible moments that are lost in standard viewing practice, forcing the viewer to question their understanding of a movement and the aesthetics involved in seeing more than one frame at a time. I propose that we look at the individual animation frames not in isolation but simultaneously as sequences, so that the notion of seriality informs the viewer’s understanding of animated movement as a distinct aesthetic experience. In doing this, I challenge the viewer to look at animation in a different way and create an innovative viewing experience.