Video is undergoing a massive shift as we speak. The video feed is about to supplant television channels. As a form of video, animation is obligated to go along with the direction that the industry eventually takes. So just what form will that be, and how can animation create a place for itself within it? An excellent article on REDEF suggests one particular model that may work well for the artform and the industry.
Disney’s latest addition to the princess lineup ticks all the right representation boxes, yet still isn’t pleasing everyone. What’s going on?
Animation used to serve up tons of satire in years gone past. Where has it gone and what have we lost as a result?
Virtual reality (VR) is the next big technology in storytelling and entertainment. Live-action is the current focus of development, but will animation benefit from such consumer immersion? If so, is it ready to adapt?
We’ve been clamouring for them for years, but now that we’ve finally got we wanted, it may actually be necessary to kill the strong female character off.
The British animation industry was pulled back from the brink by subsidies, but now it faces a far bigger and more insurmountable challenge: Brexit.
To get it out of the way right off the bat, I think YouTube is ultimately done for, at least in its current form. The massive scale and complexity of the service don’t bode well for it in the long-term. At least Netflix has narrowed its focus to a fairly small number of high-quality productions, and building a reliable distribution service. YouTube is like a blunderbuss; spewing content in every direction in the hope of hitting the mark. It’s worked so far, but it isn’t going to work forever.
People have been clamouring for a Disney princess that embodies LGBT traits for some time, but the latest #GiveElsaAGirlfriend campaign is misdirected, misguided and will ultimately fail to accomplish the very outcome it desires. Why is this so, and why do fans tend to believe otherwise? The answer is troubling and undermines all efforts aimed at increasing representation in the media.
Passive storytelling has been around since the dawn of time. It will likely continue to exist until the end of time too, as humans have exhibited the trait across generations and cultures without fail. Storytelling exists today in many forms, and it is in that sense that modern passive storytelling (where the audience merely listens or watches) may be reaching the end of its long dominance of the entertainment business.
Being in development for some time, Miraculous: Tales of Ladybug & Cat Noir has been through a convoluted development process that wound it’s way through various countries and formats before finally landing on the kid-friendly, 3-D CGI production we have today. It’s the type of show that’s becoming increasingly rare, but for a variety of reasons that are worthy of discussion.
What would the idyllic animation studio look like, and why does it matter?