This is a few frames of film reel that I’ve been working on. Frames of this are erratic yet gave me an idea of how the marks are working so far. It is slightly more difficult to review the movement in this technique but I feel the very limited canvas works to my advantage.
Here are some frame ideas for the major movement part of the animation- these are initial lined frames I plan on working into. This sequence has no narrative or consideration but it has been floating around in my head recently; leading further into the subliminal aspect of the project. For many of my projects I’ve been checking out various types of film and animation including most recently Alice in wonderland (1951).
This classic has all the dealings with cultural semantics and literary, philosophical and scientific themes. This is also the film I chose to apply Bordwell and Thompson’ s principle meanings in ‘The Significance of Film and Form’; as you would expect it stirred up some very interesting arguments. The story is melee of nonsensical and disparate events as though literally plucked out of the random conjuring’s of the dreaming mind.
The most recognisable (and arguable the most iconic recurrence in all its adaptations) is the Cheshire cat – this drew my attention back to a this music video by Rubbishbelt.
I’ve loved this video for a while and I’ve only recently began to see why. Its multilevel semantics and powerful conflict between space compliment the nature of the music making it visually satisfying to see a physical representation of the rhythm. It is this expression of visual sounds Norman Mclaren talks of achieving in his experimental works. This is the part I will work over more upon tests and aim to have both music and visuals working together.
[I’m still not sure if I will use all of these frames in the final but we’ll burn that bridge when we come to it]