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Proposal for a Animation Dissertation

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Three initial ideas for dissertation.

1. Analogue film and its imprint on the digital era.

This thesis for a dissertation would have set about to analyse the relationship between analogue and digital filmmaking and the differences in these practices since the rise of the latter’s popularity and usability. The paper would have evaluated digital filmmaking practices and the new range of techniques that modern technology has brought about, giving reference to the rise of importance in editing since the development of red-one and the response to this of various filmmakers, Lars Von Trier etc. New aesthetics would have also been explored, looking at films such as Inland Empire (Lynch, 2006) and Trash Humpers (Kornine, 2009) and the …show more content…

As reference for this argument a case study would be conducted into the promotion of film through viral videos, and a further case study would be conducted into the forthcoming film Tron: Legacy (2010) and how the internet may have facilitated its production.

Word Count: 701
Abstract

This study addresses the viability of auteurism in the contemporary moving image industries and the significance of this in relation to whether or not an animator can be considered a genuine auteur within the wider context of general artistic practice.

The purpose is to provide an up to date and comprehensive, analytical framing of auteur theory and enhance the arguments laid down by critics, thinkers and theorists on both the psychoanalysis concerned with the consideration of the ‘original’ self in a postmodern society and whether the collaborative, creative nature of the animation industry lends itself to the term auteur. The dissertation will provide a social, historical and theoretical study of a number of discourses concerned with the animation industry, examining distinguishable personalities within the medium and formulating a thesis on arguments limiting auteur theory to the status of “high art” whilst questioning the genealogical construction of understanding surrounding the bourgeois construct of authorship.

The paper sets about to provide an unbiased argument on the authentic nature of auteurism within contemporary perceptions of animated cinema,

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