The Crafty Animator: Handmade, Craft-based Animation and Cultural Value

235 Pages·2019·5.035 MB·English

by  Caroline Ruddell, Paul Ward

PALGRAVE ANIMATION
The Crafty Animator
Handmade,
Craft-Based Animation
and Cultural Value
Edited by
Caroline Ruddell · Paul Ward
Palgrave Animation
Series Editors
Caroline Ruddell
Brunel University London
Uxbridge, UK
Paul Ward
Arts University Bournemouth
Poole, UK
This book series explores animation and conceptual/theoretical issues in
an approachable way. The focus is twofold: on core concepts, theories
and debates in animation that have yet to be dealt with in book-length
format; and on new and innovative research and interdisciplinary work
relating to animation as a field. The purpose of the series is to consoli-
date animation research and provide the ‘go to’ monographs and anthol-
ogies for current and future scholars.
More information about this series at
http://www.palgrave.com/gp/series/15948
Caroline Ruddell · Paul Ward
Editors
The Crafty Animator
Handmade, Craft-based Animation
and Cultural Value
Editors
Caroline Ruddell Paul Ward
Brunel University London School of Media and Performance
Uxbridge, UK Arts University Bournemouth
Poole, UK
ISSN 2523-8086 ISSN 2523-8094 (electronic)
Palgrave Animation
ISBN 978-3-030-13942-1 ISBN 978-3-030-13943-8 (eBook)
https://doi.org/10.1007/978-3-030-13943-8
Library of Congress Control Number: 2019932116
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer
Nature Switzerland AG 2019
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights
of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction
on microfilms or in any other physical way, and transmission or information storage and
retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and
information in this book are believed to be true and accurate at the date of publication.
Neither the publisher nor the authors or the editors give a warranty, express or implied,
with respect to the material contained herein or for any errors or omissions that may have
been made. The publisher remains neutral with regard to jurisdictional claims in published
maps and institutional affiliations.
Cover image: dpa picture alliance archive/Alamy Stock Photo
Cover design by eStudio Calamar
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
C
ontents
1 Introduction 1
Caroline Ruddell and Paul Ward
2 Made by Hand 17
Birgitta Hosea
3 Craft as Critique in Experimental Animation 45
Lilly Husbands
4 Lotte Reiniger: The Crafty Animator and Cultural Value 75
Katharina Boeckenhoff and Caroline Ruddell
5 Autobiography and Authenticity in Stop-Motion
Animation 99
Carla MacKinnon
6 Handmade Aesthetics in Animation for Adults
and Children 127
Ewan Kirkland
7 In Good Hands? Indexes and Interfaces in A Computer
Animated Hand (Ed Catmull & Frederic Parke, 1972) 157
Christopher Holliday
v
vi CoNTENTS
8 Crafted Wonder: The Puppet’s Place Within Popular
Special Effects Reception 181
Alexander Sergeant
9 Q&A with Eric Dyer 203
Caroline Ruddell and Paul Ward
Index 227
L C
ist of ontributors
Katharina Boeckenhoff University of Manchester, Manchester, UK
Eric Dyer University of Maryland, Baltimore County, USA
Christopher Holliday King’s College London, London, UK
Birgitta Hosea University for the Creative Arts, Farnham, UK
Lilly Husbands Middlesex University, London, UK
Ewan Kirkland University of Brighton, Brighton, UK
Carla MacKinnon Arts University Bournemouth, Poole, UK
Caroline Ruddell Brunel University London, Uxbridge, Middlesex, UK
Alexander Sergeant Bournemouth University, Poole, UK
Paul Ward Arts University Bournemouth, Poole, UK
vii
L f
ist of igures
Fig. 2.1 Erasure (Birgitta Hosea, 2017) 27
Fig. 2.2 Erasure (Birgitta Hosea, 2017) 27
Fig. 2.3 Erasure (Birgitta Hosea, 2017) 28
Fig. 2.4 Noisy, Licking, Dribbling and Spitting (Vicky Smith, 2014) 29
Fig. 2.5 Screen shot from the making of Ugly (Nikita Diakur, 2017) 39
Fig. 3.1 Jill (Lilli Carré 2016) 67
Fig. 5.1 Daddy’s Little Bit of Dresden China (1988) 113
Fig. 5.2 Model Childhood (2018) 114
Fig. 6.1 Charlie and Lola (TV Series, 2005–2008) 133
Fig. 6.2 South Park (TV Series, 1997–) 138
Fig. 6.3 The Lego Movie (Phil Lord, Christopher Miller, 2014) 145
Fig. 7.1 A Computer Animated Hand (Ed Catmull and Fred Parke
1972) 158
Fig. 7.2 The wireframe model prior to full digital rendering 173
Fig. 7.3 Polygons are drawn onto the plaster mould as part of the
film’s production 175
Fig. 9.1 Copenhagen Cycles (2006) 205
Fig. 9.2 Copenhagen Cycles (2006) 206
Fig. 9.3 Copenhagen Cycles (2006) 207
Fig. 9.4 Copenhagen Cycles (2006) 208
Fig. 9.5 The Bellows March (2009) 209
Fig. 9.6 The Bellows March (2009) 210
Fig. 9.7 The Bellows March (2009) 210
Fig. 9.8 The Bellows March (2009) 211
Fig. 9.9 The Bellows March (2009) 212
Fig. 9.10 The Bellows March (2009) 212
ix
x LIST oF FIGURES
Fig. 9.11 Shabamanetica (2017) 213
Fig. 9.12 Seeking Motion Hidden (2018) 213
Fig. 9.13 Seeking Motion Hidden (2018) 214
Fig. 9.14 Implant (2015) 215
Fig. 9.15 Implant (2015) 216
Fig. 9.16 Girona Octopi (2016) 217
Fig. 9.17 Shabamanetica (2017) 219
Fig. 9.18 Shabamanetica (2017) 220