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The Inside‑Out Character : Strategies for Animating Inner States of Mind

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The Inside‑Out Character : Strategies for Animating Inner States of Mind This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. The inside‑out character : strategies for animating inner states of mind Wee, Mark Nai De 2017 Wee, M. N. D. (2017). The inside‑out character : strategies for animating inner states of mind. Master's thesis, Nanyang Technological University, Singapore. http://hdl.handle.net/10356/70251 https://doi.org/10.32657/10356/70251 Downloaded on 02 Oct 2021 20:58:43 SGT The Inside-Out Character: Strategies for Animating Inner States of Mind Thesis, M.A. (Research) - Revision Wee Nai De, Mark Supervisor: Asst. Professor Kathrin Albers Co-Supervisor: Assoc. Professor Hans Martin Rall Nanyang Technological University, School of Art, Design and Media 13th March 2017 Acknowledgements I would first begin by thanking my research supervisors, Asst. Professor Kathrin Albers and co-supervisor, Assoc. Professor Hans Martin Rall for their strict guidance, guarding, and infinite patience during my learning. They have given me the strength to continue when things seem at their bleakest, in both my journeys through academia and the animation practice. For that, I am eternally grateful to be able to have them as mentors, and friends. I would also like to thank Professor Ishu Patel for his unwavering support that first put me onto the road of academia, and now, keeping me on it; For making me love animation, and more importantly, for his allegories on life that have humbled me in my days of being wild and still is humbling to me now, as a student of animation. I would like to thank Miss Hong Bee Kuen, whose infinite patience I sincerely appreciate. Without her, my life as a researcher wouldn't have been much more smooth sailing. My friends, Goh Wei Choon and Andre Quek. Their companionship extends beyond our first year as undergraduate students, and I can never emphasize enough how having them as close allies during this time have allowed me to keep my sanity even closer. Also, to my fellow researchers – Zu, Henny, and Santiago – the people who make life as a graduate student that much more exciting and worth undertaking. The four misfits with whom I have the honor of befriending – Jing Shan, Jiahui, Vivian, and Han Pin. Their friendship is worth everything and more to me, the simplest moments we have spent together constantly pushes me on when I am down and out, giving me the courage to pursue what I am doing today. Ruben Pang – the person who has been there every step of the way since we met twelve years ago as still ignoramuses. The person whose faith in me as a human and artist I have constantly tried to uphold and keep. Thank you for believing in me, thank you for your wisdom, and thank you for your friendship. Finally, but not least-ly, my family. My mother, without whom this entire endeavor wouldn’t even be possible. She has given almost everything for me to be who I want to be today. Her loving care that never seems to wane has allowed me to leap blindly into the unknown depths so many times. I thank you, with all my life. Contents Acknowledgements Abstract Introduction .................................................................................................................................................. 1 Research Objective & Questions................................................................................................................... 4 Chapter Summaries ....................................................................................................................................... 5 Chapter Summary: Literature Review ....................................................................................................... 5 Chapter Summary: Research Approach and Strategy............................................................................... 5 Chapter Summary: Creation of Practical Component .............................................................................. 5 Chapter Summary: Conclusion.................................................................................................................. 7 Chapter 1 – Literature Review ...................................................................................................................... 9 1.1 The Inner State of Mind, The Emotion, and The Feeling .............................................................. 9 1.2 Examining the “Inside-Out Character” Through Animation ....................................................... 12 The Fundamentals of Animation – Paul Wells .................................................................................... 12 Art in Motion: Animation Aesthetics - Maureen Furniss .................................................................... 14 1.3 Why Expressionism? - Expressing Inner States through Expressionism ..................................... 24 1.4 The Self-portrait .......................................................................................................................... 26 Changing Functionality ........................................................................................................................ 26 Changing Conventions ........................................................................................................................ 30 1.5 The “Inside-Out Character” in Kirchner’s Self-Portraits.............................................................. 33 Kirchner, Peter Schlemihl’s Wondrous Story - Magdalena M. Moeller, et al. .................................... 33 “No One Else Has These Colors.” Kirchner’s Painting – Karin Schick and Heide Skowranek, ed. ....... 34 Ernst Ludwig Kirchner: Retrospective - Felix Kramer, ed. ................................................................... 35 Expressionism from the Swiss Mountains – Mathias Frehner, et al. .................................................. 36 On the Edge of the Abyss of Time – Norbert Wolf ............................................................................. 36 1.6 The Self-portrait and the Close-Up Shot ..................................................................................... 37 The Grammar of the Shot - Christopher J. Bowden and Roy Thompson ............................................ 38 1.7 Still to Moving: Cross Media Adaptations ................................................................................... 42 Animation: Genre and Authorship – Paul Wells ................................................................................. 43 Anime and the Art of Adaptation – Dani Cavallaro ............................................................................ 44 Screen Adaptation: Impure Cinema - Deborah Cartmell and Imelda Whelelan ................................. 46 1.8 Case studies: The Fine Arts in Live-Action and Animation Films ................................................ 47 Jiří Barta - The Pied Piper (1986) ......................................................................................................... 48 Chris Landreth – Ryan (2004) .............................................................................................................. 52 Dorota Kobiela – Loving Vincent (Unreleased) ................................................................................... 56 Gustav Deutsch – Shirley: Visions of Reality (2013)............................................................................ 59 Chapter 2 – Research Approach and Strategy ............................................................................................ 64 2.1 Research: Understanding Kirchner’s Approaches ....................................................................... 64 2.2 The Research Film: Animating Kirchner’s Self-Portraits ............................................................. 65 2.2.1 The Close-Up Shot and the Self-Portrait ............................................................................. 65 2.2.2 Movement and performance .............................................................................................. 68 2.2.3 Animation design ................................................................................................................ 69 2.2.4 Sounds and music in animation .......................................................................................... 69 2.3 Reflections: Evaluating the Research .......................................................................................... 69 Chapter 3 – Practical Component: Crafting the Research Film .................................................................. 70 3.1 Premise of the Research Film ..................................................................................................... 70 3.2 Animation Design: Kirchner’s Visual Strategies to Express Inner States of Mind ....................... 71 3.2.1 Colors that express inner states of mind ............................................................................ 71 3.2.2 Compositions and Designs .................................................................................................. 82 3.2.3 Symbols in Kirchner’s Paintings .......................................................................................... 88 3.3 Applying Animation Language in the Practical Component ............................................................. 95 3.3.1 Close-ups ............................................................................................................................. 95 3.3.2 Movement and performance .............................................................................................
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