Abstract

The aim of this paper is to focus on the ways of using animation as well as its function in live-action/ animation hybrid films. The usage of animation in narratives of such type of movies can vary. However, what connects them is the way of telling the story, based on the juxtaposition of two different realities that interact in a number of ways. The ways of combining the two worlds can be very different: animation may symbolize what is fantastic, as in pioneer McCay’s ‘Gertie the Dinosaur’, but also what is imagined, felt, thought out, once lived, dreamed of, alternative. The article describes the differences between classic hybrids and contemporary films.

Highlights

  • If we agree that contemporary cinema is dominated by digital images, which quite willingly and commonly use their plasticity to realistically blur the boundary between what was shot live and computer animation, animation/liveaction hybrid films are extremely old-fashioned, as they go against the trend of creating this type of illusion

  • The beginnings of cartoons are closely related to combining actor material with animation

  • If one looks for the greatest change that has taken place between the pioneering ‘Gertie the Dinosaur’ and contemporary animation/live-action hybrid films, it is easiest to find it in this aspect

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Summary

Adam Mickiewicz University

Writing about film hybrids, combining animation with live-action, reality dominated by digital images, leads to various problems. If we agree that contemporary cinema is dominated by digital images, which quite willingly and commonly use their plasticity to realistically blur the boundary between what was shot live and computer animation, animation/liveaction hybrid films are extremely old-fashioned, as they go against the trend of creating this type of illusion. The reason for their existence is the opposite practice: constant highlighting of the difference between animation and liveaction. These films even return to the sources of the history of cinema, when the categories of animation and live-action were conditioned by each other, because their definitions were founded on mutual oppositions

Gertie the Pioneer
Postmodernism and transcendence
Between the Worlds
Collision and integration
Beyond the Space
The realism of emotions
Inside and Outside
The Liminal Space and the Cut
Rotoscopy or Beyond the Duality
Motion Capture or Towards unification
Full Text
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