Television In Animation Effects

Although using a television in animation or any film is a good way to portray important information to the viewer, I don’t know if it is a good idea to use it in an abundance of children’s films.

Last year in health psychology, we learned the effects of technology on adult brains and in the developmental stages as well. Many psychologists suggest that we should limit the amount of technology or “screen time” – i.e. phone, ipad, computer, television to ensure that we aren’t getting addicted to tech. Some even go to the length that children should be without technology up to the age of three years old so the child can reach all of their milestones.

On the other hand showing children in movies that the television is a place of information could have a positive effect. Maybe if we continue to portray the television as a source of knowledge children will treat it as such.In a child’s early years, they are more able to learn new things. Kids absorb information like a sponge and knowledge spreads over them like wildfire. This is why children are more able to pick up a secondary language if they are taught it when they’re young.

Like many arguments, there is always a space for middle ground. If a child is watched and the parents control what information they are exposed to, you could have a compromise between the two ends of the spectrum. Personally, I like to think that this would be me as a parent. I would not want to cut technology from their lives, because this could cause a culture shock once it is introduced. I would diffidently monitor what they access and for how long in early development, to ensure that their other needs for growth are met before tech bombards their brains.

Television In Animation

I noticed that in all of the movies I watched there was some information shown by a television. Here are some clips of the television screens in each film except ratatouille and up, that was unavailable.

Monsters Inc. Comercial

The Incredibles “Secret Identity Interview”

Authorship In Directors

After watching both Pete Docter and Brad Bird’s directed work, I have come to the conclusion that the authorship of animation does belong to the director. I see no difference, like Brad Bird, between real-life and animation directing. The director is responsible for a slew of tasks and people that all pull together any animated film. The most important job of a director, in my opinion, is control over the cohesiveness of the film. I noticed that the two directors both used television screens to give information on the past events or important details needed to watch the movie. I wonder if this is something used in many animated films used for background information.

Brad Bird

When looking at Brad Bird I compaired Ratatoulli and The Incredibles. I noticed a few major similarities between the two films. Stylistically, they were the same.

One of the most obvious similarities was Bird introduced the movies backstories and important information using a television. In The Incredibles, some kind of documentary on the disappearance of superheros , and in Ratatoulli, another documentary on the famous Gustos restaurant in Paris, France. It is a good introduction to the movie, in my opinion, it is informational and fun.

Another trait that I saw was the actual animator was very ornate, and I suspect that Bird may have used the same people for each film. This is because of the suchef and Edna’s crazily similar and distinct traits – fat, short, stubby thin legs, upside-down triangular shaped face. The detail in the films were remarkable, the kitchen sparkling with bronze and everything perfect and the jungle so exotic and ornate.

Brad Bird could have the same preferences with the sound artists as well. I noticed some awesome ambient sound in each movie. The best show of his interest in background sound is shown in Ratatoulli –  as the rat is looking for new ingredients for what becomes known as a “special order” – when there is a symphony of footsteps and picking up and putting down bottles, cups and spices partnered perfectly with the voice actors lines.

As for the angles chosen, I think one really stood out to me. In Ratatoulli, as Linguini and Colette have their first kiss in the kitchen. The angle Bird chose was a birds eye view. Showing all of the all of animated work. It veered from the typical kiss scene – a close up of the lips – which can get boring at times. He exploits many different angles other than that too. It is just the most memorable for me as a viewer.

Pete Docter

Pete Docter is another director I am looking at. He has directed Monsters Inc. and Up. The director diffidently has a few choices that show some stylistic authorship.

After viewing both movies I realized that they had introduced a back story, theme, or important information with a television. These are seen in the beginning of both films, in Up it is a young Carl Fredrickson at the movie theaters watching some documentary on one of his favorite adventurers, in Monsters Inc. it is the two best scare buddies watching a informational commercial about their workplace which explains why they need to scare young children for energy.

I noticed an overwhelming amount of blue in both movies. Almost every scene has blue in the background in a large amount. Being that the movies are not sad, I do not think the blue overtone was to set any mood and are a stylistic choice.

Docter also scored the movie with jazz music in many of the screens, including the introduction and end credits.

He used a lot of lose up angles in the animation. I noticed much more detail in the animation as the film went on.

Overall, I thought they were great childrens films and directed very well with many stylistic aspects. I also noticed in the end credits that Pete Docter worked with Andrew Stanton and John Lasseteer on Monsters Inc. Both directors I was originally going to research.

Update

I am having trouble with the project foundry website. It refuses to submit or save any of the changes I am trying to make to my proposal. I also have not heard back from when I originally submitted my proposal request. I will talk to Geoff (the administrator of project foundry and my teacher) more about my issues tomorrow in class.

I am also making the decision to narrow my directors list down to Pete Docter, director of Monsters Inc., and Brad Bird, director of The Incredibles and Ratatouille.

Brad Bird Interview

“Storytelling is story telling no matter what your medium is. And language of film is also the same. You’re still using close ups, medium shots, and long shots. You’re still trying to introduce the audience to a character and get them to care.”

Brad Bird on the difference between animation and film making. It is clear he believes there is no major distinction between the two art forms.

Brad Bird, interview with Elvis Mitchell, The Business, KCRW Public Radio (May 5, 2005)

Update

I am having a difficult time obtaining the movies for my directors projects. I guess people do not buy discs very often or lend them. Buying them all is out of the question. This, and time restraints, may limit me. So far, I have completed only one director – Brad Bird. I will update my problems with the budgets in project foundry.

One More, With Less Pixelation! Article

What does the director of an animated movie do?
By Christopher Beam

In this article it depicts the director as a jack of all trades. He is involved in and oversees everything. Even stating that “the main difference is that animation directors have much more control” and that “animated features are arguably more the product of a single vision.”

When mentioning specifically Disney’s Pixar, they say that the concept is what is required to begin a movie, like an idea, instead of other animation studios who require scripts. Either way this is where the director comes in, giving input on character sketches and palette, then converting the rough sketches into 3D models and adapting them throughout the story making process.

This article also states that the director has roles in casting and recording character voices. They do this so animators know how to make the characters mouths move. The directer may also, be involved during the actual recording. “For Example, a director might have to remind an actor that the character is cold or hungry.” They also cast the animators of characters and backgrounds.

Once the movie is almost finished the director “locks” it, meaning no more major changes are allowed. This is when the director assigns a composer and sound-effects designer to record music and background noise – i.e. car horns, foot steps, or doorbells – to finish the directors vision.

I loved this article and its information about directors. It really helped me that it specifically connected to Disney’s Pixar. It has a great outline of directors duties. I am going to keep these qualities in mind when watching the movies by my chosen Directors.

Directors Project Introduction

For the directors project, I have decided to explore animation directing. Specifically, Disney Pixar Directors from 1995-2011. The four I have chosen directed two or more animated films for Disney Pixar. They are:

• Andrew Stanton
• Pete Docter
• John Lasseter
• Brad Bird

I do believe that they play a part in the authorship of the movies. Authorship is broadly defined as the person who gives existence to anything. That being said, authorship in animation is a group effort. They rely on so many different people to bring the characters to life like the writers, animators, directors, etc. I also wanted to explore the roles of animation directors. What do they do? What is their backround? How do they work with the other authors of the film? What choices do they get to make? How is their vision of the film communicated throughout the animation process?

These are all questions I will be answering throughout my investigation.