Notes Towards a Theory of Animation

This reading basically highlights the concepts and techniques and discerns between two types of animation (orthodox animation and experimental animation) and even highlights a third (developmental animation). Orthodox and experimental animation are described as opposing and yet related to each other; whereas, developmental is described as the middle ground between the two types of animation. It borrows techniques and concepts from both fields, carefully blending a style of animation all its own. When referring to orthodox animation, Wells is referring more specifically to traditional cell animation.

The reading then goes on to define the specific terms and conditions associated with orthodox and experimental animation. For orthodox animation the reading points out such things as evolution of content, meaning it prioritizes character development, comedic moments, and the development of the narrative. Another condition of the orthodox film highlighted by the reading is the absence of the artist. It describes how the emergence of the industrial cell animation process virtually removed the artist completely. Also, the orthodox animation includes dynamics of dialogue: it strongly supports what the viewer sees.

In contrast, the reading then points out how the terms and conditions of experimental animation differ from orthodox. For example, rather than evolution of content there is evolution of materiality, meaning it highlights the materials of its own creation. Instead of there being an absence of the artist there is a presence of the artist. They reflect a very personal view that originates from their creator. Although not always clear, the presence and vision of the filmmaker is always there, drawing him/her closer to the audience and film. It also differ in that it includes dynamics of musicality. The experimental animation is said to “resist dialogue and the cliché sound effects,” rather it employs a different take on sound and music to redefine language.