THE JUBILANT PILLARBOX Chrissie Peters CGA&A year 1 Unit 5 - Animation

Draft Storyboard

Draft Storyboard

Draft Storyboard

Early Influence Maps

Draft Character Designs

Links to work
Animation Work: http://small-brown-dog.blogspot.co.uk/2012/03/unit-5-gesture-drawings-1.html http://small-brown-dog.blogspot.co.uk/2012/03/unit-5-cannon-ball-animation.html http://small-brown-dog.blogspot.co.uk/2012/03/unit-5-bouncing-ball-animation.html http://small-brown-dog.blogspot.co.uk/2012/03/unit-5-animation-group-morph.html Maya: http://small-brown-dog.blogspot.co.uk/2012/03/unit-5-maya-leg-rig.html http://small-brown-dog.blogspot.co.uk/2012/03/unit-4-maya-car-camera-shake.html Life Drawing: http://small-brown-dog.blogspot.co.uk/2012/03/unit-5-wk-1-life-drawing.html Animator Profiles: http://small-brown-dog.blogspot.co.uk/2012/03/unit-5-animator-profile-norman-mcclaren.html http://small-brown-dog.blogspot.co.uk/2012/03/unit-5-animator-profile-winsor-mccay.html

Essay Introduction
This essay explores the animated paper-cut films of Lotte Reiniger. It will begin by defining animation and its terms using material from Ken Priebes book, The Art of Stop Motion Animation (2006), and Amanda and Chris Robinsons book Animators Unearthed: A Guide to the Best of Contemporary Animation (2010). Then, using David Currells book Shadow Puppets and Shadow Play (2007), the essay will briefly examine the historical uses of paper-cutting as an art medium. Next it will use Harriet Margoliss essay Shadow and Substance: Reinigers Carmen Cut her own Capers (2005) and Rhiel, OSickey and Majers book Riefenstahl Screened: An Anthology of New Criticism (2008) to investigate Lotte Reinigers cultural background in order to understand what influenced her. Then the essay will reference Robert Russett and Cecile Starrs book Experimental Animation: The origins of a New Art (1976) and Donald Craftons book Before Mickey: The Animated Film 1898-1928 (1982) to look at the culture of childrens animation in 1920s in order to place Reinigers work contextually. It will then identify any areas in contemporary animation that may have been influenced by Reinigers style, and discuss the reasons for this, using sources including Paul Wells (2006) Fundamentals of Animation and Anat Zanger (2006) Film Remakes As Ritual and Disguise: From Carmen to Ripley.

Bibliography
Crafton, D. (1982) Before Mickey: The Animated Film 1898-1928 London: University of Chicago Press
Currell, D. (2007) Shadow puppets & Shadow Play Ramsbury: Crowood

Margolis, H (2005) Shadow and Substance: Reiniger's Carmen Cuts Her Own Capers in Perriam, C and Davies, A (2005) Critical Studies, Volume 24 : Carmen : From Silent Film to MTV Amsterdam: Rodopi
McMahan, A. (2010) Films of Tim Burton: Animating Live Action in Contemporary Hollywood London: Continuum International Publishing Priebe, K (2006) Art of Stop-Motion Animation Boston: Course Technology

Reiniger, L (1970) Shadow Theatres and Shadow Films London: Batsford

Rhiel, N., OSickey, M., and Majer, I (2008) Riefenstahl Screened : An Anthology of New Criticism NY: Continuum International Publishing Robinson, A & Robinson, C (2010) Animators Unearthed : A Guide to the Best of Contemporary Animation NY: Continuum International Publishing Russett, R. and Starr, C. (1976) Experimental Animation: The origins of a New Art NY: Da Capo press Wells, P (2006) Fundamentals of Animation London: AVA Zanger, A (2006) Film Remakes As Ritual and Disguise : From Carmen to Ripley Amsterdam: University Press