Neighbours

Overview

The neighbor was the 1952 film of Norman McLaren. The film tells the story of two original neighbors, and they began to fight for a flower.

Classification

Type: Experimental animation with dark humor and social satire.

Themes: Violence, human nature, conflict.

Mood: The film starts calmly, but soon turns intense, shifting from lighthearted to serious.

Form and Function

McLaren uses a technology called “pixilation”. This technology makes the film look more like a top animation and children’s album, which enhances the feeling of fable

Process

Neighbours is a classic example of pixilation. McLaren filmed each movement of the actors frame by frame, making their actions appear unnatural and exaggerated. This technique turns the actors into almost puppet-like figures, symbolizing the mindless and mechanical nature of people when caught in conflict. McLaren also added illustrations and animated effects to enhance the film’s impact.

Formal Elements

Space and Composition

The setting is very simple, almost like a stage. The two neighbors are placed close together in one small area, which reflects the idea of fighting over limited resources. The composition is clear, focusing on the characters’ movements and emotions.

Color and Lighting

The film is in color, and the flower is especially bright, standing out as the center of conflict. The flower’s vivid color represents desire and possession, reinforcing the film’s theme.

Movement and Rhythm

The jerky, repetitive movements created by pixilation make the fighting scenes look absurd and exaggerated, almost like a cartoon. This mocks the idea of people fighting over something small.

The world of animation is full of possibilities, and among all the styles, Pixar animation and girl band anime are two of my favorites.

I grew up with watching Pixar animation movies. Pixar films often focus on themes like family, friendship, and adventure, with creative ideas and beautiful visuals. Pixar movies are fun but also have deep meaning. For example, Toy Story explores ideas of companionship and growing up, while Coco looks at memory and family bonds. These movies touch a soft spot in our hearts and remind us of things we sometimes forget. Pixar films are not only for children; they have emotions and ideas that adults can also feel deeply. The way Pixar tells these stories feels warm and gentle, like watching a play about life that feels both new and familiar. This mix of warmth and depth is why I love Pixar films.

Girl band anime has a different kind of appeal. It makes me think of the energy and excitement of youth. In these stories, the main characters are usually young girls who form a band, face challenges, and grow together. They support each other through tough times, and their journey shows the strength of friendship and determination. The characters have clear personalities, and their friendships feel real and full of life. For example, in Girls Band Cry, the characters go through a lot of self-discovery and face hard moments. Their laughter, tears, doubts, and courage make it easy for the audience to connect with them and cheer for them.

Pixar animation and girl band anime are very different, but they both fascinate me. One shows the thrill and passion of youth, while the other gives a comforting sense of warmth and meaning. Watching these types of animation keeps my interest strong and makes me excited to find more great stories in animation.

Film as a “Window” and a “Frame”

The movie screen is often seen as a “window” or a “frame.” A “window” gives a realistic view, allowing audiences to look into the movie world naturally, as if seeing “life as it is.” Italian Neorealism is a good example of the “window” idea, showing real social situations like in Bicycle Thieves.

On the other hand, the “frame” idea is more about constructing a specific view. Directors use framing and camera work to control the audience’s experience. This approach highlights film as an art form, where limits become a tool for expression. Soviet Formalism, as seen in Battleship Potemkin, uses the “frame” to create emotion and meaning.

Film as a “Door”

A film screen can also be like a “door,” symbolizing an entry into a new world. The screen as a “door” leads viewers into different scenes or worlds. In classic films, doors often represent a change of scene, as well as a chance for the audience to enter a new level of the story. This shift can make viewers curious and engaged, like in The Matrix, where characters go through “doors” into a world mixing reality and virtual reality.

Film as a “Mirror”

Modern film theory also sees movies as a “mirror,” reflecting the audience’s inner self. Through mirrors, movies show both the outside world and lead audiences to look within. This reflection can make viewers think about the connection between film and real life. For example, films like The Lady from Shanghai use complex mirror shots to give insight into characters’ inner thoughts and feelings.

The Special Role of Animation

The lecture also discussed the unique role of animation. Some believe animation is not just a type of film but can be the foundation of film theory itself. Animation is entirely based on the creator’s imagination, showing ideas, forms, and movements created by hand or digital tools. Animation gives storytelling more flexibility, allowing the audience to experience a new world through the creator’s view.

Some personal idea

I find the idea of “screen worlds” really interesting because it shows how movies can give us different kinds of experiences. When a movie is like a window, it feels like I’m just watching another person’s life from a distance. But when it’s like a door, I feel drawn in, almost as if I’m stepping into the story myself. The “mirror” idea is also something I think about. Some movies make me reflect on my own thoughts or emotions, as if they’re showing me parts of myself. This can make watching a movie feel more personal and meaningful. The part about animation also stood out to me. Animation doesn’t have to follow real-world rules, so it can create anything the artist imagines. It made me realize that all films, in a way, are a form of imagination brought to life, whether they’re animated or not.

What is Genre?

Genre is a “type” or “category” of film. As the film industry grew, genres became useful for production, distribution, and marketing. They set audience expectations, making it easier to decide what to watch. Common genres include action, comedy, romance, and sci-fi. There are also “supra-genres,” like silent vs. sound or Hollywood vs. world cinema, which don’t directly guide production but influence how people view films.

Who Decides Genre?

Producers first used genre to increase profits by aligning with audience preferences. Early surveys showed that westerns, comedies, and detective stories were favorites. Genres also shift over time. For instance, musicals and westerns were highly popular in earlier decades but became less common later. However, movies like Frozen and The Greatest Showman show that some genres can still make a strong comeback.

Canon and Its Preservation

The “canon” in film studies refers to movies with long-lasting cultural or artistic value. The canon is influenced by archives, scholars, critics, and audiences. Archives play a big role by choosing which films to restore, keeping classics like The Wizard of Oz alive for new viewers. Critics and scholars also promote certain films, while audience favorites—like The Shawshank Redemption—add to what’s considered classic.

Changes in Film Access

With digital technology, how we watch films has changed a lot. Fans can now view movies not just in theaters but also on streaming services. While streaming makes access easier, it also comes with issues like content removal and regional restrictions, which have led some to prefer owning DVDs or Blu-rays.

Some personal idea

I think genre and canon are useful for organizing movies, but they can sometimes feel limiting. Not all movies fit perfectly into one genre, and some unique ones don’t get much attention because of this. The canon often includes only “serious” or “artistic” films, while many movies that people enjoy might be left out.

Streaming has made it easier to watch many films, but there’s a problem: movies can be removed when licenses change. This makes me feel that having physical copies is still important, especially for hard-to-find films. Overall, while genre and canon help us choose, I think it’s good to stay open to all kinds of movies, even if they don’t fit traditional ideas of “great cinema.”

The Role of Audiences in Cinema

Early cinema, like the Lumière Brothers’ Cinématographe, established film as a shared experience. Gripsrud and Lavik argue that movies are defined by being shown to a group audience. Although audiences are made up of different types of people, early films often showed them as easily scared. For example, it was rumored that Arrival of a Train at La Ciotat frightened viewers so much that they ran away, though this was likely exaggerated. Even early on, audiences understood that films were not real, and they enjoyed the emotional thrill—just like today’s viewers do with horror films, 3D, or VR.

Audience Research Beyond the Cinema

Audience reactions are not only about enjoyment but also reflect cultural values. Richard Dyer and Jackie Stacey studied specific groups (like LGBTQ+ people and female viewers) and how they related to stars, often showing deeper social issues. This research shows that audiences are not just passive—they can influence how movies are understood in culture. There is also the idea of an “aca-fan,” where some people are both fans and scholars. This role tries to balance personal enjoyment with a critical view.

Different Ways to Interpret Animation

When studying animation, scholars usually aim for an objective view, rather than just personal opinion. For example, Daniel Szczechura’s film The Journey uses a slower pace, encouraging audiences to interpret it in their own way. Likewise, Rudolph the Red-Nosed Reindeer has been reinterpreted by some viewers with LGBTQ+ themes, showing how personal and cultural backgrounds can give new meanings to a work. These different ways of understanding show that animation isn’t just for telling stories; it’s also a space where audiences can find their own meanings and connections.

Some personal idea

I think audiences do more than just watch animation—they bring their own feelings and ideas to it. This can make the story feel different for each person. So, animation becomes a place where people can find their own meanings and connect with it in personal ways.

Aura and the Role of the Creator

Laura U. Marks describes animation as a way to give life or “aura” to objects. This idea reflects the complex relationship between the creator and the work, where the animator brings characters to life, making them seem independent. In early animation, artists were seen as “magicians” performing tricks, like Georges Méliès with his “stop trick,” which created magical illusions on screen. During this period, animators often appeared directly in front of the audience, emphasizing their role as performers.

The Animator’s Retreat and Character Independence

As animation developed, creators stepped back from being visible, allowing characters to appear more independent. For example, J. Stuart Blackton’s 1906 film, Humorous Phases of Funny Faces, was one of the first to show continuous frame-by-frame animation, giving characters a sense of life on their own. This shift moved the focus from the animator as a “magician” to the animated character as a lively, independent figure.

Hollywood’s Idea of the “Author”

In Hollywood animation, a main creator, like Walt Disney, is often given credit as the “author,” even if he didn’t personally create the animation. His influence over the final direction of a project still made him the central figure. Directors like Chuck Jones also put their personal style into characters and stories, making the work feel unique. This “author” idea in Hollywood recognizes the main creator’s influence on the animation, highlighting them as the main voice behind the work.

Auteur Theory and Anti-Intentionalism

The French magazine Cahiers du Cinéma presented “auteur theory,” which says the director is the main creator of a film. François Truffaut explained this by separating those who simply arrange scenes from “auteurs” with strong artistic vision. In contrast, Roland Barthes’s “Death of the Author” suggests that a work’s meaning should come from the audience, not the creator’s intentions. This is especially relevant in animation, where viewers often see characters as having their own lives and meanings that the audience, rather than the creator, brings to them.

Animated Characters as Virtual Authors

Due to their lifelike qualities, animated characters can become “virtual authors.” Viewers often see these characters as independent, memorable figures, such as Bugs Bunny or Mickey Mouse, rather than as just creations of the animator. The unique charm and independence of these characters make them appear to have their own “authorial” presence in the story, showing how they hold a special place in the viewer’s experience.

Some personal idea

In animation, having a single “author” is difficult due to the collaborative nature of the work. While main creators (like directors) have significant roles, the finished animation is shaped by the efforts of many people. Anti-intentionalism also opens up space for the audience to interpret the work in their own way, giving viewers a unique perspective on the characters and story. Therefore, a multi-perspective approach is best for understanding authorship in animation, recognizing both the contributions of main creators and the roles of supporting teams, while also valuing the audience’s personal interpretations. This layered sense of authorship highlights animation’s richness and variety as an art form.