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Researching Animation L6: 2021-2022

Researching Animation L6: 2021-2022

Please check the subject block for the specific assessment brief and the full details. More titles, clips and readings in support of the 3000-word case study will be submitted over the next couple of weeks.

(There is no Question ‘1’).

  1. Using J.P. Telotte’s and Eric Smoodin’s readings (posted on Moodle) as a starting point, critically evaluate the industrial setting, critical reputation and reception and artistic endeavour deployed within one of the Walt Disney ‘package’ films from the 1940s. Use Roland Barthes’ semiotic framework, to show how context, creativity, theory, and industry converge in an image, set of images or a sequence within one of the following supplied examples.
  2. Using Well’s concepts of the ‘textual’ and ‘extra textual’ auteur to clarify your analysis, define the formal and thematic characteristics of a Warner Brothers animation ‘auteur’ of your choice. (Also ensure that you are qualifying and interrogating what an ‘auteur’ is perceived to be, by using appropriate academic writing). Deploy Roland Barthes’ framework of semiotic analysis, to show how context, creativity, theory and industry converge in an image, set of images or a sequence within one of the following supplied examples.
  3. Fully outline both the secondary debate and then contextualise and critically assess the meaning, intent, and operation of either a First, Second or Third Wave British television animation text of your choice. To illustrate your findings, use the semiotic framework deployed in the first few weeks of the module to demonstrate how context, creativity, theory and industry converge in an image, set of images or a sequence within one of the following examples.
  4. TBC – Student Choice Lecture.
    1. Using the Van Norris article on Creature Discomforts from The Animation Studies Reader posted on Moodle as your starting point, and bringing in other credible secondary debates, when necessary, critically evaluate how representations of impairment are organised within a fully contextualised animated text of your choice. To demonstrate your points, use the semiotic framework deployed in the first week of this module to show how context, creativity, theory, and industry converge in an image, set of images or a sequence within one of the following supplied examples.
  5. Emma Austin guest session – TBC
  6. Emma Austin guest session – TBC
  7. Rebecca Janicker guest session – TBC
  8. Drawing from the appropriate secondary source, assess how Paul Well’s notes on ‘Hyper-Realism’ can be located, organised, constructed, and applied in a fully contextualised primary example of your choice. Use the semiotic framework highlighted on the module, to show how creativity, context, theory, and industry all converge in an image, set of images or a sequence within one of the following supplied examples.
    1. Using Donald Crafton’s and Paul Well’s conceptions of ‘personality animation’ and its functions, assess how this mechanism serves meaning within a specific animation. Use the semiotic framework we deployed in the first weeks of the module, to show how context, theory and industry converge in

 

an image, set of images or a sequence within one of the following supplied examples, to illustrate your points.

  1. Assess Michael Frierson’s conceptualisation of the functions of stop-motion animation and using the semiotic framework we discussed in the opening week, demonstrate how creativity, theory and industry converge in an image, set of images or a sequence within one of the following supplied examples.
    1. Critically outline and assess how both Joanna Bouldin and Paul Ward’s ideas on ‘Rotoscoping’ can underpin the formal choices of a text and how this method can be deployed to achieve a specific set of thematic aims. Use the semiotic framework highlighted in the first week of the module to demonstrate this in a set of images or a sequence within one of the following supplied examples.
    2. Analyse how metamorphoses or a fluidity of form within an animated text of your choice can be critically assessed, using the writing of either Aylish Wood, Norman Klein or Vivian Sobchack. Use

Roland Barthes’ semiotic framework to show how context, creativity, theory, and industry converge in an image, set of images or a sequence within one of the following supplied examples to illustrate your points.

    1. Critically assess how ‘limited animation’, (drawing on the work of either: Thomas LaMarre, Norman Klein, Maureen Furniss), can be seen as a key formal choice in the meaning and intent of a fully contextualised primary text of your choosing. Be prepared to interpret that term accurately. Deploy Roland Barthes’ semiotic framework to demonstrate this concept at work within a set of images or a sequence from one of the following supplied examples.
    2. Critically outline and assess how the notes on abstraction within animation, offered within the writing of David Ehrlich, Clive Walley and Bärbel Neubauer, play out in a key example. Be prepared to interpret the terms accurately. Use Roland Barthes’ semiotic framework to demonstrate these concepts at work in an image, set of images or a sequence within one of the following supplied examples.

Assessment Brief 9.1: 3000 word semiotic analysis.

  • Deadline no later than noon, 12pm: Tuesday 25th January 2022.

 

  • Submitted in University house style, through the Turnitin link supplied on Moodle.

 

  • Please check you are submitting the correct draft and file type.

 

  • This assessment is worth 100% of your overall grade on this module.

 

  • Please consult the example that has been posted on Moodle for further guidance.

You will choose your own image or images from the supplied title.

 

Your semiotic analysis will be fully informed using both secondary and primary academic research materials.

 

This will be an 3000 (maximum) submission that includes in-text APA citations and a bibliography.

 

There is a 10% allowance either side of the specified word limit.

 

Consider using at least 5 sources each under the R.P.I. model to set up the context (or ‘signified’).

  1. The analysis will contain a full, deeply researched understanding of the context for your chosen image. Use the R.P.I. model, if in any doubt.

 

  1. Any deviation from the suggested list will merit an instant fail.

 

  1. Please don’t include a picture in the essay, but the image should be fully referenced in the prose and in the bibliography, from the original source itself (i.e., not citing Moodle as the reference).

 

  1. You will use the semiotic model outlined at the beginning of this module to highlight how a specific image, sequence or set of images can reflect on the nature of meaning. Remember to address the three key areas outlined within Barthes’ conception of analysing visual material, i.e., the signifier, the signified and the sign: index, context and analysis.

Secondary Research

    • A successful case study will draw the ideas from an appropriate secondary research, which should be present in the writing itself.
    • Secondary research is collating existing, published and proofed research.

 

    • Please consider the pitch, intent and application of your academic narrative. The work will not just be your own thoughts as your findings have to be informed and credible. Most ‘ideas’ and ‘terms’ have been researched and/or written about in some form, so you may have to spend time on key ideas and cast your net wide to find appropriate discussions.

 

    • We are testing how you sum up the supplied secondary argument, how it pertains to, or informs, your analysis and how you integrate this pitch this into your argument.

 

    • Remember: make notes on the key points of the study that informs the question, i.e. summation, overview and extrapolation.

 

    • Ensure you are not quoting descriptive, introductory terms but are working with the actual ideas that the piece is raising. Quote the ideas, the meat of the statement. The academic work needs to present in the writing, rather than just alluded to.

 

    • Don’t write (or read) this in an evening! The best essays are the ones that rewritten, re-read. Spend time reading and re-reading – ensure that you have the argument clear.

 

    • Maintain objectivity and avoid supposition, overstatement and copied and pasted material.

 

    • Check the correct use of adjectives and avoid journalistic registers etc. Keep an eye on the pitch.

 

General research pointers:

For each choice, ask yourselves these important questions:

 

  1. Have you taken a list of all the relevant names, institutions, and titles to research from imbd or Wikipedia to take forward into your own research? Do not assume it is just actors that are important, ensure you are aware of who is important in the story. Always go deeper.

 

  1. Who are the primary contributors, creatives and key personnel involved with the project?

 

  1. How was the text received by the institutional press and media?

 

  1. When was the text made available? Where and how was this released? Which institutions were involved, consider: where, why and how?

 

  1. What have these contributors and institutions famous for? What have they done previously? f). Tell us why this is an important text.

g) Combine keywords of people, institutions etc to locate related points that may inform your understanding of the subject you are writing on.

 

Do NOT cite Wikipedia or imbd in bibliography. Use these sites as a starting place only.

 

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