In today’s landscape, this evolution and, possibly, a new development in action animation seems to be represented by two rising figures: Hiroto Nagata and Ryûki Hashimoto. At first sight, this pairing might seem strange, since both men come from opposite ends of the industry and have never worked together. Despite their distance, they share a close proximity in terms of style and, possibly, philosophy. The goal of this article will be to understand the nature of this proximity: I will first focus on each animator on his own, and then consider more generally what are their common points, and how they may open new ways for animation.
The Crossing, and why technique matters in animation
As people who follow me on Twitter might know, I had the opportunity to attend the 2021 Annecy festival - the most important festival dedicated to animation in the world. I had initially planned to release a few articles on the movies and works I’ve seen, but finally decided against it: the pieces I had started to make were simple (and, in my view, rather uninteresting) reviews, and their content didn’t really fit what I wanted for this blog. However, there is one movie that I feel the need to talk about, because watching it made me think a lot and realize many things on animation as a whole, my position towards it, why I like certain things and dislike others. That movie is The Crossing (La Traversée), a European film by Florence Miailhe which won the Jury Mention. What makes it stand out is not so much its beautiful and rather well-led plot, but its technique: it is entirely made by paint-on-glass.
Yoshinori Kanada and the nature of animation
assumption of this series, and the reason why it has tried to trace how Kanada’s influence spread and changed over the years. However, I have said little in depth about what Kanada and his students brought to the medium of animation—in other words, why was Kanada important, beyond simply earning so many fans and followers? This is what I’d like to try and uncover here.
My favorite things
Animétudes celebrates its first anniversary! It has been a relatively short time, but the blog has grown a lot and I’m very thankful for that. So, first of all, I thank all my readers and those who have followed me during this adventure. I have done a bit of reflection over the past and future of the blog here. This time, to celebrate, I’d like to come back over my own relationship with animation and sakuga by highlighting some of my favorite animated sequences.
Animation, from Pinocchio to Cutie Honey
Animation has an affinity with shape-shifting, to the point that even saying this is cliché. Since one of the first theoretical texts on animation, Serguei Eisenstein’s Notes on Walt Disney, the ability for objects to change forms at will has always been considered essential to the medium. That’s what Eisenstein called “plasmaticness”: the fact that animated objects and characters aren’t made of real matter, but rather of a sort of “plasma” that’s perpetually open to alteration. This is why animation has always been understood through the lenses of fairy tales, fantasies and phantasmagories.
Writing about animation isn’t easy. In my experience, the two pitfalls you’re bound to run into at some point are evaluation and description. Evaluation means that you have to justify that what you’re writing about is worth writing about: in other words, that it’s good or interesting in some way. But these are of course … Continue reading Motion/Movement
The purpose of realism in animation
The concept of realism in animation is a tricky one. Indeed, animation is thought to be the perfect medium to transcend reality and give shape to one’s wildest dreams - it has become a cliché to say that the animator’s imagination is the only limit. However, paradoxically, some of the most important artists and works in the medium have seemingly relinquished this aspect, believed to be essential.
Animation and subjectivity : towards a theory of framerate modulation
In my previous essay dedicated to Thomas Lamarre’s concept of animetism I argued that when studying animation, we shouldn’t just take into consideration space (how objects are distributed and move across the frame), but also time, which I believe is key to understanding the essence of movement. Indeed, movement is not just motion through space, … Continue reading Animation and subjectivity : towards a theory of framerate modulation
Beyond Manicheism : the politics of Brand New Animal
It’s probably no secret by now that most of the work done by the Hiroyuki Imaishi-You Yoshinari team contains some sort of political commentary ; however, when looking quickly at works like Kill la Kill or Promare, one might be led to believe that this commentary rests on a simple-minded manicheism : bad fascists/capitalists are … Continue reading Beyond Manicheism : the politics of Brand New Animal
Postmodern Media : Memes and Database Consumption
Memes are everywhere. That’s their most striking feature, really : wherever you go on the Internet, you’re bound to find something that more or less resembles it, from an image macro, to a twisted boomer comic or a completely surreal image that you do not fully understand nor wish to. Memes have become somewhat of … Continue reading Postmodern Media : Memes and Database Consumption