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.
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.
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.
In this part, I filmed myself as a reference for my animation. I set up my phone to capture a full-body shot and practiced taking a step to the left, just like I want my character to do. I focused on how I shift my weight before lifting my foot and how my foot moves in the air and lands. Watching it back, I slowed it down to catch all the details. This quick reference helps a lot and gives me a real movement to follow for my blocking.
Some additional tutorials are also necessary. I got some inspiring guidance from the tutorial below
Planning
Based on the references I shot, I drew the Planning.
Processing
In this part, I’m working on blocking a simple step to the left for the ball walker. First, I set the starting pose with both feet on the ground, standing straight. Then, I shift the weight over to the right leg, getting ready for the left leg to lift. This weight shift is key; without it, the character would look like it’s floating instead of grounded. Next, I lift the left leg and stretch it out to the side for the step, rotating the hips a bit to follow the movement. The right leg bends to support the body as the left foot reaches out. Once the left foot touches down, I adjust the hips slightly towards it, as if the weight is about to shift. Finally, I set the character in a resting pose with the weight now fully on the left leg, and the right leg relaxed. This is just the blocking stage, so it’s rough, but it captures the main poses and weight shifts. Later, I’ll add in-betweens to make it smooth, but for now, this gives me a clear picture of the step. Blocking like this helps me see if the main action looks good before adding details.
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.
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.”
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.
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.
