By Ülo Pikkov ; [translated by Eva N̈aripea].
Defining animation --
Tracing the ancestry of the lively movie --
Animation (film) as verbal exchange --
On time within the lively movie ; Case examine: long past with the wind / Ülo Pikkov (2009) --
On constitution within the lively movie ; Case learn: Little apartment / Kristjan Holm (2009) --
On the credibility of lively characters ; Case examine: Laika / Märt Kivi (2007) --
On realism within the lively movie ; Case research: within the air / Martinus Daane Klemet (2009) --
On storytelling within the lively movie ; Case examine: Dialogos / Ülo Pikkov (2008) --
On area within the lively movie ; Case research: Divers within the rain / Priit and Olga Pärn (2009) --
On characters within the lively movie ; Case examine: Crocodile / Kaspar Jancis (2009) --
On sound within the lively movie ; Case examine: Kitchen dimensions / Priit gentle (2008) --
Milestones of animation. DVD: long past with the wind / Ülo Pikkov (Silmviburlane, 2009) --
Little residence / Kristjan Holm (Estonian Academy of Arts, 2009) --
Laika / Märt Kivi (Nukufilm, 2007) --
In the air / Martinus Daane Klemet (Joonisfilm, 2009) --
Dialogos / Ülo Pikkov (Joonisfilm, 2008) --
Divers within the rain / Priit and Olga Pärn (Joonisfilm, 2009) --
Crocodile / Kaspar Jancis (Joonisfilm, 2009) --
Kitchen dimensions / Priit smooth (Joonisfilm, 2008).
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Additional resources for Animasophy : theoretical writings on the animated film
More broadly, art also communicates its age as a whole. 39 ANIMASOPHY As already asserted above, people are fascinated by the animated film not only for its technical accessibility, but, first and foremost, because of their essential need for stories (myths) and inclination towards totemism. In this context, totemism should be considered as a wider phenomenon – as a need for self-identification in the framework of a certain sign system. Additionally, audiences experience a whole range of mental states, providing: 1.
Achieving harmony between internal and external time is true evidence of artistic mastery in the animated film. Priit Pärn, Luncheon on the Grass (1987). An example of multiple parallel temporal orders – a unique trait of animated film. 53 ANIMASOPHY Gone with the Wind Making animated films essentially involves sculpting time. The flux of time is fragmented and transformed significantly in the process of capturing the imagery. In the assembly stage, the sculpted time goes through another set of shifts and is turned into psychological time.
The purpose of emoticons goes far beyond mere textual economy – they make written texts more eloquent and emotional. Emoticons constitute an exceptional universal sign system, capable of crossing the linguistic and cultural barriers in our globalising world. Gutenberg’s printing technique has become digitalized, yet written text has retained its basic core, practically untouched by the changing means of reproduction and distribution. However, the rapid growth of animation and its 41 ANIMASOPHY increasing invasion of written text provides an opportunity to talk about something entirely new – the Revolution of Animation, the massive dispersal of moving pictures in the globalising world.