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    Experimental animation is considered avant-garde due to its abstract and non-narrative styles that use shapes, color, rhythm and movement. It defamiliarizes the familiar using techniques like direct animation on celluloid, paint on glass animation, sand animation, pixilation, claymation, and mixed media animation. These techniques establish their own cinematic languages and combine the radical and familiar to create surreal, shocking, and defamiliarizing animated works.

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    Experimental animation is considered avant-garde due to its abstract and non-narrative styles that use shapes, color, rhythm and movement. It defamiliarizes the familiar using techniques like direct animation on celluloid, paint on glass animation, sand animation, pixilation, claymation, and mixed media animation. These techniques establish their own cinematic languages and combine the radical and familiar to create surreal, shocking, and defamiliarizing animated works.

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    13 views10 pages

    Experimental Animation

    Uploaded by

    janhvimehta
    Experimental animation is considered avant-garde due to its abstract and non-narrative styles that use shapes, color, rhythm and movement. It defamiliarizes the familiar using techniques like direct animation on celluloid, paint on glass animation, sand animation, pixilation, claymation, and mixed media animation. These techniques establish their own cinematic languages and combine the radical and familiar to create surreal, shocking, and defamiliarizing animated works.

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    of 10

    EXPERIMENTAL

    ANIMATION AS AN
    AVANT GARDE FORM
    group 6
    Barira, Janhvi, Noorail, Shringarika, Shruti, Suhana
    Why is Experimental Animation
    Avant Garde?

    ● Giving movement to art



    ● Abstract - uses shapes, colour, rhythm, movement in a non-linear and
    non-narrative fashion.

    ● Use of materiality (mixed media) and textures

    ● Defamialiarises the familiar 

    ● Early contributors include Hans Richter, Viking Eggeling and Walter
    Ruttman

    

    Direct Animation ON
    Celluloid

    ● Direct animation as avant garde technique



    ● Three major methods to achieve direct
    animation.

    ● TRADE TATTOO by Len Lye(1:52) 

    ● Direct Animation: light painting

    ● LUCKY by Lyndon Lehde for All India Radio
    Paint on Glass Animation

    ● Creating the illusion of moving image



    ● Plenty of organisms and spiritedness
    through the fluidity of paint

    ● Establishes its own dialect with
    cinematic language

    (Is it Love? A film about domestic violence, 1:23-1:30)


    ● Literal translation of sophisticated fine


    arts painting
 The Man and the Sea (1999), Dir. Aleksandr Petrov

    Sand Animation

    ● Manipulation using tools or fingers on a backlit surface



    ● Invented in 1968 by Caroline Leaf whose short film The Street (1976)
    was an Academy nominee

    ● New medium. Elements of shock, movement, disorientation, abstract.


    ● https://vimeo.com/1142479 - Visual interpretation of the Spanish song

    ‘Quen Engana No Gana’ by Ojos De Brujo



    Pixilation and Norman Mclaren

    ● Neighbours - Norman Mclaren (1952)


    [2:24-2:44]

    ● Live actors as stop motion objects

    ● Rhythmic nature 

    ● Hand-drawn Sound created by
    scratching the edge of the film

    ● Artificial, unnerving and defies space,
    time and geography

    ● Combining the radical and the familiar

    

    materiality through Claymation

    ● A form of stop-motion animation that uses clay or plasticine figures 



    ● Use of tactile nature of objects to depict a more surreal approach 

    ● Object animation- stop motion with found objects


    Found objects as puppets
 Gestural sculpture in ‘Dimensions of Dialogue’



    Mixed-media Animation

    ● Lunch- Jan Švankmajer (1992) [2:44-3:08]



    ● Combination of stop-motion, claymation,
    pixilation, & live action

    ● A simple act of having a meal is converted
    into something grotesque 

    ● Use of distinctive sounds like tongue
    clicking, water splashing, wood creaking

    ● The surrealist aesthetics aim to liberate the
    imagination of the viewer through objects 


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