Have I really been writing for seven years? Apparently so. What have I learned? How have I changed? Why has it become ever harder to sit down at the keyboard and type?
Hype and excessive hype surrounds animated films these days. It’s an endless parade of marketing strategy and clever psychological tricks that leaves audiences constantly in a state of suspense. The good news is that we’ve finally reached a point where we can ignore it altogether.
Animation on a global scale is growing like never before. Unlike times gone past, there are now a multitude of local employment choices for animators in many countries. That said, America continues to be a draw for many foreign artists. I talked to Blue Sky animator Ricky Renna to find out why.
Yesterday, I was treated to a screening of an independent animated feature film called The Stressful Adventures of Boxhead and Roundhead. Written, directed and animated almost single-handedly by Australian Elliot Cowan, it’s a film that I’m still mulling over in my head the next day; a good sign if ever there was one. I’m not going to comment on the film itself just jet, however, the entire project has prompted some questions of my own on independent animated films in general and especially those done by one man bands or very small studios.
Over on the Society for Animation Studies blog, Lauren Carr writes about what she perceives as a crisis in animation studies stemming mainly from a desire by students to simply learn the software tools rather than the technique and theory behind animation. If that’s true, then we are heading for an impending apocalypse in the field from which it will be very difficult to recover.
In a brief, but all too painful and to-the-point post over on Tumblr, Keith Lango lays out what it means to create animation for mass consumption. It’s an…
Female characters often have a tough time with variety. While there is plenty of debate and discussion surrounding the prevalence of stereotypes that send poor messages to viewers, there is something else that is completely overlooked. Dave Pressler ponders the interesting question of why female characters are often forced too look feminine by executives.