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.