dc.contributor.advisor | Moyes, Peter D | |
dc.contributor.author | Linhart, Michael T | |
dc.date.accessioned | 2020-07-17T01:45:28Z | |
dc.date.available | 2020-07-17T01:45:28Z | |
dc.date.issued | 2020-07-09 | |
dc.identifier.doi | 10.25904/1912/5 | |
dc.identifier.uri | http://hdl.handle.net/10072/395569 | |
dc.description.abstract | Despite the increasingly digital domain of contemporary animation, stop-motion appears to remain a popular subset of animation. This research project attempts to account for its continued appeal by examining its unique features. I assert that many current big budget stop-motion features utilise digital technology for seamless high production values at the expense of stop-motion’s particular charm and idiosyncrasies. I propose that a balance can be struck whereby the craft and artistry of traditional stopmotion— its emphasis on materials and tactility, on real-world space and lighting, and on signature performances—can be enhanced rather than compromised by digital processes.
Central to this investigation is the production of an eleven-minute stop-motion animated film, Peeping Winkle that attempts to balance traditional and digital methods. This exegetical paper provides context for the Peeping Winkle project, an account of its production, and a reflection on its achievements in the light of the research question: How can the material requirements of stop-motion puppet animation production be balanced with the affordances of digital effects and processes in order to best exploit the unique attributes of the technique?
A key innovation of the Peeping Winkle project is a hybrid puppet head design that draws on the respective advantages of traditional elements of plasticine and internal armature-controlled components and the digitally facilitated techniques of 3D face replacements and animated eye composites. This exegetical account of the Peeping Winkle project details the ways in which a balance has been sought between the appeal of traditional stop-motion animation and the aesthetic and procedural affordances of digital technology. New methods are indicated in synthesising the material considerations of fabrication and a traditional straight-ahead approach to animation with the advantages of pre-determined lip sync and secondary digital processes. | |
dc.language | English | |
dc.language.iso | en | |
dc.publisher | Griffith University | |
dc.publisher.place | Brisbane | |
dc.subject.keywords | stop-motion | |
dc.subject.keywords | animation | |
dc.subject.keywords | appeal | |
dc.title | How can the material requirements of stop-motion puppet animation production be balanced with the affordances of digital effects and processes in order to best exploit the unique attributes of the technique? | |
dc.type | Griffith thesis | |
gro.faculty | Arts, Education and Law | |
gro.rights.copyright | The author owns the copyright in this thesis, unless stated otherwise. | |
gro.hasfulltext | Full Text | |
dc.contributor.otheradvisor | Meissner, Nico | |
gro.identifier.gurtID | 000000021387 | |
gro.thesis.degreelevel | Thesis (Professional Doctorate) | |
gro.thesis.degreeprogram | Doctor of Visual Arts (DVA) | |
gro.department | Queensland College of Art | |
gro.griffith.author | Linhart, Michael T. | |