This paper emphasizes the storytelling possibilities of works done in a traditional animation techniques in contemporary context, when these works expand to a variety of venues, including galleries, museums and public spaces. As puppet animation has not been researched yet as much as drawn1 animation in the context of expanded animation, this paper focuses on the possibility to see what could be achieved by displacing stop motion animation from the single screen-based theatrical venues. That is, to see, if and how the ephemeral quality of these traditional animation technique can enhance the immersive storytelling experience. By doing so, this paper explores new territories, ones that address the transformation and transposition of traditional puppet animation technique to environments beyond the screen.

Books and articles that deal with the material and physical characteristics of stop motion animation are mostly concerned with puppet animation production and its technical specificity. There have, however, been texts that focus on the aesthetics of singular animator’s works, such as those on Jan Svankmajer and the Quay Brothers, or books focused on a single studio, such as Aardman animation or LAIKA. However, to the best of this author’s knowledge, none of the texts have explored this aesthetic in expanded animation. The aim of this paper is therefore to focus on the possibilities that the aesthetic of puppets and their materiality might offer once they are shown in expanded, unconventional formats.

This paper examines the material qualities of traditional puppet animation technique in general. This is followed by a brief excursus into history, with a focus on famous puppet animation artists with unique artistic approaches to this art form. The works of Svankmajer and the Quays are discussed in detail, with regards to their specific approach of using textures and materials in their work. Additionally, the works of Allison Schulnik, Monica Cook, Natalie Djurberg and Hans Berg, and the current author’s approach to exhibiting their puppet animations in unconventional settings are analysed. The decision to analyse and refer to these specific artists was informed by the consideration that they promoted traditional animation techniques beyond single screen-based theatrical venues.

 

  • Numerous reflections on William Kentridge’s work that explore the nature and aesthetic quality of the drawn line (but also of erasure) in an expanded animation context; “Drawn Animation” by Birgitta Hosea (Animation: an interdisciplinary journal, 2010); expanded animation artworks concerned with drawing https://expandedanimation.net/category/performance-drawing/.

 

https://cilect.org/knowledge/21st-century-film-tv-media-school-vol-4/