Animation Film Analysis

The use of techniques and strategies in animation is significant as it greatly emphasizes the overall message of the film, and most importantly it allows the audience to understand and identify the film in their own individual perspective. All techniques used in animation films have potential in their own distinctive ways. Films such as ‘200,000 Phantoms/ Nijuman No Borei’ (2007), ‘Philips Broadcast of 1938’ (1938), ‘Uncle’ (1996), ‘The Sorcerer’s Apprentice’ (1940), ‘Felix in Hollywood’ (1923), ‘Billy’s Balloon’ (1998), ‘Mt. Head/ Atama Yama’ (2003) and ‘Simonova Sand Performance’ (2009) demonstrates a variety of techniques and strategies in the most effective ways. In some of the films, there are techniques and strategies used that are similar and some that are very different, nevertheless each are unique in their respective ways. We will explore the techniques used in these films, including its historical or contemporary context based on the methods of production used and the cultural environment from which they arose. We will also see how the films contrast from each other.

Released in 2007, ‘200,000 Phantoms/ Nijuman No Borei’ is an 11-minute photo-collage of Hiroshima from 1914 to 2006 by French artist, writer and filmmaker Jean-Gabriel Periot. On August 6, 1945, an atomic bomb detonated 500 feet away from the Genbaku Dome building, killing 78, 000 people. This film is a reminder of the survival of the Genbaku Dome and even though it went through the horror of the nuclear power, it is still standing. 600 photographs both historical and contemporary illustrate the history of the 20th century in Hiroshima. The short film begins with several black and white construction photographs of the Genbaku Dome. Accompanied with a me...

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...ce, however without doubt, it is the message of the film that is most significant.

With reference to concept art, the models team began sculpting the beast and gave it a skeleton and muscle system. Smaug is centuries old so the texture on him are scars, flaking skin,broken scales and chipped horns. Given Smaug’s eyes glowing effect made it more dramatic and each of his million of scales are unique.

David Clayton discussed that “As animators we had to transpose the elements of Benedict’s performance that were critical to the shot, such as head nuances and facial expressions. We then built up the majority of his motion with key frame animation.” There were also some motion captures of Benedict Cumberbatch moving his body like the dragon, however they were not entirely put into the film but instead they were used as references for the Smaug’s body movements.