JIANQIU ZOU'S BLOG

The question of whether animated documentaries are legitimate or not depends on how we view animation as a way of showing reality. Can animation tell the truth and be ethical, or does it always change and twist the facts because of how it is made? Some scholars, like Christina Formenti, think that animation belongs to docu-fiction, a genre that mixes reality and fiction, because she believes that what we see on the screen is not objective. But other scholars, like Annabelle Honess Roe, say that animation can be an effective way of making documentaries, because it can show the feelings, thoughts, and memories of the people involved, and also keep a distance from what happened.

One example named Persepolis (2007) is an animated film that deals with issues of equality, diversity, and social injustice. It is based on the true story of Marjane Satrapi, who wrote and directed the film with Vincent Paronnaud. The film shows her life in Iran during and after the Islamic Revolution, and how she faced problems with her identity, freedom, and exile. The film uses a simple animation style in black and white, like the comic book that it is based on. The film contrasts her personal story with the political situation, the differences between people and groups, and the changes over time. The film also questions the stereotypes and prejudices that Western audiences may have about Iran and its people, and reveals the rich and diverse culture and history of Iran. The film is a strong and moving example of how animation can be used to show and share personal and social issues, and to challenge the dominant stories and images of reality.

Hayao Miyazaki, the co-founder of Studio Ghibli, is a director who has left a lasting mark on the animation industry. His films, such as Spirited Away, Princess Mononoke, and My Neighbor Totoro, are widely acclaimed for their stunning animation, rich storytelling, and memorable characters. Miyazaki is a master of various animation techniques, from hand-drawn to computer-generated, and he pays close attention to every detail of his work. He oversees every stage of the production process, from storyboarding to editing, to ensure his vision is realized on the screen. Miyazaki’s films also reflect his distinctive style and vision, which are influenced by his personal views and beliefs. He explores themes such as nature, environmentalism, feminism, pacifism, spirituality, and childhood in his films, and he creates complex and nuanced characters who face moral dilemmas and challenges. He often features strong, independent, and courageous female protagonists who defy stereotypes and expectations. He also incorporates elements of Japanese culture, folklore, and mythology into his films, creating a unique and captivating world for his audience. Miyazaki’s films are not only entertaining but also thought-provoking. He expresses his love and admiration for nature and its beauty, as well as his nostalgia for a simpler and more innocent time. He also criticizes the problems of war, pollution, human greed, and social injustice that plague the modern world. He challenges the conventional notions of good and evil, heroism and villainy, and presents ambiguous situations that invite the audience to think and question. Miyazaki is an auteur who has a unique and influential voice in the world of animation.

• Categorization: Collision is a short film that uses abstract animation to show the conflict between the US and the Islamic world. It uses the colors and shapes of their flags to create a visual metaphor of war and violence. The film has a dark and tense mood, and it makes us think about the theme of war and its consequences. The film also challenges us to question our own views and biases, and to look for dialogue and understanding between diverse cultures. The film is different from other animations because it does not use any words or stories, but only abstract images and symbols.
• Form and Function: The film is a short animation that lasts for 2 minutes and 21 seconds. The film’s goal is to send a message of peace and harmony through visual art, and to make us feel and imagine things. The film’s challenge is that it does not tell us what the images mean, and it depends on what we know and think. The film’s style is a mix of 2D and 3D animation, using computer graphics and digital effects.
• Process: The film’s technique is based on the idea of “synesthetic animation”, which is the art of making visual music, or turning sound into images. The film’s material is the flags of the US and some Islamic countries, which are broken down and put together into different patterns and shapes. The film’s technology is the use of software like Adobe After Effects, Photoshop, and Cinema 4D. The film’s message is that the flags, which are signs of who we are and where we belong, can also cause problems and fights, and that they can be changed into something new and beautiful. The film’s medium is the screen, which lets us see the film’s colors, movements, and sounds in a lively and immersive way.
• Formal Elements: The film’s use of space is based on the difference between the front and the back, which creates a sense of depth and perspective. The film’s composition is based on the balance and imbalance of the shapes and patterns, which creates a sense of order and chaos. The film’s light and color are based on the main colors of the flags, which are red, white, blue, green, and black. The film’s movement is based on the spinning, moving, and changing of the shapes and patterns, which creates a sense of rhythm and energy. The film’s timing, pacing, and transition are based on the matching of the images and the music, which creates a sense of harmony and discord. The film’s audio relationship is based on the use of electronic music, which creates a sense of mood and atmosphere. The film’s music is made by Jemapur, a Japanese musician who makes experimental and ambient music. The film explores the formal elements of animation, and how they can be used to make a meaningful and expressive work of art.

Without saying, color is a key element in the short film Collision (by Max Hattler), as it not only creates a stunning visual effect, but also expresses the film’s message and meaning. The film uses the colors and patterns of the American flag and Islam to represent two diverse cultures and political views. The film depicts the clash, conflict and dialogue between these two forces by transforming, rearranging, colliding and merging these colors and patterns. The color scheme of the film also matches the pace and tone of the film, such as:

• The film starts with simple and static colors, with only red, white and blue, showing the American perspective.
• The film progresses with diverse and dynamic colors, with green, yellow, black and others, showing the Islamic culture.
• The film ends with chaotic and violent colors, with purple, orange, gray and others, showing the intense confrontation between the two forces.

This short film is a dazzling display of colors, and the way they mix and clash reveals the author’s observations and opinions.

This short film tells its story through a narrator, who brings the audience into the story world with his words, gestures, and expressions. He is not just a voice-over, but also a character who interacts with the others and influences the story. This narration style gives the short film a theatrical and literary flair, and keeps the audience engaged with the plot. Unlike conventional films, this film can be seen as a story that can be read as well as watched.

Symmetry is a signature style of Wes Anderson, who uses it to create a balanced and orderly visual effect. In The Swan, there are many shots that are perfectly symmetrical, such as:

• The opening shot, where the narrator stands on a stage that has identical props and lights on each side.
• The shot where the narrator walks into a scene that has matching trees and flowers on each side.

These symmetrical shots are beautiful, but they also create a sense of discomfort and irony for the audience, as if they are trapped in the story world.