The Crafty Animator: Handmade, Craft-based Animation and Cultural Value PDF
Preview The Crafty Animator: Handmade, Craft-based Animation and Cultural Value
PALGRAVE ANIMATION The Crafty Animator Handmade, Craft-Based Animation and Cultural Value Edited by Caroline Ruddell · Paul Ward Palgrave Animation Series Editors Caroline Ruddell Brunel University London Uxbridge, UK Paul Ward Arts University Bournemouth Poole, UK This book series explores animation and conceptual/theoretical issues in an approachable way. The focus is twofold: on core concepts, theories and debates in animation that have yet to be dealt with in book-length format; and on new and innovative research and interdisciplinary work relating to animation as a field. The purpose of the series is to consoli- date animation research and provide the ‘go to’ monographs and anthol- ogies for current and future scholars. More information about this series at http://www.palgrave.com/gp/series/15948 Caroline Ruddell · Paul Ward Editors The Crafty Animator Handmade, Craft-based Animation and Cultural Value Editors Caroline Ruddell Paul Ward Brunel University London School of Media and Performance Uxbridge, UK Arts University Bournemouth Poole, UK ISSN 2523-8086 ISSN 2523-8094 (electronic) Palgrave Animation ISBN 978-3-030-13942-1 ISBN 978-3-030-13943-8 (eBook) https://doi.org/10.1007/978-3-030-13943-8 Library of Congress Control Number: 2019932116 © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2019 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover image: dpa picture alliance archive/Alamy Stock Photo Cover design by eStudio Calamar This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland C ontents 1 Introduction 1 Caroline Ruddell and Paul Ward 2 Made by Hand 17 Birgitta Hosea 3 Craft as Critique in Experimental Animation 45 Lilly Husbands 4 Lotte Reiniger: The Crafty Animator and Cultural Value 75 Katharina Boeckenhoff and Caroline Ruddell 5 Autobiography and Authenticity in Stop-Motion Animation 99 Carla MacKinnon 6 Handmade Aesthetics in Animation for Adults and Children 127 Ewan Kirkland 7 In Good Hands? Indexes and Interfaces in A Computer Animated Hand (Ed Catmull & Frederic Parke, 1972) 157 Christopher Holliday v vi CoNTENTS 8 Crafted Wonder: The Puppet’s Place Within Popular Special Effects Reception 181 Alexander Sergeant 9 Q&A with Eric Dyer 203 Caroline Ruddell and Paul Ward Index 227 L C ist of ontributors Katharina Boeckenhoff University of Manchester, Manchester, UK Eric Dyer University of Maryland, Baltimore County, USA Christopher Holliday King’s College London, London, UK Birgitta Hosea University for the Creative Arts, Farnham, UK Lilly Husbands Middlesex University, London, UK Ewan Kirkland University of Brighton, Brighton, UK Carla MacKinnon Arts University Bournemouth, Poole, UK Caroline Ruddell Brunel University London, Uxbridge, Middlesex, UK Alexander Sergeant Bournemouth University, Poole, UK Paul Ward Arts University Bournemouth, Poole, UK vii L f ist of igures Fig. 2.1 Erasure (Birgitta Hosea, 2017) 27 Fig. 2.2 Erasure (Birgitta Hosea, 2017) 27 Fig. 2.3 Erasure (Birgitta Hosea, 2017) 28 Fig. 2.4 Noisy, Licking, Dribbling and Spitting (Vicky Smith, 2014) 29 Fig. 2.5 Screen shot from the making of Ugly (Nikita Diakur, 2017) 39 Fig. 3.1 Jill (Lilli Carré 2016) 67 Fig. 5.1 Daddy’s Little Bit of Dresden China (1988) 113 Fig. 5.2 Model Childhood (2018) 114 Fig. 6.1 Charlie and Lola (TV Series, 2005–2008) 133 Fig. 6.2 South Park (TV Series, 1997–) 138 Fig. 6.3 The Lego Movie (Phil Lord, Christopher Miller, 2014) 145 Fig. 7.1 A Computer Animated Hand (Ed Catmull and Fred Parke 1972) 158 Fig. 7.2 The wireframe model prior to full digital rendering 173 Fig. 7.3 Polygons are drawn onto the plaster mould as part of the film’s production 175 Fig. 9.1 Copenhagen Cycles (2006) 205 Fig. 9.2 Copenhagen Cycles (2006) 206 Fig. 9.3 Copenhagen Cycles (2006) 207 Fig. 9.4 Copenhagen Cycles (2006) 208 Fig. 9.5 The Bellows March (2009) 209 Fig. 9.6 The Bellows March (2009) 210 Fig. 9.7 The Bellows March (2009) 210 Fig. 9.8 The Bellows March (2009) 211 Fig. 9.9 The Bellows March (2009) 212 Fig. 9.10 The Bellows March (2009) 212 ix x LIST oF FIGURES Fig. 9.11 Shabamanetica (2017) 213 Fig. 9.12 Seeking Motion Hidden (2018) 213 Fig. 9.13 Seeking Motion Hidden (2018) 214 Fig. 9.14 Implant (2015) 215 Fig. 9.15 Implant (2015) 216 Fig. 9.16 Girona Octopi (2016) 217 Fig. 9.17 Shabamanetica (2017) 219 Fig. 9.18 Shabamanetica (2017) 220
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