Animation Studies: Towards Visual Linguistics

Assignment 2: Towards Visual Linguistics

This assignment outlines the key points of Neil Cohn’s “A Visual Lexicon” and “Visual Syntactic Structures”.

A Visual Lexicon: The Key Points

There are varying levels of representation in a visual world. And the relationship between spoken-language and visual language helps illustrate those levels. Visual language has to do with creating images to communicate an idea or concept. There is a relationship between spoken language and visual language.

Visual Lexicons

Different languages have different vocabularies or lexicons and may classify different things in different ways. Lexical items have a single unit of meaning. A lexical item in spoken-language terms could be a word that has a single meaning or a group of words with meaning.

Attention Limits

Panels- Panels are used in the encapsulation of visual language. Each panel has positively and negatively charged elements. This has to do with the foreground and background. The elements can change from positively charged to negatively charged elements when moving from panel to panel.

This can be described as when the subject of the panel switches between the foreground and background. Foregrounds and backgrounds can be interchangeable.

Lexical Presentation Matrix

The lexical presentation matrix has to do with the amount of positively charged entities displayed in a panel. This can be divided into four tiers. They are Polymorphic, Mono. Macro, Micro.

Some Panels have the whole structure in them. Some parts of the "story" is pushed out to the peripherals as they are too large to fit in the panel. This is called "Windowing of attention". "Maximal windowing" is when full conception of the structure is in the frame.

Smaller Than Syntax

This section deals with the use of symbols. Some are identifiable to many as they are easily recognizable. Other symbols include invisible paths of motion such as "Speed lines" as well as "Smell lines". Speech bubbles or thought balloons are also of importance as they don't actually occur in real life, but the reader can recognize what they represent.

Another symbol such as a heart can be used to represent a single meaning such as love. If there were other panels and the heart is used but an arrow is shot progressively through it, it has more than just the meaning of love. It could depict the action of falling in love. The meaning could be intensified/elaborated more by the way the arrow is drawn or how many panels there are. This is open to the reader's interpretation.

Constructions

Just like constructions relating to sentence structure, constructions in visual language could exist. There is, however, not enough known about the subject to elaborate.

And although they may seem to be, polymorphic panels are not constructions.

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Visual Syntactic Structures: The Key Points

Visual Syntax

In a comic strip, visual syntax contributes more to the overall meaning of the strip as compared to the actual text.

For visual syntax, readers formulate their own expectations about the relationship between panels namely the first and last. These expectations occur because the reader becomes accustomed to the specific style of the comic strip.

Transitional Syntax

Cohn moves on to by looking at McCloud’s 6 types of panel to panel transitions. He states that it provided the first comprehensive analysis of this type of medium. However, some critics have argued that McCloud’s work has many ambiguities such as the role of time in panels and the equation of “space equals time”. Examples used to illustrate this are works of Tezuka where the subject of the panels move back and forth through “time”.

Web diagrams are used to show how the transitional ambiguities exist.

References

Cohn, N. 2005. A Visual Lexicon. Emaki Productions- The website of Neil Cohn. Summer 2005.

Cohn, N. 2007. Visual Syntactic Structures. Emaki Productions- The website of Neil Cohn.. Summer 2007.

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Research Essay: Rigging Assignment

Research Essay: Rigging Assignment

Deadline: 17 March 2008

Comparison between XSI’s default Biped Guide and my Custom-Made Rig

SoftImage XSI contains several default bipeds and quadpeds for rigging humans and animals (Murdock, 2006). My custom-made rig allows me to be creative with characters and is limited only by my imagination and technical expertise.

A default rig is made from the default guide. The default rig is customizable and can be manipulated. This speeds up the overall animation process as the user doesn’t need to know all the workings of the rig in order to use it. The custom-made rig allows for flexibility but we have to have some knowledge on how to build the rig.

Setting up my custom-made rig meant that I had to know how to parent objects and use constraints. I also had to know which way the bones point and how to make various adjustments such as rotation and translating the objects to my own specifications. The custom-made rig has to have each object named where as the default rig already has all the objects named.

Custom-Made Rig vs. Default Rig

The default rig provides a standard skeletal structure for the user. The structure consists of a series of bones which belong to different hierarchies. It is advantageous in a situation where a scene requires many characters and so the automation provided by a default rig can assist users in constructing a large amount of rigs in a short time.

The default rig can be adjusted but a large problem is that not all users, especially beginners, know how to make adjustments. This is due to the complexity involved with rigging. By constantly using the default rig, the user does not get to explore the other possibilities available from creating their own rig.

We set up our own rig because it provides a greater understanding of the inner workings of a rig. This includes controls, parent/child relationships, constraints and many other aspects. This is very useful to an animator because it’s a hands-on approach to learning and the animator can benefit from making mistakes. It is always better to have an understanding of how a rig works because the user may have to switch programs in the future and the same principles leaned would be useful for transitions as such. Different studios may use bespoke animation programs and so it becomes very important to have an understanding of a rig than using an automated one.

Another reason is some users would want to create their own rig which would cater to their different needs. These needs range from having an unusually shaped character for example, an inch worm or a jack-in-the-box to animating computer simulations of emergency responses. The users would therefore set up their own rigs as opposed to using default rigs because it allows them to define our own parameters or characteristics.

Image: Various Bones

(Harriss, 2008 )

References:

Murdock, K. 2006. Product Reviews: SoftImage XSI 5.1 Review. Available: http://www.gamedev.net/features/reviews/productreview.asp?productid=592

Accessed: 15/03/2008

Harriss, E. 2008. Overview of SOFTIMAGE|XSI 3.0. http://www.edharriss.com/xsi/version3.htm

Accessed: 15/03/2008

Animation Studies: Incompatible Visual Ontologies

Assignment 3: Précis of "Incompatible Visual Ontologies"

The following is a summary of Pascal Lefèvre’s “Incompatible Visual Ontologies – the Problematic Adaptation of Drawn Images”. Lefèvre analyzed the problems of adapting one medium to another with regard to the transformation of the comic aesthetics to film and the reaction from an audience of both films and comic books. The summary looks at the similarities, differences and problems of visual aspects when adapting a comic to a film.

Similarities of the Visual Aspects

Films and comic books have a close link as they both use a series of images to tell a story.

Another similarity is the way the originals of comic books and films are distributed. Copies are distributed unlike original works of art where it is the original which is distributed.

Differences of the Visual Aspects

The material shape is different between the two mediums. Comic books are on paper or on screen (the Internet) where they have to be paged or scrolled. Films are one screen where they have to be watched. The film viewer has less freedom with navigation than the comic book reader. Although when the film gets adapted to a DVD then the viewer can have a bit more control over the navigation.

There is the primacy issue which is when the reader reads something first and then creates his own visual of what is happening. The reader lives through their own interpretation of what is happening in the story. Film makers impose their “vision” on the audience more than comic book artists.

When viewing a film, the surrounding audience can play a big influence on the visual experience of an individual. This is due to the interaction level an individual viewer encounters. The viewer has their own opinion and the audience as a whole could find something happening in the story very appealing or unappealing and the viewer, hearing their reaction such as an applause could decide to conform to their opinion. Comic book readers have a different experience and usually don’t have emotional sharing on a large scale like film-goers do.

Problems

Comics have static drawings using panels and have no sound. Films have moving images within a screen frame with sound (sometimes without). The problem adapting has to do with moving from motionless to motion.

Another problem is how close the film makers follow a storyline. In some cases it is better to add on to a story or change it to fit in with the expectations of a movie-going audience. Other times it is better to stick to the original to meet the expectations of the comic fan base. Very few films stick to the original but Lefèvre points out that “each medium has its own laws and rule”. The film maker has to figure out what is appropriate for the target audience.

The stylization and mood portrayed in a comic book can be entirely different to that portrayed in a film. The film makers may not be able to capture the exact mood or style of the book (Lefèvre, 2007). This can be difficult to achieve. Another issue is that of putting a voice to the characters. Readers already have a voice in their head of what the character sounds like (Lefèvre, 2007). Film makers have to have an understanding of what fans would expect and at the same time what the comic book writer was trying to create. Some comic books can be adapted to fill over and over but by different film makers therefore the actors would change. This is where fans have to prepare themselves for their characters to be different with each film.

One last problem is the pace of the experience. Comic readers can read at their own speed and choose to go forward or back. This allows them to decide on their own what parts of the story they want to read as well as the sequence of events (Lefèvre, 2007). The reader also has the advantage of using their peripheral vision where they can decide where to look and advance their story or just have an idea of what is going to happen next and then jumping back to where they were reading.

Lefèvre concludes that “perhaps we should not be too purist concerning adaptations” (Lefèvre, 2007). We should look at the adaptation as something that is related to the original, but is completely new and on its own.

References
Lefèvre, P. Incompatible Visual Onthologies: The Problematic Adaptation of Drawn Images. Film and Comic Books, edited by Mark Jancovich, Matthew P McAllister and Ian Gordon, Jackson: University Press of Mississippi, 2007, 1-13.

Animation Studies:Film Adaptation

Assignment 5: Discussion of film/animation adaptation of a book/comic- The Cat in the Hat

The Cat in the Hat is an entertaining tale about a cat that brings fun and excitement as well as chaos to a household of two children on a rainy day while their mother is out. The cat performs all sorts of wacky tricks with mixed results. The children then have to decide whether to have fun with the cat or to follow the rules (Seuss, 1957).

There have been numerous adaptations of the book such as a television special, a film, a musical, an amusement park ride and educational games. The focus of this essay is to discuss the adaptation of the book to film. There is an emphasis on the visual elements and how the reader or viewer affects the general experience of the book and film. The overall contribution to a success or failure of an adaptation is explored. This is done by comparing and contrasting certain elements and noting the similarities and differences of the book and film version.

According to Levfèvre, cinema critics and fans agree that it is hard to make a good film adaptation (Levfèvre, 2008). Some adaptations have been genuine blockbusters, however it is noted that not all movie viewers are fans of the original work and did not even have had to know about it to appreciate the film. The film adaptation received mixed reviews. RottenTomatos.com had an average rating of 3.2/10. According to Ty Burr, a reviewer of the Boston Globe, the film was not about adapting a book; it was about leveraging a brand. Burr went on to say that it was a “soulless, clanky affair and proved that a movie doesn’t have to be good to make millions” (Burr, 2003). In contrast to that, younger audiences enjoyed the film.

The Cat in the Hat by Dr Seuss, also known as Ted Geisel, was first published in 1957 and was the early mascot for “Beginner Books”. Most of Seuss’ books were written as a supplement to reading programs taught in schools. Seuss claimed that the book took nine months to write as he was given a list of 223 selected words to choose from (About, 2008). The article “Why do students bog down on the first R” written by John Hersey, 1954, stated that “children’s books were boring and could not compete with cartoons, comics and other more fun and interesting stimuli” and this is what motivated Seuss to write the book (About, 2003).

Dr Seuss, known for his “whimsical” drawings illustrated the book with his distinct style of often rounded and droopy characters, buildings and machinery. Seuss also showed motion in his drawings as well as illustrating the action of senses (Seussville, 2008).

According to his art director Cathy Goldsmith, his sense of colour was idiosyncratic- very distinct and recognizably “Seuss” (Seussville, 2008). The accompanying illustrations of the book had the limited range of colours red, blue, pink, black and white. This colour selection allowed for the book to have a simple affect as to not draw attention away from the text too much.

The live-action film for The Cat in the Hat was released in 2003. Mike Myers starred as the talking cat and the setting was that of a colourful make-believe world with silly and illogical misadventures (Rotten Tomatoes, 2003). The film was aimed at fans of the original bookat a mature audience who would handle the various adult themes.

The film was said to have been untrue to the traditional Dr Seuss feel as there were additional characters, subplots and zany special effects (Rotten Tomatoes, 2003). The film contained numerous mature themes such as sexual innuendos. This did not reflect the true intentions of the original book- which was written to assist early learners- and is most likely to be one of the main reasons why the film received many negative reviews and ratings (Rotten Tomatoes, 2003).

Looking at the basic visual style, the film used live action combined with 3d computer-generated imagery (Avid, 2008). Almost every sequence was touched by effects including most shots featuring the Cat (Avid, 2008). A green screen was used where backgrounds were added and then many layers of animation on top of that (Avid, 2008). This is where the experience by the audience for the film and book differed significantly (Levfèvre, 2008). The book had static drawings and so the reader had to use his imagination to go from page to page.

There were various songs and sounds which featured and added to the tone and mood of the various scenes of the film. When reading a book, there are no sounds coming out of it and so the reader has to create their own sounds. With a film, the creators provide the sound which they decide on (Levfèvre, 2008). The book was written in verse and the reader could go through it at his own pace. The stop-start nature of the film broke up the rhythm of the book’s written material. The audience had to keep up with the pace of the film.

Looking at the social aspects there is another difference in the book and film. This is the individual experience of reading in solitude and the group experience of going to the cinema and watching the film with many other people (Levfèvre, 2008). The overall experience of watching a film in a cinema is influenced by the surrounding film-watchers.

One other difference between the book and film was the amount of time, energy and effort it took to produce (Levfèvre, 2008). The film had more people involved with the production whereas Seuss wrote the book and illustrated it with the help of a small team which included his publisher and editor. The film production also required a larger budget than the book.

This essay addressed the similarities and differences between the book and film The Cat in the Hat. The book was a static medium written for an audience of beginner readers which were children. The film had a much wider audience spanning over three generations. The artistry of the filmmakers with the assistance of the latest digital tools helped create a fresh new look of an old favorite. The book has received international success and remained very popular, unlike the film which has received varied reviews. Although the film deviated from the original story by adding characters and subplots, it still used the basic storyline and changes were made to fill up screen time, be in touch with the contemporary world and meet the expectations of the film audience. A direct, purist adaptation is rarely a good choice (Levfèvre, 2008). Levfèvre points out that each medium has its own laws and rules- these should be adhered to (Levfèvre, 2008). Some elements may work well for the book but would not work in the context of a film. And as Levfèvre notes, not all movie viewers had to be fans to make the film a success- they don’t even have to be aware that there was a book or comic book made previously.

References:

About.com. 2003.About.com: The Cat in the Hat Sparks interest in the Dr. Seuss Book.

http://movies.about.com/cs/thecatinthehat/a/cathatbooknews.htm

Accessed: 06/03/2008.

Avid. 2008. The Cat in the Hat Comes Back Digitally.

http://www.avid.com/profiles/040105_catinthehat_composer.asp?featureID=734&marketID=

Accessed: 07/03/2008.

Burr, T. 2003. Coarse `Cat in the Hat' is another case of Seuss abuse.

http://www.boston.com/movies/display?display=movie&id=2287

Accessed: 05/03/2008

Lefèvre, P. Incompatible Visual Onthologies: The Problematic Adaptation of Drawn Images. Film and Comic Books, edited by Mark Jancovich, Matthew P McAllister and Ian Gordon, Jackson: University Press of Mississippi, 2007, 1-13.

Rotten Tomatoes.com. 2003. Rotten Tomatoes.

http://www.rottentomatoes.com/m/cat_in_the_hat/#synopsis

Accessed: 07/03/2008.

Seuss, D (pseud.). 1957. The Cat in the Hat. Random House: New York.

Seussville. 2008. Dr Seuss’ Biography.

http://www.seussville.com/

Accessed: 07/03/2008.

Animation Studies: Reading Comics

Assignment 1: Brief History of the Comic Medium-Time line

1837 "The Adventures of Obadiah Oldbuck" was created by Rudolphe Töpffer first published in Europe and then America. There were no word balloons.

1895 “Yellow Kid” was created by Richard Outcault. This was the first comic that used word balloons and has often been thought of as the first actual comic.

1919 “Gasoline Alley” by Frank King is the first strip to have characters that age in real time.

1937 “Detective Comics” releases it’s first issue and will later be abbreviated to DC comics.

1938 “Action Comics” introduces the first superhero ever- Superman.

1940 “Brenda Starr” was the first comic strip written by a woman and published.

Dr Frederic Wertham, a psychologist, tries to censor comic books by suggesting that they are bad for children. His views expressed in “The Psychopathology of Comic Books” receive immediate negative reactions from the public towards comic books.

1941 “Archie Comics” introduces Archie Andrews.

1941 “Casper the Friendly Ghost” is published by Harvey Comics.

Wonder Woman and Captain America appear for the first time.

1950 “Peanuts” by Charles M. Schultz begins it’s 50 year run.

1952 Mad Magazine, a satirical monthly comic book was launched.

1954 The Comic Magazine Association of America Inc develops the Comic Code creating many restrictions and limiting genres.

1961 Stan Lee presents “The Fantastic Four”.

1962 “Spiderman” was introduced by Steve Ditko.

1963 Marvel Comics starts the first series of mutants, “The X-Men”.

1970 The top selling title is the non-superhero comic “Archie Comics”.

Marvel introduces a new hero, “Conan the Barbarian”.

1978 “Garfield” by Jim Davis begins. The strip becomes one of the most widely syndicated and merchandised of all time.

1979 “For Better or For Worse” by Lynn Johnston debuts. The characters age in real time and the strip becomes known for its realistic portrayal of life events.

1985 “Calvin and Hobbes” by Bill Watterson begins its run in newspapers.

1992 Superman is killed. Several issues later, he is brought back to life due to major media attention and mourning fans.

“Spawn#1” by Todd McFarlane is the best selling independent comic to date.

2007 Character Captain America is shot and killed by his nemesis.

References:

Bells, M. The History of Comic Books. 2008.

http://inventors.about.com/od/cstartinventions/a/comics.htm (accessed: 04/03/2008)

Corvile, J. The Histor of Comic Books. 2008.

http://www.collectortimes.com/ (accessed: 04/03/2008)

Ross, S. Comics Timeline. 2007.

http://www.infoplease.com/spot/comicstimeline.html (accessed: 04/03/2008)

Santos, D. Comic Book Websites Comic History. 2002

www.comicbookwebsites.com (accessed: 04/03/2008)