What Does It Mean to Be a Creator?
The concept of authorship in animation explores the role of the artist as a creator, innovator, and storyteller. Early examples of animation techniques showcase the evolution of this idea:
- The Stop Trick (Disappearing Lady, 1890): The artist becomes the creator of transformation by stopping the camera to implement changes. This technique pre-dates stop motion animation.
- The Lightning Cartoonist: Proto-animation techniques recorded the work of lightning cartoonists in real-time, blending the logic of the stop trick to create illusions of transformation.
- Humorous Phases of Funny Faces (1906): Highlights the dichotomy between the labor of the artist and the onscreen life of animated characters, exploring the tension between creator and creation.
(Example of the movie where artist’s hands are visible)
1.1 Single Animator vs. Team Production
- Single Animator: According to Schneider (1994), a single animator “can control every element of his/her film” (p. 30), ensuring every depiction is deliberate and personal.
- Team Production: While large-scale productions aim to reflect a unified vision under a single director or creator, they often require the collaborative work of dozens or hundreds of artists.
1.2 Animation and Authorship
Industrialized animation production complicates authorship, as seen in examples like the cartoon “Mutt and Jeff.” The original content creator’s role becomes entangled with the larger production process, leading to questions about creative ownership.
Example: The falling-out between Stanley Kubrick and Stephen King over creative control further illustrates the tension between creators and their adaptations.
1.3 The Auteur Theory
- Origins of Auteur Theory: Introduced by Cahiers du Cinéma in 1951 during the French New Wave, auteur theory emphasized the director as the primary creative force in filmmaking.
- François Truffaut’s “A Certain Tendency of the French Cinema” (1954): Distinguished between the auteur and the “scene-setter.” The auteur uses film as an audio-visual medium for personal expression, while the scene-setter merely translates a script into visuals.
- The Birth of a New Avant-Garde – Le Caméra-Stylo (1948): Championed cinema as a tool for artistic expression, equal to painting or literature.
1.4 Andrew Sarris and Auteur Theory in 1962
Andrew Sarris built upon auteur theory, establishing criteria for identifying directors whose creative vision elevated their films into art. This approach continues to influence discussions of authorship in animation.
1.5 Animation Studies and Auteurship
Animation studies have adapted theories from cinematography to explore authorship in animated works.
Director-Led Animation
Directors such as Friz Freleng, Chuck Jones, and Robert Clampett left significant marks on animation, demonstrating auteur-driven creativity:
- Robert Clampett’s The Great Piggy Bank Robbery (1946): Introduced the “smear principle,” creating dynamic, distorted characters and rapid, joke-driven narratives.
- Chuck Jones’ Rabbit Seasoning (1952): Focused on slower-paced character dynamics and carefully staged static shots to enhance narrative impact.
1.6 Anti-Intentionalism and The Death of the Author
The Anti-Intentionalism movement challenges auteur theory, shifting the power of interpretation from the creator to the audience.
- Roland Barthes’ “The Death of the Author” (1968): Argues that the audience, not the author, determines the meaning of a work. Each viewer’s experience is subjective, constantly changing with each encounter.
- Chuck Jones’ Duck Amuck (1953): A meta-commentary on authorship, portraying Bugs Bunny as the author, blending humor with an exploration of creative control as an inside joke.
1.7 The Triangular Relationship in Animation
Donald Crafton’s In the Shadow of a Mouse (2013) introduces a triangular relationship in animation between:
- The Animated Characters: The personalities brought to life on screen.
- The Animators: The creators who shape the characters’ movements and stories.
- The Viewers: The audience, whose interpretations and connections complete the experience.
David McGowan’s Work: Explores the idea of “animated personalities” and the interplay between animators and their creations.