My presentation of critical report Music in New Generation Girl Band Animes

Avant-Garde and Sensory Exploration

Avant-garde art emphasizes experimentation, not only in technique but in exploring the unconscious and uncharted territories of perception. Modernist abstraction and the avant-garde sought to synthesize sensory experiences and reflect the impact of emerging media like photography, cinema, and radio.

Synaesthesia and Isomorphism

Synaesthesia involves cross-sensory experiences, such as associating colors with sounds. somorphism explores structural similarities across different sensory modalities, leading to complementary aesthetic experiences.

Visual Music and Animation

Pioneers like Oskar Fischinger, Len Lye, and Norman McLaren integrated dynamic visual languages and choreographed graphics with music. Animation music ranges from tightly synchronized soundtracks to more freeform applications, exploring sound-image relationships.

Sound and Image Interactions

Concepts like diegetic/nondiegetic and synchronous/nonsynchronous sound shape the narrative and sensory experience of media. Acousmatic sound (sound without visible sources) and its implications for media theory are discussed, with references to Michel Chion’s analysis of sound and its contextual dynamics.

Media Evolution and Theoretical Context

Marshall McLuhan’s tetrad of media effects examines how technologies reshape culture by enhancing, obsolescing, retrieving, or reversing elements of prior media. Debates focus on the sensory dominance of oral versus visual cultures and the role of sound in temporal and spatial perception.

Economic and Technological Influences

The early sound era in cartoons highlighted challenges like rudimentary sound mixing and synchronization, influencing artistic decisions and technological evolution.

Disney’s Influence

Disney has been the biggest name in animation for years. Its movies set the standard for what people expect from animated films. While Disney has made amazing stories, it often focused on American and European ideas, leaving little room for other voices and styles to shine.

The Problem with Stereotypes

In the early days of animation, many characters from different cultures were shown in unfair or overly simple ways. These stereotypes made people laugh but hurt how some groups were seen. These images stuck around for a long time, shaping opinions in negative ways.

A Shift Toward Change

As time went on, more people began asking for better representation in movies. Studios started making an effort, with films like Moana and The Princess and the Frog featuring characters from diverse cultures. These were steps forward, but there’s still room for improvement.

Behind the Scenes: Who Tells the Stories?

Having diverse characters on screen is important, but so is having diverse creators behind the scenes. For a long time, most animated films were made by white men, which affected the stories being told. Slowly, more people from different backgrounds are getting the chance to lead, bringing fresh perspectives to the industry.

New Stories, New Voices

Recently, some animated projects have focused on intersectionality—showing how race, gender, sexuality, and disability overlap. Movies like A is for Autism explore disability in new ways, while shows like The Boondocks take a deeper look at African-American culture. These stories show how animation can tell more complex and real-life experiences.

Going Beyond Token Characters

True representation means more than just adding one minority character to a story. It’s about creating real, relatable characters with depth. For example, LGBTQ+ characters are starting to appear in animation, but there’s still work to make their roles feel natural and meaningful.

The Road Ahead

Representation in animation has come a long way, but there’s more to do. Telling stories from different perspectives makes movies and shows more interesting and real. We should support diverse stories and push the industry to keep growing because when everyone’s story is told, we all benefit.

1. Line

Think of a line as a moving dot. It’s one of the most basic yet powerful tools in an artist’s kit. Lines can define shapes, guide your eyes, or even create a sense of movement. Whether it’s a clean, straight edge or a messy, jagged stroke, lines set the stage for everything else in a piece

2. Shape and Form

Shapes are flat—just length and width. Forms, on the other hand, add depth, making them three-dimensional. A circle becomes a sphere, a square becomes a cube, all thanks to light and shadow. By mastering the balance between shape and form, artists can make their work pop off the page.

3. Texture

Texture is all about how things feel—or at least how they look like they’d feel. Think of rough bark, soft clouds, or glossy metal. Even in a painting, where you can’t physically touch anything, texture can create a powerful sensory experience.

4. Value

Value deals with how light or dark something is, and it’s key to creating contrast and depth. Without value, everything would look flat and dull. Highlights, midtones, and shadows work together to create the illusion of light and space.

5. Color

Color isn’t just about making things look pretty; it’s about setting the mood. Red feels intense, blue feels calm, and combinations can tell entire stories. Understanding things like complementary colors or how to create tints and shades can help you make the most of your palette.

6. Space

Space is what gives a piece breathing room—or makes it feel crowded. It’s the area around and between objects, and when used well, it creates depth. Techniques like perspective and overlapping can make a flat canvas feel like a window into another world.

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.

In animation, music does more than just fill the background—it often becomes a key part of the story, shaping both the mood and the personalities of the characters. For example, in girl band anime like MyGO!!!!!, music isn’t just an extra feature; it’s central to how we understand the characters’ journeys and their emotional struggles. Music brings out their personalities, their dreams, and even their challenges, creating a powerful connection with the audience.

As I read through different sources, I found that many scholars discuss how music drives storytelling. Jerrold Levinson’s work, Music as Narrative and Music as Drama, explains how music has a unique ability to convey emotions and drama without words. This idea is especially relevant in MyGO!!!!!, where instrumental music and lyrics express what the characters are feeling even when they can’t say it aloud.

In Animation and Sound, Mikhail Lebedev highlights how sound and music enhance the emotional depth of animated characters. This makes sense when we think about MyGO!!!!!, where each song reflects a different part of the characters’ lives and personalities, making the story more engaging. Mahathir Ahamad and Nor Hakimah Mohd Rozali’s study on music’s influence in animation also shows how music can shape the audience’s emotions, which is something I see every time a powerful track plays during a key moment in the anime.

Through these readings, I’ve realized that music is not just an addition but a narrative force in itself, especially in animations that focus on music-driven themes. It shapes the way we see the characters, feel their emotions, and follow their journeys. For me, this is what makes shows like MyGO!!!!! so impactful and memorable.

The content of this week is about mise-en-scène, which is the arrangement of the scene. It includes everything in the frame and how these parts work together to tell a story. In animation, mise-en-scène is very important because every detail is designed from scratch.

Setting and props

One key part of mise-en-scène is setting and props. The background, objects, and even small details tell us something about the story and characters. For example, a messy room might show that the character is not organized or feels stressed. A clean and colorful room could mean the character is cheerful or careful. The setting shows the mood before the character even speaks.

Lighting and color

Lighting and color are also important. Lighting influences the looking of the character, for instance, warm and friendly or dark and mysterious. Animators use these choices to make us feel a certain way about the scene without saying anything.

Character

Character positioning is another key part. Where characters stand in a scene shows their relationships. If one character is higher up or in the center, it might mean they are more powerful or important. Body language and facial expressions add even more, showing us what each character feels.

Screen direction

Finally, I learned about screen direction. This means that characters and objects should move in the same direction across different shots. This makes the action easy to understand.

Now, when I watch animation, I can see how carefully each part is chosen to guide my attention and tell the story.

PART I
LEGALITY

An animated documentary is a special type of film that combines animation with documentary features, going beyond traditional documentary styles. It has three main qualities: it is made frame by frame, based on real events or topics instead of fiction, and is recognized as a documentary by creators, viewers, or critics. This style keeps the purpose of showing reality while using animation to express ideas in new ways. For example, Waltz with Bashir uses animation to show the director’s memories of the Lebanon War, mixing personal and factual perspectives to create strong emotions.

The legitimacy of animated documentaries has been debated for a long time, mainly focusing on the issue of “authenticity,” a key principle of documentaries. Traditional documentaries rely on a direct connection between images and reality, known as the “indexical relationship,” which ensures credibility. However, animation is created by artists and designers, making it an indirect and symbolic form of expression. Critics argue that this may weaken the documentary’s authenticity, as it could prevent audiences from directly engaging with the events and may be seen as subjective or artistic interpretation rather than a faithful representation of facts.

On the other hand, supporters believe that animation not only preserves but expands the possibilities of documentaries. Animation can depict things traditional filming cannot, such as inner emotions, psychological trauma, historical memories, and abstract concepts. For instance, A Is for Autism uses animation to present the subjective experiences of people with autism, offering audiences a window into their inner world. Furthermore, animation’s symbolic and creative nature can simplify and clarify complex issues, making it easier for viewers to understand the depth and meaning of the topic.

From an academic view, the legitimacy of animated documentaries can be explained with theory. John Grierson’s idea that “documentaries are the creative treatment of actuality” means documentaries are not just about copying reality but using creativity and storytelling to show deeper truths. Animation adds to traditional documentaries with its unique style, especially for topics like memory, emotions, and personal experiences. For example, Tower uses animation to show the memories of survivors of the Texas University shooting. It protects the survivors’ privacy while helping viewers understand the emotional impact of the event.

Animated documentaries also have clear advantages in sensitive situations. For example, when dealing with identity, trauma, or history, animation can protect people by hiding their identities. Its visual style also works across different cultures and languages, making these films more accessible to global audiences. For viewers, animated documentaries provide a deep and immersive experience, showing not just events but also emotions and feelings.

Although the innovative format of animated documentaries is widely recognized, its legitimacy remains a topic of debate. Some critics argue that the symbolic nature of animation can lead to over-interpretation or emotional bias, which might blur the factual boundaries of documentaries. On the other hand, this format offers a powerful tool for exploring complex or hard-to-visualize topics. For example, Ryan uses animation to depict the life of artist Ryan Larkin, visualizing his inner world, mental state, and creative inspiration. This showcases the unique strength of animated documentaries in combining artistic expression with storytelling.

Animated documentaries are a unique medium that combines artistry and authenticity, with great potential for future development. Although some debates remain among scholars and audiences, the innovative value of animated documentaries in exploring reality and expanding forms of expression is undeniable. This format allows documentaries to go beyond traditional filming techniques, opening new ways to understand reality. It serves as both a reflection on the past and an exploration of the future possibilities of documentaries. As animated documentaries are increasingly used to address social issues and for artistic creation, their legitimacy may no longer be a point of contention but instead become an essential part of the documentary field.

PART II
RESEARCH

Persepolis

Persepolis (2007) is an animated documentary based on Marjane Satrapi’s graphic novel of the same name. It is an autobiographical story told from the main character’s point of view. The film shows the social unrest during the Iranian Revolution and the unfair treatment and oppression of women. It explores issues of gender equality and women’s growth.

Animation is used to show how women were oppressed under strict rules, focusing on gender inequality and loss of freedom. The black veil in the film symbolizes the struggles of women. The simple visuals help explain the complex history and emotions, making it easier for viewers to understand. The story also shows the character’s struggles with cultural differences between the East and the West. Animation adds emotional depth and makes the story more powerful. This film reflects big social issues through a personal story and pushes beyond traditional documentary styles, showing how animated documentaries can explore important topics in a unique way.

Reference

• Grierson, J. (1933) Documentary and the creative treatment of actuality. First presented in 1933, this concept has been foundational in documentary theory.
• Satrapi, M. (2000) Persepolis. Pantheon Graphic Library.
• Folman, A. (2008) Waltz with Bashir. [Film] Sony Pictures Classics.
• Webb, T. (1992) A Is for Autism. [Film] Channel 4 Television Corporation.
• Maitland, K. (2016) Tower. [Film] Kino Lorber.
• Landreth, C. (2004) Ryan. [Film] Copper Heart Entertainment.
• Satrapi, M. and Paronnaud, V. (2007) Persepolis. [Film] Sony Pictures Classics.

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.