The 20th century and the era of World War were a peak for comedy animations (laughter animations), but nowadays mostly social issues makes the basic idea for the animation industry. Even those cartoons with full laughter (like Simpsons) are not considered as an alternative to the classic cartoons such as Tom and Jerry… Is there an end for comedy animation industry in 21st century?
Why does it have to end? Is the focus on how comedy animation might change to find a new audience and retain the old one? – Joseph Cernik4 years ago
I'd be interested to see how it has evolved, rather than an ending...no one is likely to stop demanding comedy - so it's likely to still be produced. – Andi3 years ago
One would also need to examine the movie environment that gave rise to the laugh cartoons in the first place. The movies up to the 1960s in general structured their shows in this way: Newsreel, A-Movie, Cartoon, B-Movie. The Cartoon provided the comic relief in between films. This brings rise to the role of cartoons because it clearly serves a different role today. – J.D. Jankowski2 years ago
The first sentence here needs to be elaborated way more. – T. Palomino3 months ago
I would like to propose an article that studies the evolution of gender diversity and representation in animated media with a particular comparison between Western and Eastern animated media and their subsequent progress. Cultural stereotypes and societal perceptions have always played a great role in influencing the type of media that is usually made available to the public. The same could be said in the case of the animation and anime though through the course of history, the two mediums have taken different approaches in representing gender diversity on screen. How this comes to reflect upon the relevant societies and communities involved as well as the greater evolution of the story-telling medium may offer unique insights into modern discussions on the same topic.
I think that is a really interesting topic honestly. I especially like that you mention the Eastern and Western depictions because often they will be quite different. I do think that some narrowing of focus will help a lot. Perhaps focusing on the male body versus female body could be interesting. Or exploring the view of the genders as a whole. Just choose a slightly more narrow focus, and allow that to guide the way in which things are being written for this piece. – RheaRG2 years ago
This would be a really interesting topic to write about! I would have to agree with RheaRG in narrowing the topic. Perhaps you could start with focusing on Western animation, or even just gender diversity of animation in the United States. I'd look at the History of LGBTQ characters in animated series pages on Wikipedia, as that might provide some good resources you can use, along with the associated list pages which list the characters specifically. I'd recommend, especially when it comes to animation in the United States, reading through GLAAD's yearly reports, as those are often a gold mine for information. I'd also look at some of those who have most prominently written about this topic, usually on places like Polygon, Comic Book Resources (CBR), Autostraddle, or a litany of other sites. That's just my suggestion. Best of luck! – historyhermann2 years ago
It's always depressing when you see the world and all its problems that the animated world just glosses over – CoastalUndertoe2 years ago
It’s often been said that a character’s design is supposed to tell the audience something about them and complement their personality and role in the story in some way. Non-human characters provide unique challenges and opportunities for animators because they possess features that no human could ever have. The popular kids’ movie Monsters, Inc. does a great job of designing characters to perfectly fit their roles in the story. For instance, the main character, Sully, is huge and strong but also fluffy and colorful; his timid but loyal sidekick Mike is small and has a very large and expressive eye and mouth; and the villain Randall is a slippery and surly-looking lizard voiced by Steve Buscemi. What are some other examples of non-human characters with particularly appropriate or memorable character designs? What is it about their designs that provides insight into their characters more broadly?
This is a great topic! I liked your example from Monsters Inc? Perhaps you can make the topic title, " How character designs of non-human characters in animation tell the audience about their character?" Or what are examples of non-human character animations designs that speak to their character? – birdienumnum173 years ago
Fun idea. First thing that comes to mind is Inside Out, where emotions are literally personified into characters - anger, sadness, disgust. You don't even need to hear them talk in order to understand what they represent. Maybe an interesting comparison would be between good visual depictions of personality (this was done often and super well in older cartoons) and less creative character designs. Consider all the possibilities of 2/3D animation and how those opportunities can be squandered! I'm thinking of the recent Lion King adaptation here; realism doesn't necessarily translate to an expressive character. – dbotros3 years ago
I think that the design of non-human - or even monstrous - characters often provides insight onto ourselves. That is, the grotesque or Other often reflects our own anxieties about the human condition. When the worst aspects of our psyche/appearance are exaggerated and externalized into non-human characters, they are easy to dislike because they represent the "worst" parts of ourselves. At the same time, mythologically heroic characters represent the best of ourselves, with their looks and demeanour exaggerated to show the potential for goodness and beauty that resides in the human condition. This topic puts me in mind of Peter Jackson/Andy Serkis's portrayal of Gollum in LOTR. The tragic beauty of the character resides in his "fall from grace narrative," for he straddles the line between ultimate corruption and ultimate redemption until his last moments. Smeagol's design incorporates elements of the innocent - his wide eyes and naiveté - while the distorted and expressions of Gollum connote his malice and cunning. Examining the ways in which Serkis/the animators at Weta Digital played with the tension between these two personae can reveal how the archetypes of good and evil originate within our own soul (or psyche, if you prefer). – Rhys3 years ago
This is an interesting topic, and one becoming more and more relevant as animation makes a resurgence in popular media. One interesting area the article could address would be how and why human elements are included in these character designs, as a means to evoke audience familiarity with the emotions of the character (you mentioned Mike Wazowski's eye as an example). Moreover, it might be worthwhile to discuss the uncanny valley and it's effect on the considerations of animated character design. The game Thomas was Alone is also a really pure example of this philosophy of character design, each character being literally a differently sized four-sided shape. – DanielByrne3 years ago
Season 5 of My Hero Academia has been delayed, not just because of COVID-19, but because one of the seiyuus (voice actors) is recovering from vocal cord surgery. Nobuhiko Okamoto plays Bakugo, a hot-tempered U.A. student who yells a lot, and it’s not surprising that the role had a negative affect on Okamoto’s voice. This article would look at how voice acting has negatively affected the health of some voice actors, whether it be in anime, Western animation, or video games (I believe there was a story a couple years back about people getting sick due to their performances in gaming). It could be a critique of the industry or a reflection on how dedicated the actors are to the roles, or a mix of both. (Keep spoilers to a minimum, though, please!)
Cool topic. I used to be involved in choir and musical theater, and you learn quickly what a precious commodity a voice is. One facet you might look at is how different roles use the voice. For instance, you mention a voice actor who has to yell a lot. The neurologic pathways to speaking vs. yelling are different, so the vocal chords are used differently. Sometimes, voice acting or singing also requires you to pop your larynx, which can cause its own kind of harm. – Stephanie M.2 years ago
From the creation of Pluto, Mickey, and the Disney classic princesses, hand drawn animation was all the rage back then. However once Pixar came around, a new form of animation came about and took over by storm: C.G.I. Even though C.G.I have created breakthroughs, hand drawn animation is special. It brings a certain life to the page. Explore how hand Drawn Animation differs from C.G.I and argue why it is better than C.G.i
It would be really interesting to all compare the different eras and style of hand drawn animation done by Disney throughout the decades! – Sean Gadus3 years ago
Please, please, PLEASE!!!! CGI is so overrated, and while 3D can be good, it doesn't hold up to the original 2D.
And I definitely agree with maybe comparing their eras. Yes, they're all hand-animated, but Snow White's animation is different from Bambi's and Beauty and the Beast. – OkaNaimo08193 years ago
Animation allows storytellers to directly depict topics and subjects beyond the physical and the real, unlike live-action which is restricted to implying non-physical ideas (such as emotions and mental state) through physical mediums. Actors, for example, must use their facial and body language to indicate the emotions of their character. Animators, however, can get more creative in how they visually depict emotions.
How do animators show emotions through animation-specific methods, and how do those visual representations benefit the story? What do these techniques add to the piece?
Analyse the way Disney/Dreamworks/Pixar and to a lesser extent smaller studios trade on accents and languages to portray characters that are not considered to be normative for animation (neutral American accent). For language the progression from the use in Pocahontas, Brother Bear, and Mohana, and that of Shrek, Kung Fu Panda, and Coco for accents
One phenomenon is obvious, in most pf Japanese anime, film and TV drama, villains, such as an able-bodied street gang member or a guy who use his strength to bully the weak, they talk in Kansai-ben very dramatically. – zorgkick2 years ago