By Paul Wells
First released in 1998. Routledge is an imprint of Taylor & Francis, an informa corporation.
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Additional info for Understanding Animation
Example text
Thesetraits are constantlychallengedin most of the narrativesinvolving Daffy by the resistanceoffered up by the world around him. In Duck Amuck, he is also defeated by the context he exists within. Ironically, it is at this point that Daffy is arguing for Disneyesquehyper-realismin regardto the need for a linear narrative and consistencyin the design of characterand environmentbut, clearly, the condition of the cartoonhere remainssubjectto the animator'sdesire to destabilisetheseorthodoxies. Despite protestationsthat he has fulfilled his contract, Daffy continues to be treated with contempt.
Former Disney chief, Jeffrey Katzenberg says of Pochahontas(1995), the studio'smost live-action orientedcartoonfeature, that it is exaggeratedreality, where the real possibility of Pochahontasdiving 100 feet from a cliff into a pool of water may be made be more spectacularif she were to appear to dive 300 feet, a feat enactedin entire safety, and with persuasiveplausibility, in the animatedform. At one and the sametime 'the very conditions of rationality' have been challengedbut made to comply to a different, yet convincing, realist rationale.
This approachplacesthe emphasisand purposeof the expression less in the realm of the body's actual physical life, and more on the unmediated emergenceof unconscious forms of response to external stimuli. McLaren's lines, shapesand patterns correspondto the syncopatedbeat and rhythm of a boogie tune, colliding, conjoining, expanding,contracting,speedingup, slowing down, changingin tone and definition, resisting any coherentmode of narrative or representation,yet somehowexpressinga mood, an idea, an experience.