Chapter 5. the animation auteur
Pages 69-102.

In animation, authorship can be hard to define. Some animations are made by big teams, like Disney movies, where many artists work together. Other animations are made by just one person, especially in independent films. Wells explains that animation can be “Textual” or “Extra-Textual.” Textual authorship means you can see the creator’s style and ideas in the film itself. Extra-Textual means the creator’s influence goes beyond the film—maybe through a studio’s brand or in the way people think about animation in general.

Walt Disney is a great example of Extra-Textual authorship. Disney didn’t draw everything himself, but his vision shaped every Disney movie. People around the world recognize the “Disney style,” even though it’s the work of many artists. Wells also talks about Ray Harryhausen and Caroline Leaf. Harryhausen was known for his stop-motion animation in live-action films; he added his own touch even though he worked in big studios. Leaf, on the other hand, worked alone and controlled everything in her films. She’s more of a classic auteur, where one person shapes the whole project.

Reading this made me realize there’s no one way to define “authorship” in animation. Animation can be a big team project or the work of a single artist. It can feel personal or like part of a larger brand. Now, when I watch animation, I think about who created it and how their style or ideas show up. It gives me a new way to appreciate the art of animation.