1- Master's student in Animation, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran.
2- Assistant Professor, Department of Animation and Cinema, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran. ,safoora@modares.ac.ir
2- Assistant Professor, Department of Animation and Cinema, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran. ,
Abstract: (26 Views)
Aesthetics has always been one of the important and challenging topics in art studies of all eras. In the field of art and animation, this concept also has a special place as one of the fundamental foundations of producing and analyzing works of art; because aesthetic analysis identifies factors that help create visual appeal, structural coherence, and convey meaning in the work. Despite the extensive advances in animation, a comparative study of different trends and approaches can still reveal new dimensions of the diversity of attitudes towards this category. In this context, Canadian and U. P. A. experimental animations are two important trends in the field of experimental animation, each of which has a different approach to aesthetic elements based on its own cultural and historical conditions and has had a significant impact on the formation of animation aesthetics. This study, using a descriptive-analytical method, analyzes the aesthetic components of three prominent animation examples of these two trends in the decade (1949-1976). The fundamental elements of aesthetics, based on the theoretical framework of objective aesthetics, including form, color, line, light, perspective, space, volume, texture, and composition, are examined in the representative examples of these two movements. What aesthetic components exist in experimental animations from Canada and U. P. E. and also to determine the similarities and differences of aesthetic components in these two movements, is the main goal and question of this research. The findings show that the selected experimental animations from Canada, by emphasizing aesthetic elements such as abstraction, empiricism, and the use of manual techniques (direct painting on film), seek to express human, philosophical, and social concepts. In contrast, U. P. E., with its minimalist approach, graphic design, and simplification of forms, has transformed animation aesthetics into a medium for humorous and critical narratives. This study has expressed the differences and similarities in the aesthetics of selected examples of these two movements in the expansion and diversity of the aesthetic boundaries of animation with specific stylistic patterns.
Article number: 11
Type of Study: Research |
Subject:
Visual Arts
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