Wells Reading

The range of animation is so broad it can be hard to classify. This article attempted to break down and describe dimensions between two varying extremes in animation practice. One extreme was the "hyper-realist", typical of Disney animation, the other being the "non-objective", as in an Oskar Fischinger or Jordan Belson animation. Wells also describes the terms and conditions of each camp of animation. Their differences are very much similar to the distinctions between a live-action Hollywood and experimental films. One reaches to maximize the narrative clarity and the other disregards it for freedom. Developmental animation is used to describe any animation that utilizes elements from each of the extreme forms of animation. In the Hyper-realist and what Wells describes as orthodox animation the stimuli of the animation has specific intended relations to real world objects. What he calls configuration. Like Daffy being a duck, or the sound of Bugs bunny chomping on a carrot. All are predetermined to be indicative of real world images or sounds, although the capabilities of the characters and objects can sometimes to extremely unrealistic. Above all, narrative is what is intended to elicit emotional responses. In the non-objective and experimental form there is no intended correlations to the outer-world. Instead abstract images and sometimes sounds, or music, are intended to elicit emotion. Lines, shapes, colors, rhythm, movement all become determining factors in what makes the drama of the animation. The orthodox animation has a team of people working on each film which leaves the role of the artist out for the experimentalists to pick up. The assembly method of the orthodox animation requires a unity of style between the various portions of the project to generate an overall complete piece. The experimental tries to use multiple styles which is more capable of a single artist. While the experimental film often draws attention to the colors, shapes, and textures used to make the film, the orthodox animation tries to mask these things in attempt to maximize its narrative content. What it boils down to is that the orthodox form constricts itself to narrative clarity and serves that purpose as well as profit the best that it can. The experimental strives for total freedom in exercise of artistic inclinations.