Punctum. International Journal of Semiotics

By: Pegah Izadian

ABSTRACT

his article examines the field of experimental animation, offering various definitions and analyzing artists’ approaches. The study aims to thoroughly classify different aspects of experimental animation, proposing it as a kaleidoscopic form that incorporates a wide range of elements to create a distinctive yet comprehensive structure. This research builds on the foundational work of experimental and digital cinema scholars, including Robert Russett, Cecile Starr, Paul Wells, Maureen Furniss, Miriam Harris, Paul Taberham, and Corrie Francis Parks. Given the continual advancements in technology and the evolving practices of experimental animation, it is essential to update and redefine its concepts. Experimental animators often eschew convention, developing new techniques and expressions. Consequently, the first section of this paper offers an in-depth analysis of the definitions surrounding
experimental animation. It further explores diverse methodologies regarding technique, context, and production processes. The third section reviews emerging platforms for creating and exhibiting experimental animation, emphasizing the importance of establishing appropriate venues for such work. It also highlights the audience’s critical role in completing the experiential loop of experimental animation. In conclusion, this research will describe experimental animation as a kaleidoscopic form that integrates diverse elements to create a unique and multifaceted structure. The proposed classification chart will organize methods derived from experimental animation studies, emphasizing categorizing key features and techniques.

 
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