A Response to Paul Wells’ “Animation: Genre and Authorship, Chapter 2: The Animation Process”


Paul Wells’ “Animation: Genre and Authorship, Chapter 2: The Animation Process” brings to light both the history of animation and the differences between the different types of animation that have been created. In many ways, these modern day types of animation are similar to each other, in terms of how their design processes are carried out. But in other ways, they are different, mainly due to the rise of the CGI era. Artists are now able to broaden their horizons when designing animations because there are more resources available to them than just paper, a pencil, and a camera.

No matter the animation, however, there seems to be no limit as to what the characters within it can do. The affordances of characters within animations are essentially whatever the author decides, because there are no rules of reality that apply to them. The only time this really changes is when the production company has a say in the matter. Disney, for example, uses an aesthetic template for all of their animations, and in doing so takes away from some of the creativity of the artists (Wells 20). Artists are then forced to incorporate their personal visions and ideas in ways other than the characters, such as the background.

Affordances for the animation itself are seemingly endless, too. The author is able to sequence the film in whatever way they see fit, and can even alter the story line if it isn’t working as planned. These affordances are ones that I think will be very useful when creating our film for class. Because we are the authors of the film, and no one knows the message we are trying to get across other than us, we are able to tweak and edit the sequence, as well as the story line if necessary, in order to create a film that effectively conveys the idea we want to get across.


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