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Eduvest � Journal of Universal
Studies Volume 3
Number 1, January, 2023 p- ISSN 2775-3735- e-ISSN 2775-3727 |
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REALITY IN ANIMATION: A
CULTURAL STUDIES POINT OF VIEW |
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I Made Marthana
Yusa, I Ketut Ardhana, I Nyoman Darma Putra,
Ida Bagus Gede Pujaastawa Pusat Studi Digitalisasi Budaya Bali, Institut Bisnis dan Teknologi Indonesia
(INSTIKI)1, �Fakultas Ilmu Budaya, Universitas
Udayana1,2,3,4 |
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ABSTRACT |
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This
research discerns at animation as a text by focusing on the investigation of
the aspects and concepts that define a reality in the world of animation. By
looking at the reality in the animation, clues and texts can be generated
that contribute to understanding the postmodernity framework and the concept
of representation from the point of view of cultural studies. This
qualitative research uses a cultural studies approach, with the method of
intertext analysis of texts from literature studies and interviews with
expert source persons in the field of animation. Postmodernism and
hyper-reality theories are used eclectically with the concepts of simulation
and representation to support hermeneutic reasoning models. This research
resulted in the formulation of the concept of reality in animation with the
point of view of cultural studies which includes a description of the concept
of reality in the presence of animated works, the components of reality in
animation, and the meaning of reality in animation |
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KEYWORDS |
reality in
animation, hyper-reality, simulation, representation, cultural studies |
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This
work is licensed under a Creative Commons Attribution-ShareAlike
4.0 International |
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INTRODUCTION
����������� Problems in the world of animation
are not always related to technical problems, case studies, aesthetic
approaches or animation projects. The meaning of the fundamental philosophical
aspects related to the presence of animation itself is important to be interpreted
as a text that needs to be analyzed. This study aims to analyze more in context
or the relationship between animation as a form of art and reality.
�������������������������������
The presence of animation works in a world that is defined as the world
of creative industries has brought various cultural issues. The cultural
studies paradigm helps us to take a deeper, critical look at a text (in this
case an animation work) by linking it with socio-political issues, cultural
discourses or theoretical aspects which form the basis of thinking in reviewing
the occurrence of cultural practices. Animated works as cultural works in fact
also utilize cultural aspects and profiles as commodities and manifest them in
animated works so that they can be more accepted by the market. Agents in the
world of the creative industry�where this animation is present�compete and
create contests with the motivation of presenting their work as the most
superior, dominant and a favorite of audiences who enjoy animation works. In
order to realize the goal of achieving messages and ideology that are
communicated through animation works, it is often manifested in a power
relationship. The presence of animated works can also be interpreted as an
ideological representation of the creators of these animated works. Besides
aiming to analyze more in context or the relationship between animation as a
form of art and reality, the next objective of this study is to formulate the
concept of reality in animation from a cultural study point of view.
THEORITICAL REVIEW
����������� This study uses the theory of
postmodernism in a broader scope to interpret the reality aspect of animation.
Theoretics selection then narrows down specifically using hyper-reality theory,
the concept of simulation and representation to interpret the manifestation of
the form of reality that is present simultaneously with the presence of the
animation work.
Postmodernism
����������� Postmodernism is an ideology that
developed after the modern era with its modernism. Postmodernism is not a
single understanding of a theory, but rather appreciates scattered theories and
it is difficult to find a single common ground. Many figures give the meaning
of postmodernism as a continuation of modernism. But the sequels are very mixed
(Mustofa & others, 2017; Parkes, 2014). Rejection of the logic of positivism can make someone
a postmodern thinker. Unconventional research approaches and alternative ways
of knowing things are among the things that make it possible to be labeled
postmodern. Postmodernism encourages pluralism, sensitivity to difference and
tolerance of the incommensurable.
����������� The term postmodernism first
appeared in 1930 in the field of art by a Spanish writer named Federico de Onis
to show a reaction from modernism. The concept of postmodernism was published
by de Onis in 1934. Then in the field of History by Arnold Toynbee in his book
Study of History written in 1938, then published after the war era in 1947 (Hassan et al., 2015; Javangwe, 2016).
For Jean-Francois Lyotard and Geldner,
postmodernism is a complete break from modernism. For Derrida, Foucault and
Baudrillard, postmodernism is a radical form of modernity which eventually
kills itself because it is difficult to standardize theories. According to
David Graffin, Postmodernism is a correction of some
aspects of modernism. Then for Giddens, it is a form of modernism that has
become self-aware and has become wise. The latter, for Habermas, is a stage of
modernism that has not yet been completed (Docherty, 2015).
Postmodernity is related to the postmodern era. Giddens and Jenkins say
that post-modernity is a condition or circumstances; its attention to changes
in institutions and conditions, such as economic, political, and cultural (Harvey, 2020). Postmodernity is a condition where society is no
longer governed by the principle of production of goods, but rather the
production and reproduction of information where the service sector is the most
determining factor. The society is a society of consumers who no longer work to
meet needs, but to fulfill lifestyles (Lubis, 2014; Pisarski & others, 2017).
Postmodernism is related to the cultural expression of the postmodern
era. Postmodernism is postmodern thought, or discourse, concerned with
philosophical reflections on the postmodern era and culture. Postmodernism is
expressive intellectual changes at the theoretical level; to aesthetics,
literature, political or social philosophy which consciously responds to the
conditions of postmodernity, or which seeks to move beyond or criticize
modernity (Brown, 2018).
Representation
����������� Representation as a concept is a
thought that was present from postmodernism. Representation comes from the word
"Represent" which means �stands for� meaning "means" or
also "act as delegate for" which acts as a symbol of something (Jappy, 2016; Marriott, 2019). Representation can also mean as an act of presenting
or presenting something through something outside himself, usually in the form
of a sign or symbol (Piliang, 2017). Representation is something that refers to the process
by which reality is conveyed in communication, via words, sounds, images, or a
combination thereof (Hartley, 2012). In summary, representation is the production of
meaning through language. It is through language (written, spoken or graphic
symbols and signs) that someone can express thoughts, concepts and ideas about
something.
����������� Representation is the production of
meaning through language (Feng & O�Halloran, 2013). Representation is the process of how to give meaning
to something through language. To represent something is to describe or paint
it, to �call� it into mind by describing or picturing or imagining; to first
place an equation into a thought or feeling. To represent also means to
symbolize, to represent, to be an example of, or to be a substitute for
something (Fulton & Harris, 2013; Yusa, 2016) Meaning is the result of the practice of
signification, the practice of making something meaningful (Molina-Guzm�n, 2016).
According to Stuart Hall, representation is one of the important
practices that produce culture. Culture is a very broad concept, culture
concerns 'sharing experiences'. Someone is said to come from the same culture
if the humans there share the same experiences, share the same cultural codes,
speak the same 'language', and share the same concepts (Du Gay et al., 2013). There are two representation processes. First,
mental representation, namely the concept of 'something' in each other's head
(conceptual map), mental representation is still something abstract. Second,
'language' plays an important role in the process of meaning construction. The
abstract concepts that exist in our heads must be translated into a common
'language', so that we can connect our concepts and ideas about something with
the signs of certain symbols. Media as a text spreads
many forms of representation in its contents. Representation in the media
refers to how a person or a group perceives information (messages) and then
constructs the meaning conveyed by the media (Lacey, 2018).
Chris Barker stated that representation is the main study in cultural
studies. Representation itself is interpreted as how the world is socially
constructed and presented in a certain meaning. Cultural studies focuses on how
the process of interpreting the meaning of the representation itself (Barker, 2011). Representation means using language to express
something meaningfully, or to present it to others. Representation can be in
the form of words, pictures, sequences, stories, and so on which 'represent'
ideas, emotions, facts, and so on. Representation relies on existing and
culturally understood signs and images, in language learning and various
significations or textual systems reciprocally. This is through the function of
the sign 'representing' what we know and study reality (Cotter, 2015).
Representation is the use of signs. Marcel Danesi
defines it this way: �the process of recording ideas, knowledge or messages in
some physical way is called representation�. This can be defined more precisely
as the use of the sign, namely to connect, describe, imitate something that is
felt, understood, imagined, or felt in some physical form. The concept of
representation is used to describe the expression of the relationship between
text and reality. Representation is the process by which members of a culture
use language to produce meaning. Language in this case is defined more broadly,
namely as any system that uses signs. Signs here can be verbal or nonverbal (Winarni, 2015). According to Hall himself in his book through
representation, a meaning is produced and exchanged between members of society.
So it can be said that representation in a nutshell is
one way to produce meaning.
Therefore, the most important thing in this representation system is
that groups that can produce and exchange meaning well are certain groups that
have the same background knowledge so as to create an (almost) the same
understanding. According to Hall, thinking and feeling are also
representational systems. As a representational system means thinking and
feeling also functions to interpret something. Therefore, to be able to do
this, it is necessary to have the same background understanding of concepts,
images, and ideas (cultural codes).
Hyper-Reality
In order to gain a comprehensive understanding of the term
hyper-reality, it is necessary at the beginning of the discussion to examine
the meaning of each word that forms the term hyper-reality, namely 'hyper' and
'reality'. The word �hyper�, etymologically defined as "above",
"exaggerated", "exceeded". The word 'reality' indicates an
entity that is present in human consciousness, or a state in which humans are
able to define the presence of an entity in a conscious state (Christanti et al., 2021; Nuncio &
Felicilda, 2021; Yusa, 2020). When the chain that connects the signifier and the
signified, the concept or meaning in a signifying relationship is broken, then
what is formed is a sign that no longer depends on the reference of reality,
and develops itself in the playing field of pure simulacrum, or pure immanence,
which forms a hyper-reality world (Wolny, 2017). The hyper-reality world is formed by the role of
hyper-semiotics. Hyper-reality is described by Baudrillard as a world of
reality which in its construction cannot be separated from the production and
free play of signs that go beyond (hyper-sign) - a sign that goes beyond its
own principles, definition, structure and function. The world of hyper-reality,
thus can be seen as a world of reality engineering (in the sense of distortion)
through hyper-signs in such a way that these signs lose contact with the
reality they represent. Hyper-reality creates a condition in which falsehood
mingles with authenticity; the past mingles with the present; facts conflict
with fabrications; sign merges with reality, lie merges with truth (Piliang, 2017; Yusa et al., 2017).
Simulation
In the world of hyper-reality there is a principle of simulation.
Simulation is the creation of a reality that no longer refers to reality in the
real world as its reference, and now it is transformed into a kind of second
reality whose reference is itself (simulacrum of simulacrum). The language or
signs in it seem to reflect the real reality, even though it is an artificial
reality, namely a reality created through simulation technology, so that at a
certain level, this reality appears (is believed) to be as real or even more real
than the actual reality (Saam, 2017; Schulzke, 2014). In this sense, the sign merges with reality. In
another sense, through the sophistication of simulation technology, there is no
difference between a sign and reality, it is difficult to distinguish.
From the results of the theoretical review, intertwined understandings
were obtained so that they could be constructed in a research mind map as
illustrated in Figure 1 below:
REALITY IN ANIMATION CONCEPT: 1. Simulation 2. Representation THEORY : 1. Post-modernism 2. Hyper-reality The concept of Reality in the presence of
animation works Components of reality in
animation The meaning of reality in
animation CONCLUSION FINDINGS PROPOSITION Cultural Studies Point of View
Figure 1
Research Mind Map
RESEARCH METHOD
This qualitative research uses a cultural studies approach, with the
method of intertext analysis of texts from literature studies and interviews
with expert source persons in the field of animation. Postmodernism and
hyper-reality theories are used eclectically with the concepts of simulation
and representation to support hermeneutic reasoning models. The analysis was
carried out with retrospective reasoning on text analysis in the ontology
dimension of animation, as well as in its epistemological and axiological
dimensions.
RESULT AND DISCUSSION
RESULT
From the results of the analysis carried out, the formulation of the
concept of reality in animation is obtained from the cultural studies point of
view which includes a description of the concept of reality in the presence of
animation, the components of reality in animation, and the meaning of reality
in animation.
Concept of Reality in the Presence of Animation Work
DOWNSTREAM
STAGES OF INDUSTRY ESTUARY
STAGE OF INDUSTRY 01 ESTUARY
STAGE OF INDUSTRY 02 STAGES OF CREATION : - PRE PRODUCTION - PRODUCTION - POST PRODUCTION ANIMATION WORK STAGE 01 FRESH FINISHED ANIMATION WORKS - CINEMA - FILM FESTIVAL - OTHERS ANIMATION WORK STAGE 02 OFFICIALLY DISTRIBUTED ANIMATION WORKS PIRATED ANIMATED WORKS ANIMATION WORK STAGE 03 MULTI PLATFORM -TV
CHANNEL� - PAY PER WATCH/SUBSCRIPTION - DIGITAL
PLATFORM - MOBILE - WEB
Figure 2
�Concept of Reality in the Presence of
Animation Work
To express the fulfillment of the definition of a reality, a presence is
needed whose form varies according to conditions and context. Every presence
usually leaves traces, which are natural or artificial, left intentionally, or
unintentionally. In this research, the formulation of the concept of reality
was produced, related to the presence of an animation work. The presence of an
animation work is determined by the stages it goes through before the animation
work is finished, until after the animation work has been created (produced).
Referring to figure 2, it can be recited that before an animated work is
presented to the public, in the initial stages of creation, the process is
divided into pre-production, production and post-production stages. From the
process of creating animated works which the authors define as the downstream
stages of industry, animated works are produced that are ready to be marketed
or distributed at a later stage, which the authors define as the estuary stage
of industry 01. At the estuary stage of industry 01, animated works are
distributed through channels such as cinema (cinema), film festivals, as well
as other alternative channels.
Components of Reality in Animation
COMPONENTS OF REALITY IN
ANIMATION OBJECTIVE REALITY TANGIBLE INTANGIBLE VISUAL Character Design;
Background Design; Vehicle Design; Equipment Design, Architectural
Design; Visual Effect AUDIAL Voice; Sound Effect:
Music STORY SUBJECTIVE REALITY MEANING VALUE Aesthetic;
Economy;Social Cultural; Symbolic; Education INTER-SUBJECTIVE
REALITY CRITICAL
THINKING Animation
as an ideology representation; Animation as representation of power /
domination / knowledge / mastery of technology CULTURAL
STUDIES PARADIGM
Figure 3
Components of Reality in
Animation
From the research conducted, we can produce components of reality in
animation which are categorized into 3 categories of reality, namely objective
reality, subjective reality, and inter-subjective reality. There are two more
categories of the objective reality category, namely tangible and intangible,
which included in the tangible category are visual and audial aspects. Visual
aspects as tangible assets in animation projects can be in the form of
character designs, vehicle designs, equipment designs, architectural designs,
and visual effects. Audial aspects included in tangible assets are voice, sound
effects, and music. Subjective reality and inter-subjective reality are types
of reality that have a tendency towards the cultural studies paradigm. Where in
subjective reality contains meaning and value. Meanings in question include
aesthetic meaning, economic meaning, and social meaning. Whereas, what is
included in the values are cultural values, symbolic values, and educational
values. The nature of inter-subjective reality is critical thinking, where
critical thinking is meant to investigate animation as an ideological
representation, animation as a representation of power / domination / knowledge
/ mastery of technology. The assets in tangible assets are voice, sound effects,
and music.
The Meaning of Reality in Animation
ANIMATION AS TEXT CONCEPT OF REALITY NATURALIST REALISM Hyper-realism Walt Disney�s 12 Principle
of animation REPLICATION MIMETIC SYNTHETIC REALISM Computer Generated Imagery Ultra-realism
Figure 4
�The Meaning of Reality in Animation
Figure 4 explains that there are 3 models of the concept of reality
generated from animation as a text, namely naturalist realism, replication, and
synthetic realism. Naturalist Realism is a concept of reality that presents
hyper-realism as a concept, the reflexion that gave
birth to the 12 principles of animation compiled by Ollie Johnston and Frank
Thomas of Walt Disney. Replication is the concept of reality that gave birth to
the concept of mimetic, where every motion can be reproduced from references
that are relevant to the profile or definition of the motion to be created.
Synthetic realism is closely related to the term Computer Generated Imagery
(CGI). As a concept of reality, synthetic realism creates a visual genre known
as ultra-realism.
IDEOLOGICAL TRANSFER RECEPTION STRATEGY THE CONCEPT OF
COMMUNICATION IN THE WORK OF ANIMATION ANIMATION AS A CULTURAL
PRODUCT Commodification of
cultural profiles IDEOLOGY AUDIO & VISUAL PROFILE
Figure 5
The concept of communication
in the work of animation as a cultural product
The concept of communication in animated works is heavily influenced by
efforts to transfer the ideology or ideas of the creators, it can even be
inserted by efforts to influence the audience to follow the direction of the
creator's thoughts. Besides the motivation to influence the audience, creators
usually develop a reception strategy which includes selection of audio and
visual styles or trends based on the preferences of the audience as the target
market. By bringing messages and ideological motivations and market acceptance
strategies, an animation work can be interpreted as a cultural product that has
the potential to experience what Karl Marx defines as commodification. The
results of the commodification of the cultural profile that resides and is
contained in the delivery of animated shows are able to produce ideology as
well as new audio and visual profiles which also undergo a process of
transformation and reception from the audience. This concept reveals in Figure
5.
DISCUSSION
The word 'animation' comes from the Latin word 'anima' which means spirit. The plural of the noun 'anima' in Latin is 'animare', which means breath of
life. Animare
as a verb means "to turn on" or "to give breath" (J. Wright, 2013; J. L. Wright, 2019). The Latin word �animare� was then assimilated into English �animate�
which has a similar meaning, namely to make life, which can simply be
interpreted as moving, because a movement is simply considered a sign of life (Wikayanto, 2018). From this explanation, Animation (as a text) can be defined
as the art of making inanimate objects appear to move. Animating activities can
be defined as efforts to animate, give the impression or create the illusion of
life or movement from still images or inanimate objects. Technically, animating
means creating a series of illusory movements by displaying still images one by
one, which are arranged sequentially according to the concept of motion. This
technique is also known as the technique of filming an array of images or
models. Norman McLaren, one of the pioneers in experimental animation put
forward an interesting thesis that "Animation is not the art of drawing
that moves, but rather the art of movement that is drawn. What happened between
each frame is more important than what happens on each frame� (Kurnianto, 2015). McLaren's statement can be freely translated that
animation is not the art of moving images, but actually is a form of motion art
or the aesthetics of motion being drawn. So animation
is formed from movement models that are visualized graphically or constructed
from objects (both physical and virtual) that are moved by a certain mechanism.
Animation is a form of artistic impulse that was born long before humans
became acquainted with film (Kehr, 2021). In other thoughts that are still relevant to the
concept of animation, it is conveyed that animation is a form of dynamic
representation that displays processes that change from time to time. Some
examples that can be expressed, animation can display flux visualization of
high and low pressure areas in weather maps, animation can also display the
results of running computer programs (algorithm animation), display blood
pumping around the heart, or display visualization of processes that cannot be
seen through activities observation with ordinary eye vision such as the
movement of molecules (Schraw & Robinson, 2008).
John Halas and Joy Batchelor have a very important horizon of thought to
study in the context or relationship between animation as a form of art and
reality and films based on live shot or live action. John Halas and Joy
Batchelor argue that "If it's the live-action film job to present physical
reality, animated film is concerned with methaphysical
reality-not how things look, but what they mean" (Wells, 2013). Batchelor and Halas's statement can be translated as
"If the task of a live-action film is to present physical reality, an
animated film deals with metaphysical reality-not to reveal how it looks, but
what is the significance and what meaning is conveyed". This thesis seems
to reinforce the construction of Plato's concept of illusion which reveals a
paradigm regarding reality, where the original reality that resides in the
mind�which is an innate idea�becomes relevant to explaining illusion in animation
works. By adapting Plato's ideal concept, but with a slightly different
paradigm setting, the illusory being in animation projects an animated reality
(a reality that co-exists with its representament),
where that reality�including its qualisigns and legisigns�is basically artificial, contains falsity. , imitation, not original, or simulation. However, in the
latest developments - in line with the development of conceptual and technical
aspects, supported by the latest technological findings - this form of simulative
illusion is able to create a more accurate simulation of reality, close to the
original because it is complete with the application of physical laws and
applicable substantive rules. in (real) nature. An example of this can be seen
in the Jurassic Park film franchise which "revives" dinosaurs, then
it can also be seen in the use of visual effects generated from complex and
complex algorithms so as to create "doomsday" effects such as which
is shown in the scene of the volcanic eruption in Yellowstone National Park,
the effects of liquefaction, to the tsunami in the film '2012'. The visual
effects in question also range from the multiplied world effect shown in scenes
from the film Inception, produced in 2010, to the visualization of the
multiplicity of dimensions in the metaverse model from the production house
Marvel, USA, in the 2020s. The visual effects produced by Marvel can be seen in
scenes from the Spiderman and Doctor Strange film franchises (released in 2016
and 2022). Consequently, reality simulated by animation is able to create a
reality known as virtual reality, which is also referred to as artificial
reality or artificial reality. At a certain level, illusions in animation are
even capable of creating a reality that goes beyond the real reality it
simulates, thereby creating a virtual reality that goes beyond the original
reality. This reality is referred to as hyper reality (hyper-reality).
Efforts to animate an entity in animation (animation-based reality
simulation) in practice go through a complex process because it involves many
actors (2D/3D asset creators, rigging/puppeteer mechanical creators, animators,
texture artists, shading and lighting artists, compositors, CGI engineers,
visual effect artist, to sound engineer), through a long and gradual process
(pre-production, production to post-production) and utilizing various
technologies, tools, facilities and infrastructure to support the creation of
illusions/simulations. This complexity conveys the insight that reality that
appears visually/seems simple, if explored in depth and detail, it turns out
that it can only be "realized" (through simulation in animation) and
processed with high complexity. This phenomenon can be interpreted as a form of
the complexity of the animation process in simulating a much more complex
reality.
Accuracy, attention to detail, rigor and intelligence in taking simple
shapes and forms from very complex realities is actually the main challenge in
realizing (producing) scenes in an animated film. Imagination and fantasy that
are present, exist, are involved and materialize in animation though are
simpler forms of reflection than reality or natural phenomena(Parent, 2012; Wells, 2013, 2018).
Yuri Lotman, a semiotican
(semiotic expert) observes animation and then sees it as a specific system with
various terminologies. Lotman conveys this with the
following thesis: "The animated cartoon is not a variety of the feature
cinema but represents a quite independent form of art, with its own artistic
language, opposed in many ways to the language of the feature cinema or the
documentary" (Pikkov, 2010). Lotman's submission was
intended to define animation (one of its genres is cartoon films) as a fairly
independent art form that has its own artistic language, not as a variation on
feature films. Lotman also revealed that in many
ways, the artistic languages of animation are at odds with the language of
feature films or documentaries in general. Lotman's
expression was conveyed as follows: "The basic property of the language of
animation is that it operates with a sign of a sign". Lotman
intends to convey the characteristics or basic characteristics of language in
animation, namely that it is carried out or operated with a sign from a sign (Kurnianto, 2015). The notion of animation also experiences interesting
dynamics. Giannalberto Bendazzi,
an animation historian, in his notes reveals that between 1895 and 1910, the
term 'animated' was used for what we today recognize as 'live action', where
the two terms (animated and live action) are in a distinguished category. by
actors in the world of animation today. The term 'animated photography' is a
term that is more commonly used�also related to the terminology that is closer
to the characteristics of live action. Some time
later the animation industry began using simple phrases with the same meaning
as 'moving picture' or 'motion picture' (Bendazzi, 2015).
Paul Wells highlighted how difficult it is to define realism in
animation and he identified the need for a definitive model that could be based
on the 'hyper realism' of Disney animation, to measure the degree of realism
with any reality (Wells, 2018). Disney's view of realism is slightly exaggerated. To
enhance expressions, such as facial expressions, the facial topology can be
made very flexible, using the 'squash and stretch' principle. For example, when
a character is shocked, their eyes may widen beyond normal and their chin may
drop (jaw-dropped) in extreme ways. Eastern European animation styles tend to
be more surreal and dark, (but not overly so). In the
era of the 2000s, a new trend emerged brought by animation works originating
from Eastern Europe with the appearance of the Russian-language animated series
entitled 'Masha and the Bear' by Oleg Kuzovkov and
Lisa Judson in 2009. Masha and the Bear represents the cheerfulness and
innocence of the characters. a girl named Masha and the cuteness of a bear who
accompanies Masha in her daily life. The characters of Masha and Bear are far
from the stereotypes of Russian people who are known to be cold and stiff. The
typical Japanese animation style is more stylized and uses facial features that
are exaggerated to the extreme beyond realism (tends to be cartoonish and
caricatural), expressive, very iconic and typical of emoticons.
As with other works of art, there are many styles�both visual and
storytelling�that exist in the world of animation. Of the various differences
that exist, all have one thing in common, namely the existence of replication.
This shows how tightly implemented memes are (Blackmore, 1999; Morgan, 2010), and the infinite ways of replicating them are used
continuously by animators as they aim to mimic movement, emotion, and
environment (Brennan & Parker, 2014). Umberto Eco reflects on the humanities' quest to
imitate and replicate reality associated with portraying our (human) longing to
justify its existence, and describes the unlimited hope for an eternal soul (Eco, 2014). Realism animators (other than abstract animators)
are constantly trying to reproduce natural elements to imitate all human,
animal and natural forms. This reproducing activity can take many forms of
stylized replication (there are adjustments to a particular style or flow), but
overall, animation encapsulates the human urge or necessity to replicate,
mimicking, imitating and impersonating, in other words it can be concluded as
mimetic.
The replication model constructed by Walt Disney dominantly influenced
people's perceptions of animation throughout the 20th century. Gerald Scarfe
understood this and found that in fact there were problems with some animators
regarding the difficulty of interpreting the typical image concept created by
Scarfe's thinking. This was obtained when Scarfe worked on the animated version
of The Wall in 1982 (Wells, 2013). Scarfe expressed his anxiety by revealing that it
was very difficult to direct and make animators think differently and move away
from the style of the Walt Disney production studio, or the cartoon style of
other animation studios that heavily adapted the Walt Disney model such as the
Tom and Jerry cartoon series produced by the Metro-Goldwyn-Mayer studio. Tom
and Jerry is an animated series with a �slapstick�
model that predominantly applies the orthodox �squash and stretch� principle.
Scarfe wanted to make the animators aware at that time that good animation
works were actually composed with a series of pictures made in a realistic
style so that the resulting movements were reasonable, realistic movements so
that they could create aesthetic values, not just exploit cute characters by
letting them roam around and do unusual things. Scarfe wanted animators to
think differently, outside of the popular conventions of animating at the time.
Scarfe's ideology and principles, which wanted to overhaul the paradigm and
habits of animators at that time, were strengthened when he attended an
animation festival in Zagreb, Croatia, which had been held since 1972. From the
results of his exploration at the Zagreb animation festival, Scarfe saw that
there was a kind of tradition of creating different animations in Eastern
European countries, where there are completely different viewpoints and working
mechanisms both technically and aesthetically (Johnston, 2021; Wells, 2018).
What Scarfe is discussing here is what Eco describes as
hyper-realism�the particular take on realism used by Disney. Eco notes that
'Disneyland makes it clear that within its magical enclosure, it is fantasy
that is truly reproduced' (Eco, 2014; Pallant, 2010). Disney perfected a particular style of
verisimilitude in animation that became dominant in the medium then
inadvertently limited the viewer's perspective and as a result, there was wider
acceptance of other innovative and experimental animation styles (Barroso, 2019; Owen, 2012).
With the advent of technology, this preoccupation with realism has
continued, particularly in digital 3D animation. Constructed sensations seem
obsessed with synthetic realism. The breakneck speed that improves the software
with every upgrade and the use of motion capture makes the quest to perfect the
ultimate in realism ever more firmly within the grasp of the animator. A
typical attempt to produce this type of stylized real-world photograph
(animation) culminated in the making of the film Beowulf (2007). However, it
turns out that this continuous exploration effort to realize realism in 3D
animation does not always work for the audience or viewers. Viewers can be
struck by the ultra realism in animation, which
Masahiro analogizes as �crawling into the perverted feeling of the uncanny
valley� (Bellano, 2017).
Animation and film are now closer together after years apart. It is very
interesting for observers as well as audiences to experience this mix of media
(within a mix of skills) that creates a completely hybrid and spontaneous
medium. Many animation observers expressly disagree with Bendazzi's
unspoken rule that animation must not challenge live cinema on its own turf (Bendazzi, 2015). The consideration is that while there is a place for
3D animation and special effects to assimilate seamlessly into films, it would
be disappointing to see it disappear in them totally and eventually become a
lost medium (Bellano, 2017). Film and animation can blend in endless ways to
create more engaging media, without challenging one another. Animation gave
birth to live action films, therefore film can be said to be a form of
animation, so it is only fitting that the two now merge (Buchan, 2013; Cholodenko, 2022). The integration of 2D, 3D and live action films is a
visual combination that blooms as seen in Sin City (2005) and Watchmen (2009).
Tim Hope's short animation, Jubilee Line (2000) looks absolutely dazzling
because of the mix of 2D, 3D and live action loops; also
because the Jubilee Line encapsulates the strange and unpredictable nature of
mixed media. Bellevue rendezvous (2003) is an example of a mix of traditional
and 3D compositing and digital effects, but a combination of techniques is used
to produce captivating and unique animation with vintage elegance. Bellevue
opens with an old newsreel reflecting a nostalgic return to the style of 1930s
Max Fleischer cartoons, highlighting the fact that it falls short of Disney's
signature genre and is aimed primarily at adults, and not just children.
This hybrid mix may not suit the animators, but in fact the interaction
process is fully operational and relates back to Winsor McCay's
Gertie (1914), an early example of fusion of animation and live action, when
both were still in their infancy. Lots of animation styles can afford to be
more protean in this digital age, and enjoy a hybrid, mutable medium that can
excel in them. Animation has to be magical, mystical, surreal and always
subversive, but not just to convey physical reality.
CONCLUSION
This research resulted in the formulation of the concept of
reality in animation with the point of view of cultural studies which includes
a description of the concept of reality in the presence of animated works, the
components of reality in animation, and the meaning of reality in animation.
This research opens opportunities or expanse for further research in
philosophical aspects related to the ontology of animation as text.
Furthermore, the axiological aspects of reality in animation can be explored
empirically so that they can be used in the animation industry.
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