Racial Diversity and Representation

Following on from a post on Female representation in animation, I feel it is a natural progression to then discuss the often stereotypical or offensive racial representation in animations. General media and Hollywood often gets a lot of stick for their racial representation, either white washing roles, not giving roles to people of colour or adhering to outdated stereotypes.
In the animation industry, Disney has received a lot of criticism for this over time, with examples seen here: http://screenrant.com/worst-racial-stereotypes-offensive-disney-movies-animation/?view=all . However I think that it's fair to say that improvements are being made with the likes of Moana now being produced. Similarly, Big Hero 6 saw progression with a multicultural cast including an African American and Japanese American.
I think it's important to make people aware of the critical importance of equalising racial representation and the positive impact it can make on groups in society. I would love to look into the development of racial representation in animation/ film (on and behind the screen) through history and any initiatives which are working to better the issue in the same way that Women in Animation UK are.

The cast of Big Hero 6

M.A.F / In Your Own Time

Manchester Animation Festival:

Panel: In Your Own Time 

 

This was another interesting panel at M.A.F which I went into not knowing what to expect, but left feeling very fulfilled, entertained and educated. Twenty- five years after its release, Ian Mackinnon introduced us to the amazingly inluential short The Sandman and it still remains as an impressively scary piece of work. It's always amazing to hear creators talk about where they came from, the difficulties that came with having little money and resources which are overcome with pure passion for the art. The Sandman can be seen here: https://www.youtube.com/watch?v=UjgHbRrnjhU

Then we viewed possibly one of my favourite pieces of the whole trip when Mike Mort presented Chuck Steel: Raging Balls of Steel Justice (which can be seen here: https://www.youtube.com/watch?v=RAuqceq8jME). Honestly I don't think there was a moment where I wasn't in hysterics laughing, or reeling from said hysterics; nor have I been in a situation where my peers, tutor and I were all cry laughing for fifteen minutes straight, stuggling to compose ourselves even when the panel had begun. Comedy is so hard to perfect, punch lines and excellent timing are not something to be taken for granted, it takes real mastery.
This partnered celebrating 40 years of Aardman with Peter Lord and David Sproxoton, which serves as a reminder that traditional methods of animation can still be successful amongst the overwhelming popularity of CG films.

M.A.F / Women in Animation

Manchester Animation Festival: 

In the Frame: Women in Animation

This was a panel that I was excited for all week, it was very refreshing for the importance of this subject to be recognised by the festival. Animation is known to be a male dominated industry and this panel sat to discuss how women have historically been presented in animation as well as the women's involvement behind the screen. Whereby representation has always seen the female character to be inferior to the male protagonist, needing his help as she stands as a damsel in distress, or presented in an overly sexualised manor, as seen in so many different forms of media. It was interesting to hear a female, expert opinion on this topic.

The panelist Lindsay Watson works in association with Animated Women UK whom aim to support a network of women in fulfilling their potential in the industry. They believe that "This change will be visible when we see results such as: better female characters on screen, an increase in women-led start-ups and an increase in women winning awards in technical areas." Saying this, I think it's important to mention that there are no women of colour amongst their assigned "amazing team".

Another notable panelist was Terry Wragg, who showed us the work on Give Us a Smile which was in partnership with Leeds Animation Workshop: https://www.youtube.com/watch?v=81z4A1g2T6Q .
I loved this piece of work, it was another healthy reminder that animation can be a platform for dicussing topics that are considered 'taboo'. In retrospective I can now see that this may have influenced an initial idea that I had for the module 'Make 'em Laugh' which dealt with the every day sexisms that women encounter. 

M.A.F / Studio AKA

Manchester Animation Festival: 

Masterclass: Studio AKA

 

Studio AKA showreel:https://vimeo.com/204385299  

This was one of the most memorable panels of the trip for me, I thought that I wasn't aware of the Studio prior to the panel but I soon discovered that I am very familiar with a lot of their work. Studio AKA are multi-BAFTA winning, Emmy awarded and Oscar- nominated; yet you could not link all their extensive pieces of work back to the studio and I think this is indicative of their work ethic. The talk was led by AKA partner and director Philip Hunt, who talked about the fact that the Studio do not maintain a house style, and as he mentioned with a somewhat dry but amusing humour, they take commissions wholeheartedly without prejudice often to fund their personal projects. This results in an awe inspiring range of work, all showing character and narrative, flexibility and adaptability, undeniable talent in a way to approach any brief. Hunt also enlightened us that in every Lloyds TSB advert, one of the head animators made it their mission to include a trainspotter, which can be seen in the montage below:

Trainspotter Spotting: https://vimeo.com/75868029

M.A.F / Shorts and Student Shorts

Manchester Animation Festival: Shorts and Students Shorts

This week we had the joy of attending Manchester Animation Festival where we were able to watch a multitude of Shorts, Short Shorts and Student Films. Amongst many that I enjoyed, the films below particularly stood out to me.
(As well as Mr Madila by Rory Waudby-Tolley (which I have already written about on my Studio Practice blog) and Perched by Liam Harris.

Jonas and the Sea by Marlies van der Wel was a beautiful watch for me, I instantly fell in love with the decision of combining cut outs and 2D animation, I found the style very reminiscent of a children's illustrated story book which served to enforce the hopeful, youthful energy of the character and narrative. We follow a man on a pursuit for his dream, a place to call home. He must face trials and tribulations but his perseverance just allows us to love his character even more.

https://vimeo.com/139247915 

The Wrong End of the Stick by Terri Matthews is a film that we watched by the National Film and Television School and it's safe to say it is one that will be at the forefront of our M.A.F memories. Something so refreshing about Student Films is that they don't have anything to lose and you can sense a real creative freedom, which is why I think we were all taken aback by the subject matter of this animation. It was such an interesting watch to have the characters rotascoped and the backgrounds being real, I think it was a perfect way to approach this story with a dry (and somewhat uncomfortable) humour. A lot of the more risque shots definitely would've lost their comedic charm if they had been live action.

https://vimeo.com/178512561

Previous to attending the festival I had seen work from Ainslie Henderson, such as the music video Moving On and have been in awe of his ability to create such character and emotion with mixed media. I thoroughly enjoyed the viewing of his animation Stems, it starts as a documentary style of filming where we learn about the making of stop motion models and flawlessly transitions to seeing the characters sprout to life. We watch their life cycle flash past so quickly in an inspiringly creative way.

https://vimeo.com/131547587

Ghibli female representation

A look at the representation of females in Ghibli films


We must ask that with the responsibility of opening children’s minds to the world, rather than confining them, should they not be exposed to characters with more diverse looks, personality and goals? Miyazaki’s films don’t over sexualise the female form; he provides a space for children to embrace imagination and creativity, rather than forcing gender roles upon them. I believe a childhood should be exactly this; it does not mean destroying the idea of princess’ altogether, it means fuelling them with ambition and versatility instead. My Neighbour Totoro is indicative of this; it speaks of fantastical beings which can only be kept alive by the imagination of a child.

Speaking of Spirited Away, Miyazaki said “I would like to make this film something through which ten year old girls can encounter what it is they truly want”. He provides a healthier reflection of a child character for viewers; the style of animation is often referred to as Shojo, meaning wide eyes, narrow waists and high foreheads. There is no attempt to sexualise the characters, in fact a designer working with Miyazaki claims that he “would constantly flatten Lin’s chest line, making her look boyish”; and the androgynous male characters argue that Miyazaki films do not centre around gender archetypes but the strength of the story. Unlike Disney, we are not shown females who aim to marry and find love, in Spirited Away she “will survive by making full use of her brain” and not by relying on a male counterpart. The young protagonist Chihiro quickly learns that to save her parents and be a heroine she must demand work; and it is resolved that Haku, the boy who originally helped her merge into the spirit world is finally freed by Chihiro’s intuitive deductions.

On the other hand, Miyazaki provides us with indisputable heroines. In Howl’s Moving Castle, Sophie may be cursed with an aging spell but she shifts in forms depending on mood and she does not rely on her younger face to attract Howl. The shifts she makes are powerful in” revealing that she has control over the spell”  and undeniable mental strength, contrary to the vain, weak minded male lead, Howl. Likewise, Princess Mononoke provides a cast of very influential women where romance and marriage is not their driving force. Lady Eboshi is a refreshing villain; she is ruthless and encourages violence in the women that she supports. However unlike Disney villains, she is allowed to maintain her femininity- wearing a pink ribbon and the only female to wear red lipstick. Contrary to this, Disney’s villains are created so that ambitious, powerful females are associated with being vulgar and unattractive. Whereas in Princess Mononoke, the “women prove to be more adept at...keeping their community together”; the wolf princess San is somewhat violent and short tempered which are often portrayed as masculine traits, yet this films shows no gender constraints and allows the women to be emotional and opinionated in their fight through their stories. “Any woman is just as capable of being a hero as any man”.

Miyazaki is a creator who refuses to remain submerged in gender roles and believes in nourishing the imagination of children, not encouraging them to grow up too fast with over sexualised propaganda. Sexuality and womanhood is approached subtly with metaphors of flames and blossoming flowers, which are untouched by the young minds of the audience.

Miyazaki’s films are  progressive with themes that are pro feminism, this could be because he lives in a time where female embodiment is being questioned and revolutionised and therefore he gets more female positive influences.

Who am I? Why am I here? What do I want to learn?

Why you chose to study on this programme?

·       Watching animations always calm me, and despite feeling at ease and loving every process of making one, the nature of the course is always challenging and throws problems in the way.

·       I enjoyed and took to A Level graphics well, the projects with character rather than standard branding. I think this led me to find an appreciation for characters and a yearning for something more, to make the characters move. I always found myself leaning towards concepts and plots which is more viable in animation.

·       It excites me that animation may offer wider job prospects in that there is storyboarding; gaming; character and concept design amongst its opportunities so there’s no pressure to be tied down by one.

·       The course nurtures many skills: communication, critical analysis, drawing and design, teamwork, storytelling and understanding of filmography and software. I much prefer this studio environment where discussion is encouraged.

·       There are many routes amongst animation to take, be it traditional 2D, digitial 2D or 3D; you can find which best suits you creatively whilst testing without there being pressure of a house style.

What do you want to learn during your time on the programme?

·       I definitely want to master the art of timing; getting a solid understanding of the principles of animation, starting with hand drawn.

·       Understanding how to incorporate moving foregrounds and backgrounds- whether this is in editing or can be done during the process digitally I don’t know?

·       To be clear on movement, colours, everything behind successful character design.

·       At least the basic ins and outs of 2D hand drawn, digital; 3D digital and Stop motion.

·       How to make a success of the less considered steps before and after the final animation: storyboards, animatics, sound, editing etc.

What skills do you think are your strengths?

·       I like to be organised with my work load and try to manage my time most effectively for briefs and deadlines.

·       Although not outstanding, I have a decent standard of drawing to start me off for the course.

·       I never really struggle to think of ideas (whether they’re considered bad or good I don’t know). I love finding a conceptual base to my animations or a more basic narrative- as long as there’s a drive.

·       I don’t have “my thing yet”, I don’t specialise in any particular style or animation which leaves me to be very open minded to trying new techniques and ideas.

·       Happy to work within groups; I thrive much more on discussion of ideas and techniques, I find critiques very helpful.

What things do you want to improve?

·       I desperately want and need to improve my skills on my drawing tablet (my work is as good as a hedgehog holding a pen in its mouth and attempting a self portrait).

·       2D stop motion timing- I have tried silhouette work and paper cut outs in the past and a lot of work needs to be done on making smoother movement.

·       To stop comparing myself to peers and well established artist; to have more self assurance in my own work and ideas.

·       Drawing the human body, whether this be realistic or in a cartoon style- I want to have a full understanding of the body and is movements to be able to draw without reference.

·       Using software at a higher level; specifically those for editing or assisting 2D digital animation.

What ways you will evaluate your progress?

·       Keeping 2D pieces (digital or traditional) in order to compare past and most recent attempts at redrawing pieces, or similar pieces.

·       I could try to frequently make short (seconds) animations to quickly practice techniques and be able to visibly compare any progress.

·       Drawing skill- I could challenge myself to speed drawings or drawing under different timings to check if my confidence and competence has improved.

·       Maintain a journal/blog to keep an assessment of feelings towards techniques, skills, projects and progress.

·       Absorbing all evaluations I can from peer and tutor critiques, applying said improvements to future work and noting whether these issues crop again.

Disney female representation

A look at the past negative representation of females in the Disney Studios

The 2012 Disney Pixar film 'Brave' starred a messy haired, adventurous young girl Merida. With strength, wit and refusal to adhere to society’s ideal ‘pretty princess’, she was a character that any young girl should be happy to aspire to. The original Merida toy embodied this with chubby rosy cheeks and a youthful round face; but Disney sought to transform her to a sexier, svelte body shape as shown in figure one. This sparked petitions forcing Disney to return to the original. The creator of Merida, Brenda Chapman agreed that we should be providing young girls with “a better, stronger role model, a more attainable role model; something of substance, not just a pretty face that waits around for romance".

The 1937 Snow White and the Seven Dwarves, Disney portrays the young woman as the epitome of purity, domesticated for the seven men in the house; singing and dreaming of a prince. She’s assigned no signs of strength, ambition or even a raw personality. The idea of being seen and not heard is depicted through her delicate spins and gasps and coy laughs of delight. But the truth is that anyone in the late 1930s would have presented a young woman in the same way so it is unfitting to compare these old films to today's standards. It doesn't mean we can't expect more of the up and coming films though.

It has been said that Disney’s construct of gender is “androcentric and dichotomies, with women and nature objectified for the benefit of the male subject”. This shows true in that Disney’s designs only positively portray one body type, which is commonly attractive to men- narrow waists, unrealistically long legs, slim limbs but ample breast and delicate facial features. In the films, male hands are often three to four times larger than the women’s when realistically the male wrist is on average about 15% larger in circumference.

Joanna Quinn Appreciation Post

Joanna Quinn

I adore the work of Joanna Quinn as I love independent English animation. Her impecable drawing skills lend to animation well in order to create beautifully fluid and dynamic sequences. The aim of her company is to lace their animations with humour, and always without failure. They never fail to entertain, especially with the colourful character of Beryl who creates very accessible content for audiences.

Whilst studying in my foundation course I particularly fell in love with the animation 'Body Beautiful' https://vimeo.com/31376892 
The wonderful thing about Quinn's female character designs is that it's not the stereotypical size 8 young woman that is featured, but an older, curvier woman who is not as represented in the many forms of media. It shows that there is power and strength in all body shapes.
This was also a source of motivation to see a woman in such a male dominated industry, catering to the wants of women and breaking through stereotypes.

Your Face (1987)

Your Face, by Bill Plympton

https://vimeo.com/122669829

I love this. This is the animation that made me want to study animation so it is one that I will never forget. At the time I had only studied hand drawn so this was so inspiring to me, I remember sitting in awe watching the face transform beyond human possibilities. It amazes me the amount of frames, time and patience that would be involved, whilst maintaining the use of colour throughout the character- it is shaky but I think this use of the boiling technique helps maintain the kinetic tone of the animation.
This is also very relevant to current studies because it is a perfect example of the squash and stretch principle. It demonstrates timing and anticipation whilst the features twist and bounce about. What blew me away is how they could even comprehend what the face shapes would look like after such distortion whilst handdrawing- it's so abstract that there are absolutely no reference photos for a face wrapping around its own head.

Stills from the animation

Illustrator | Simone Grunewald

Simone Grunewald
@schmoedraws on Instagram

I follow a lot of art accounts on Instagram in order to maintain a constant influx of artistic influence even when I'm not constantly drawing. The great thing about these social platforms is that the work displayed is not always formal, so you can scroll through quicker, sketchbook work of artists too. The beauty of this account in particular is the versatility of the posts and the ability to see both hand drawn pencil drawings and digital art. I look to this artist particularly for character design where I wanted ideas of how to finalise drawings in terms of colour, poses and technique. After being introduced to the wonder that is using prismacolour pencils for sketching I have found myself magnetised to artists who also leave some of their initial sketches in coloured pencil.
I look to artists such as these who don't focus their work in an anime style- Grunewald manages to create so many dynamic facial expressions and personalities with her work, which is great to use as reference. She also allows herself to be inspired by the real world- taking commissions of outfits or of her own and then creating stylised illustrations. I should try and take inspiration from things that seem menial, but to elaborate them by practicing my drawing skills. Day to day happenings are like having a random word generator at your finger tips to find inspiration for drawing subjects.