|
Abstract
In the following abstract, I will explain several aspects of my animation work "Exit". In Chapter one, I examine the artist's role in transforming life into art, during the process of creation.
In the Chapter two, I will explain how the artist's attitude is reflected in their creation of an animation project. In order for the creative process of art to evolve, an artist should be flexible and not expect their work to conform to the beginning template. They should totally subject themselves to the psychological activity and faithful representation of their inner feelings. The adherence to strict guidelines would stifle such activity, and not be a faithful representation of the artist's feeling.
In Chapter three, I will investigate the influence and enlightenment of some science fiction film and puppet animation artist, such as, Jiri Trnka , Kawamoto Kihachito, and Brothers Quay. In my animation work "Exit", the leading character's tour of spirit is explored in the context of a futuristic extinct civilization. The film blends the domains of "robot" and "inner-adventure", which are common themes represented in science fiction works. Kawamoto Kihachito's oriental philosophical thoughts and Brothers Quay's existentialist temperament towards literary and poetic expression have enlightened fellow artists, and caused them to further investigate the process of puppet animation.
In Chapter four , I will explain the usage of materials such as metal skeletal joints, sponge and latex. As well, I will look at the process of culling images and digital photography of Stop-Motion.
In Chapter five, I will elucidate the animation artist's thoughts and expectations in digital time. I sincerely recommend that those who are ambitious for working with puppet animation art to experience the essential significance of Stop-Motion Animation. New artists must keep their mind-state open, creative, and practical, instead of being stubborn in form and technique in the process of working.
|