Skip to main content

Week 1 Readings/Week 1 Discussion Board


(Review reading list )
Readings


1. Read Ch. 1 in Wright “Introduction to Animation”
2. Read Gene Deitch’s “Ch. 2 Animation—What the Heck Is It?”
http://www.awn.com/genedeitch/gene-deitch-how-succeed-animation/part-one-how-you-should-do-it/chapter-2-animation-what-

Consider: How does Deitch add to Wright’s and the Keynote presentation’s definition of animation?


1.5 Discussion Board

Choose one the following and post a 200 word response by Wednesday 11:59 EST. Respond to two other posts by Sunday 11:59 EST

1. One thing you can see from Wright’s discussion is that the production process is collaborative, complicated and expensive.

However, you can create inexpensive animation programs and even series. A high cost production does not necessarily produce a satisfying, quality program.

As a writer it is your job to know your audience and your budget and to work within these parameters to write effective scripts for these parameters. The writer is in a unique position to make the most of animation primarily by developing good characters, clever dialogue and interesting stories. One thing you must do as a writer is to give yourself sufficient time to know your characters and to develop good stories for these characters before the expensive production clock starts ticketing. Knowing what works in animation – movement, visual gags, exaggeration and character development – will always help you create a successful animated program. It starts with you!

Watch this Fractured Fairy short from the Bullwinkle and Rocky show.

Fractured Fairy Tale from Bullwinkle and Rocky Show
http://www.youtube.com/watch?v=xXC66yMe3ao&feature=related

This is an example of animation produced on a budget. How does it still use visual gags and humor to create a successful animated short? What are some other examples of successful animated shows on a budget you can think of?

2. Read Read Gene Deitch’s article “Ch. 2 Animation—What the Heck Is It?”
http://www.awn.com/genedeitch/gene-deitch-how-succeed-animation/part-one-how-you-should-do-it/chapter-2-animation-what-

How does Deitch add to Wright's and the Keynote's definition of animation?

3. Watch the first two parts of the Mulan excerpts which are approximately ten minutes each. You can find these by going to YouTube (www.youtube.com) and entering Mulan into the search window.


How do these beginning excerpts from Mulan demonstrate some of the qualities of animation as defined in Deitch and the Keynote presentation? Use specific examples from these excerpts to define what animation is in terms of what you have learned so far.

Comments

Popular posts from this blog

Q&A – Lawrence Gilliard Jr. (Bob Stookey)

  Actor Lawrence Gilliard Jr., who plays Bob Stookey on AMC’s  The Walking Dead,  talks about his apocalypse-ready clarinet skills and how his character from  The Wire would react to zombies. Q: You’ve been in a lot of crime-centric shows. Were you excited to do something different on The Walking Dead ? A: Yeah absolutely. You get to play and have more fun and be more creative when you’re doing a show like this. Killing zombies — that’s what you do as a kid! Now I get to do it as a grownup. I definitely looked forward to the change and I’m having fun. Q: Your character is a medic. Do you have any skills that would be useful in the apocalypse? A: I play clarinet. I also play the drums, so I could keep the spirits lively and entertain everyone. That’s all I could do. Q: Bob is a pretty good shot. Did you do any weapons training for the role? A: None so far. When I was young, I learned to shoot, so I don’t really need any training for that. Q: You’ve...

A Comparison of Seven Story Paradigms: ®Dramatica® Syd Field Michael Hauge Robert McKee Linda Seger John Truby Christopher Vogler

A Comparison of Seven Story Paradigms: ® Dramatica ® Syd Field Michael Hauge Robert McKee Linda Seger John Truby Christopher Vogler Write Brothers ® Inc. 138 N. Brand Blvd. #201 Glendale, CA 91203 2.             How and Why Dramatica is Different from Other Story Paradigms by Chris Huntley I spent nearly sixteen years avoiding reading anything of substance by (Hollywood) story theorists such as Syd Field, John Truby, Christopher Vogler, Robert McKee and others. As co-creator of the Dramatica theory of story, I didn't want to influence my development of Dramatica so I avoided direct interaction with competing theories. In 2006 I decided to lift my self-imposed ban. I figured my understanding of Dramatica was mature enough that I didn’t have to worry about "contaminating" it by exposure to the competing theories. It was past time that I figured out how other story theories are similar and dissimilar to Dramatica...