Animatrix: Animating Female Experience Author Spark, Andi Published 2016 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/114 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/365369 Griffith Research Online https://research-repository.griffith.edu.au Animatrix: Animating Female Experience Andi Spark B.Arts (Media Design), Adv Dip Arts (Electronic Design & Interactive Media) Queensland College of Art Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Visual Arts February 2016 ABSTRACT This research explores the practice and context of animating female experience, specifically responding to the issue of postnatal depression. The interrelated hypothesis argues the definition of ‘animatrix’; a term that can be used to identify a particular approach to practice that is distinctly woman-centred or woman-created. In doing so, I address unfavourable conditions in the animation industry, both historically and continuing, that discourage an authentic female voice. This study takes an exploratory self-reflective practice approach wherein I examine my own and others’ experiences and responses to mental health issues surrounding childbirth. I correlate these to associated themes of the representation of adult women, social constructs and expectations of women as mothers, concepts of taboo and abjection, along with ideas of embodiment, memory, and fragmented storytelling. Coupled with this, I scrutinise practical and structural techniques used in animating; in particular, hand-drawn animation as opposed to the use of two-dimensional, cut-out, or rigged animating techniques or sculptural or digital three-dimensional model styles. This extends to incorporating haptic and tactile aspects of a drawing-based practice, integrated with theories of flow, to develop iterative digital screen-based artworks that can be displayed in multi-modal environments. Through a critical review of my multidisciplinary practice surrounding the field of animation, I identify key criteria that may be used to designate the honorific of Animatrix to a practitioner or practical outcome. This designation and attendant criteria serve to provide a launching point for further critical discussion from academics, practitioners, and the industry about the representation and contribution of women in animation. 2 Statement of Originality This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. (Signed) Andi Spark 3 Table of Contents ABSTRACT ...................................................................................................................... 2 Statement of Originality................................................................................................ 3 ACKNOWLEDGEMENTS ................................................................................................. 6 INTRODUCTION ............................................................................................................. 7 Etymology: Ani / Matrix Anima / trix .................................................................................................. 7 Why Animatrix? ............................................................................................................................................. 9 Exegesis Outline.........................................................................................................................................11 CHAPTER 1: Context, Approach and Rationale .......................................................... 15 1.1 CONTEXT ...................................................................................................................................................15 1.1.1 Affordances of Animation ..........................................................................................................15 1.1.2 Approaches to Animation ..........................................................................................................17 1.1.3 Professional Practice and Studio Experience.................................................................18 1.1.4 Further Influences and Confluences....................................................................................22 1.1.5 Defining PND ...................................................................................................................................22 1.2 APPROACH ...............................................................................................................................................26 1.2.1. In Deep…..........................................................................................................................................26 1.2.2 Marginal ..............................................................................................................................................29 1.2.3 Galvanising........................................................................................................................................30 1.3 RATIONALE...............................................................................................................................................31 1.3.1 Project Outline .................................................................................................................................31 1.3.2 The Process (Between Two Worlds)...................................................................................35 1.3.3 The ‘Script’ (Fragmentation and Snippets).......................................................................37 1.3.4 The Visual Vernacular (And What Is Humanly Possible) .........................................38 1.3.5 Other Possibilities (Digital Comic).........................................................................................40 1.3.6 Using Signs and Symbols .........................................................................................................41 CHAPTER 2: Theme, Response, and Interpretation ................................................... 45 2.1 REGARDING THE BODY...................................................................................................................45 2.1.1 Bodily Representation .................................................................................................................45 2.1.2 Body as Entity..................................................................................................................................47 2.1.3 Body Image .......................................................................................................................................49 2.1.4 Body & Mind .....................................................................................................................................50 2.2. SUBVERTING EXPECTATIONS ..................................................................................................51 2.2.1. Madonna and Child .....................................................................................................................52 2.2.2. Ideals of Perfection ......................................................................................................................53 2.2.3 Depicting Unworthiness: Animals as Symbols ...............................................................55 2.2.4 Idealising Women ..........................................................................................................................57 2.2.5 Characterising the Female........................................................................................................57 2.3 TABOO .........................................................................................................................................................59 2.3.1 Female Abjection ...........................................................................................................................60 2.3.2 Wholesome .......................................................................................................................................61 2.3.3 Visual Techniques .........................................................................................................................62 2.3.4 Memory, Mind & Body .................................................................................................................63 2.4 SENSATION ..............................................................................................................................................65 2.4.1 Physical and Emotional ..............................................................................................................65 2.4.2 Flow and Risk ..................................................................................................................................66 4 2.4.3 Physical & Visceral........................................................................................................................69 2.4.4 Playful ..................................................................................................................................................70 2. 4.5 Haptic and Immersive ................................................................................................................71