After completing an MFA in Animation at the Savannah College of Art and Design, he earned a Doctorate in Communication at Georgia State University. Colin Wheeler’s research centers around creative discourse in media industries, with a focus on the animation studios in the United States. United States, University of California Press, 2014.ĭr. The Railway Journey: The Industrialization of Time and Space in the Nineteenth Century. United Kingdom, University of Minnesota Press, 2009. The Anime Machine: A Media Theory of Animation. United Kingdom, University of Minnesota Press, 2001. United Kingdom, Bloomsbury Academic, 2010. America’s Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry. While modern animation may embrace a play of light and shadows, Breer adheres to physical media, demonstrating that flashing blocks and scribbled figures can induce panoramic modes of perception while remaining in dialogue with traditional media as a postmodern mélange.Įagan, Daniel. Unlike the modern conception of a train ride, flying forward as a ballistic missile, this film circles a mountain before returning to the place it started. Fuji depicts the experience of rail travel as a passenger perceives it with naive eyes, presenting a landscape reduced to blocks and frames. Instead, the film bridges the gaps between the two modes of perception in a postmodern recombination. In the far background, Mount Fuji remains unmoving, eventually turning into a single, solid triangle as other forms flit by (see figure 1).īreer’s film embraces the modern panoramic vision embodied by the train, but adheres to traditional watercolor and printmaking techniques, refusing to be wholly modernized. As the objects in the midground flit by, materials in the foreground are rendered with an airbrush, all particles and color. A succession of planes suggests rooftops while other forms resist interpretation entirely. The local intrudes occasionally as reflections of the interior or as a bespectacled person’s face occluding part of the windowpane. Lacking a narrative, Fuji presents a series of images for the audience to decode: a pair of cups pulsate to the rhythm of the train riding along the tracks, roughly rendered human forms appear, while flashes of the photographic burst through the hand drawn. Using this process to isolate the size, shape, and motion of the objects as they fly by the train window, rotoscoping becomes less of a shortcut and more a mode of perception (Eagan 2010, p. Combining ink, paint, motion picture clips, and photography, he traces some footage via rotoscoping. Breer’s film focuses on motion, speeding up, inverting, and repeating subjects. While the train may represent a break from traditional perspectives on space and time reflective on an emerging modernity, Robert Breer’s Fuji (1974) embraces this panoramic vision with the use of traditional materials. Depth gives way to particles that stretch and bend, a blurring moving surface. The glance, once a messenger of discrete forms, instead presents a panoramic mode of vision, in which an entire region unrolls before one’s eyes as a living world devoid of detail. People become unrecognizable when traveling at such speeds, objects in the foreground fly by too quickly to be seen, instead the eyes must rest on the midground. Mechanizing the perception of the passengers like a conveyor belt, the train’s vista emphasized the size, shape, and motion of forms over local sounds and smells. The passenger cannot see ahead, rather they are locked into a view perpendicular to their car. At the time, passengers described the experience as becoming a projectile, losing control of one’s senses as one hurtles through space. The emergence of the locomotive obliterated any sense of ordinary time and space, stripping away the ordinary world through sheer velocity (Schivelbusch 2014, p. Early, Silent and Pre-cinematic Animationįigure 1.CFP dedicated to accepted SAS 2020 presenters.The Persistence of Walt Disney’s Snow White and the Seven Dwarfs.The Interdisciplinary Opportunity of Animation.Technological developments in animation II (the post digital).Technological developments in animation I (pre-digital).Past and Present of Independent Animation.Norman McLaren Centenary: McLaren and Movement.New Theoretical Approaches in Animation.
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