Today we will look at why animated horror is so overlooked. Before analysing why it can work incredibly well when done right. Then finally we will recommend some great animated horror for you to watch.

They’re For Children

Generally, there are three reasons why animated horror isn’t as popular in its presence or profile as its other genre counterparts. Firstly animation has a long-standing association with children’s stories. While animation has been telling darker and adult stories for years, see Ralph Bakshi’s work, Mary and Max etc. those works are overall a minority. Thus audiences still see animated horror as out of place.

Secondly, horror is often regarded as a quick and cheap genre in terms of what the films take to make. Given how much time and money animated projects can take to complete it’s easy to see why horror productions don’t really gravitate towards animated stories.

Lastly, with animation having less firm real-world grounding due to it inherently being more artificial in its content it can be harder for viewers to see themselves in these animated worlds and therefore be scared.

A Darker Side

That said animated horror can still be incredibly effective when done right. The medium has its own ways of creating a feeling of unease. Such as through the clash of images associated with child-friendly narratives against horrific imagery. Animation also has ability to frequently fall into the uncanny valley, creating something that whether through facial or body movements can create audience discomfort thanks to it being both close to reality and unreal.

Additionally, animated horror allows for scope that would not necessarily be achievable in live-action. With animation able to create whole new worlds and potential for different and interesting horrific imagery the medium is rich with possibilities for horror stories.

And with less inherent relatability due to its artificial content animated horrors also work very hard to get us invested through writing, atmosphere, sound design and more, ensuring that at least animated horror always tries something new to keep our attention.

Otherworldly Animation

Here are just a few must-watch animated horror films everyone should seek out:

Watership Down (1978) and Plague Dogs (1982)

These “children’s” animal films adapted from Richard Adams’ books aren’t classified directly as horror, but the stories of a rabbit colony trying to find a new home away from predators aiming to kill them at every turn and two dogs escaping an animal testing facility before being hunted across the country by humans have an unrelenting threatening air to them. They also feature horrific imagery. Like a dog tearing a rabbit open and a dog accidentally shooting someone. If that doesn’t make these films horror, what does?

Alice (1988)

Jan Svankmajer’s live-action, stop-motion hybrid adaptation of Alice in Wonderland is perhaps the most frightening version ever. With creations like the terrifying taxidermied White Rabbit, wind-up March Hare and many skeletal creatures, you truly fear for Alice’s safety.

The Nightmare Before Christmas (1993) and Coraline (2009)

Henry Selick’s work is the gold standard for stop-motion children’s horror. Whether it be Nightmare’s imaginative Halloween monster world or Coraline‘s unnerving world of the Other Mother Selick consistently creates spooky stories with a sense of childhood wonder and playfulness that keeps watchers of all ages engaged through all the nightmare fuel.

Perfect Blue (1997)

Satoshi Kon’s suspenseful masterpiece follows a pop idol turned actress as disturbing things start happening around her. All linking back to a fan unhappy about her career change. Though this idea could easily work in live-action the initially cute anime style of the pop group creates an affective clash as its story becomes increasingly darker and more surreal.

Mad God (2021)

In a post-apocalyptic landscape, we see grotesque creations, unending ruins and death all around. Is there a point to all of the suffering here? You’ll have to watch to find out. Mad God is a hard but rewarding watch full of unforgettable stop-motion terror.

Beyond these recommendations, we hope to see more attention to animated horror. The medium has so much to give and we barely seem to have scratched the surface of the horrific possibilities.

Also Read: Cartoons For Adults: The Rise of Adult Animation

The post Animated Horror: The Overlooked Genre Fusion appeared first on Big Picture Film Club.

So, why all the drama over a mouse? It’s best to start with the real meat of the matter; copyright.

Copyright and Public Domain

Copyright is a legal protection for original works of authorship expressed in a tangible medium. Tangible media include books, films, plays, music scores, photographs, the list goes on. The purpose of copyright is exclusivity; the author has exclusive rights to claim work as their own and profit from it, unless they choose to forfeit that right or license it to someone else.

Works that have no copyright are considered to be in the public domain. In simple words, they belong to the public and are free for all to use. Once a copyright expires the work enters public domain, because no copyright lasts forever. However, a lot of corporations fought tooth and nail to make it last as long as possible.

The Copyright Fight Behind Steamboat Willie

Steamboat Willie is a seven-minute cartoon that changed the course of film history. One of the first-ever appearances of the beloved character Mickey Mouse, it gained huge popularity upon its release in 1928. Walt Disney’s synchronization of sound with movement was a huge innovation at the time. This little black-and-white film kicked off the Disney empire. Since Steamboat Willie is the basis for the legal rights over the first version of Mickey Mouse, a character that has made Disney an infinite amount of money, its release into the public domain didn’t happen without a fight.

Due to heavy lobbying of corporations (Disney being one of the loudest) the legal lifespan of a corporate-owned copyright has been amended several times. Most recently, the Copyright Term Extension Act of 1998 (nicknamed the Mickey Mouse Protection Act) extended copyright terms for works of authorship in the United States from 75 to 95 years after publication.

That being said, not every version of Mickey Mouse is free to use—only the version made in 1928. The Mickey and Minnie you know from Fantasia or Mickey Mouse Club House are still off-limits. And there are still countless trademarks associated with the brand, so don’t go starting a Mickey-themed business just yet. Regardless, be prepared for a lot of Mickey-inspired remakes this year. And while Disney was reluctant to let Mickey go, this development is a win for the public domain.

Why We Need Public Domain

The main purpose of the public domain is the preservation of culture and the promotion of creative freedom. Countless films have been lost to the passage of time because copyright prevented historians from reproducing copies for preservation. This domain keeps both factual history and the emotional relevance of fiction intact. Think about your favourite childhood movie. Cinderella? A Little Mermaid? One of the dozen iterations of Sherlock Holmes? Hell, even Frozen? All are based on works in the public domain.

Even Steamboat Willie drew inspiration from the 1928 Keaton film Steamboat Bill, Jr, which was in turn inspired by a 1911 recording of Steamboat Bill, a song released in 1910. Nothing is new under the sun. Copyright and public domain circle each other a delicate balance; every author should have the right to their work, but art, as a whole, eventually reverts its ownership to humanity.

Also Read: 7 Interesting Patents Owned By Disney

The post Time’s Up for ‘Steamboat Willie’: A Shift in American Copyright appeared first on Big Picture Film Club.

Today we will provide a guide to ease you into the wonderful world of Ghibli. Firstly we will briefly go through the studio’s history and its founders. We will then review their film’s common styles and themes. Before finally listing the five films we think give the best introduction to the studio’s work.

Ghibli’s History

Directors, Hayao Miyazaki and Isao Takahata along with producer Toshio Suzuki founded Studio Ghibli in 1985 after Nausicaa of the Valley of the Wind’s success. The studio’s name came from an Italian word referring to both a hot desert wind and a WWII plane. The name symbolised the impact Miyazaki wanted to make on animation and his love of aircraft.

Ghibli’s first film, 1986’s steampunk favourite Castle in the Sky immediately caught people’s attention. In 1988 the studio produced Grave of the Fireflies and My Neighbour Totoro simultaneously. Despite the trying production process for the young studio, both films became instant classics. After 1989’s Kiki’s Delivery Service, Ghibli brought animators on staff permanently rather than project by project. These animators subsequently worked on Miyazaki’s and Takahata’s features and helped create projects like Ocean Waves and Whisper of the Heart.

In 1996 Ghibli’s parent company, Tokuma Shoten, partnered with Disney (which continued in Ghibli’s independent era). Several of their projects received dubs and higher-profile international distribution, bringing Ghibli’s work more attention. GKIDS acquired the theatrical rights for several Ghibli films in 2011, but Disney handled home media releases until 2017. During this partnership Ghibli’s Princess Mononoke, for a time, became the highest-grossing film in Japan. Spirited Away became the first anime film to win the best-animated feature Oscar and the Ghibli Museum opened. Additionally, Hiroyuki Morita, Gorō Miyazaki, and Hiromasa Yonebayashi made their Ghibli debuts.

The studio is currently experiencing a period of change. Isao Takahata passed away in 2018. The studio also released its first entirely CG film and made its entire back catalogue available on streaming for the first time. Hayao Miyazaki is currently working on a new feature but his continual retirement announcements have made many wonder what will happen to Ghibli in the future.

Ghibli’s Style

One thing that sets Ghibli apart is that it mainly sticks to using traditional hand-drawn techniques to realise its films. It uses CG sparingly (aside from Earwig and the Witch). Even the upcoming How Do You Live? uses hand-drawn animation. Making Ghibli an outlier in the modern animation industry.

Ghibli also has many elements and themes that their films continually return to. Including the interaction between humanity and nature, children or young adults coming of age, mundane situations interacting with the fantastical or extraordinary, strong women characters, and an anti-war stance.

Ghibli’s Best

Finally, which Ghibli films provide the best entry point for audiences?

Grave of the Fireflies

Isao Takahata’s first Ghibli film is a heartbreaking story about two children attempting to survive in a world made cruel by war.

My Neighbor Totoro

When a family moves to the countryside their two children discover and begin interacting with woodland spirits. My Neighbor Totoro is the equivalent of an 86-minute warm hug.

Princess Mononoke

The story of a Prince caught in the middle of a war between forest-dwelling spirits, gods and warriors and the technologically advancing humans encroaching on their territory is an exhilarating epic that everyone must see.

Spirited Away

Spirited Away is about Chihiro who begins working at a bath house for spirits and gods while trying to save her parents who were transformed into pigs. A fantastic coming-of-age film and the only anime film to win the best-animated film at the Oscars.

When Marnie Was There

This bittersweet drama is a wonderful supernatural-inflected tale about finding friends and yourself through exploring the past that hits as hard as any live-action drama.

Hopefully, this article has given you enough insight into Studio Ghibli to encourage you to start your Ghibli journey. Enjoy.

Also Read: How Anime Went International

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Where To Start: Studio Ghibli appeared first on Big Picture Film Club.

The Sprayer (Dir. Farnoosh Abedi)

“In the land occupied with the sprayers army, no one has the right to grow any kind of plants either in public or private. So many of the people and soldiers do not even know how dose a plant grows or look like, until one day one of the soldiers finds a seed buried deep down in the dust and his curiosity is just the beginning of something extraordinary, something big, something revolutionary“

Dust Devil (Dir. Maya McAllister Demangeat)

“This is a story about a sad and troubled girl who made her world so small and familiar that she now feels trapped and weighed down by all the emotions she’s collected to keep her safe. A wise owl comes to visit and urges her to let go of all the things that aren’t serving her anymore, giving her the courage to sweep them all up and away in a whirlwind.“

Scale (Dir. Joseph Pierce)

“Driving along the motorway, Will loses his sense of scale. As his crippling drug addiction deepens, he struggles to unpick the sequence of events that led to his predicament, before he’s lost forever.“

Triskelion (Dir. Jessica Raes)

“A Celtic fairy tale in stop-motion animation filled with adventure and magic. A story about tribal war and finding peace: An arrow from a rival tribe pierces the chieftain’s heart. With his dying breath, he gives his daughter the quest to end this senseless feud.”

All the above titles are available are part of this year’s selection of films in the Soho London Independent FIlm Festival, taking place between 17th November – 20th November. The hybrid festival takes place both online and London, U.K.

Also Read: Gabriel Shipton Gives An Update On Julian Assange & “Ithaka” Documentary

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Four Animation Films To Watch At The 2022 Soho London Independent Film Festival appeared first on Big Picture Film Club.

What is Claymation?

Claymation is a form of stop-motion animation. This is where a still frame of either model characters (in claymation these models are clay formed around a metal skeletal frame) or background elements is photographed before being moved slightly and photographed again. When the frames are played together it gives the illusion of motion. The main difference is that it focuses on creating animations using various forms of clay e.g. plasticine. This results in the animation and characters feeling more tactile. It also allows for smoother and more detailed facial animation than traditional stop-motion materials.

Like regular stop-motion, claymation animators must have an eye for detail. To ensure that movements of various details captured within each frame follows on adequately from prior frames. They also need a great level of patience. Because of all the details that need to be captured and how gradually changes need to be made to each frame to make the animation feel natural animating a single scene in claymation can take days. But the results are definitely worth it.

The History of Claymation

Several early short films featured some form of clay animation. The oldest surviving film emphasizing the technique is The Sculptor’s Nightmare (1908). Which showed lumps of clay transforming into the busts of US politicians. Traditional 2D animation and other forms of stop-motion soon began dominating the industry. Clay animation was rarely the focus of a production, but shorts like Little Baker (1925) and Long Live The Bull (1926) centralized the technique. 

Around the 1950s clay animation became a fixture of children’s shows (Gumby). Then in the 1970s well-regarded clay animations like Italy’s Mio Mao and the UK’s Morph, created by Aardman Animations, were released. And animator Will Vinton’s work began gaining attention. Vinton won the medium’s first oscar with Closed Mondays (1974). He also coined and later trademarked the word Claymation.

The 80s saw the medium reach new heights. Many respected Eastern European animators helmed claymation projects such as Aleksandr Tatarskiy, Jan Svankmajer and Garri Bardin. The Adventures of Mark Twain became the first feature-length claymation film. And Aardman debuted their beloved award-winning claymation duo Wallace and Gromit in A Grand Day Out.

Claymation made its way to video games in the 90s. With the animations of clay figures featuring in the gameplay of ClayFighter, The Neverhood and its sequel Skullmonkeys. And in the 2000s adult-oriented claymation like Mary and Max showed that claymation could tell stories for older audiences. The medium also produced the two highest-grossing stop-motion movies ever in this time: Chicken Run and Wallace and Gromit: The Curse of the Were-Rabbit.

Top 5 Claymation Films

So what are the quintessential claymation films to see?

1. Dimensions of Dialogue (1982)

Jan Svankmajer’s acclaimed short is a surreal meditation on the nature of communication. A great showcase for claymation’s creative possibilities.

2. The Adventures of Mark Twain (1985)

An important milestone for claymation features. It’s a triumph of effort and the mostly clay production is a visual treat.

3. The Wallace and Gromit Series (1989-)

Whether you’re watching the shorts or the Curse of the Were-Rabbit film Wallace and Gromit is utterly charming. And their claymation aesthetic makes the characters feel like they were directly birthed from your childhood imagination.

4. Chicken Run (2000)

A funny take on The Great Escape full of loveable quirky characters that are so well written and animated that you quickly forget they are just plasticine.

5. Mary and Max (2009)

Tackling heavy subjects like alcoholism, identity and self-harm, Mary and Max showed that claymation can mould itself to tell stories about adult themes.

With that our look into the world and history of claymation is over. We hope you’ve enjoyed it and are now ready to experience more from the world of plasticine perfection.

Also Read: Cartoons For Adults: The Rise of Adult Animation

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post The Beautiful World of Clay Animation appeared first on Big Picture Film Club.

1. Method and Apparatus for Synchronising Photoplays

During sound animation’s early years, Walt Disney, Wilfred Jackson, and William Garity developed the following method to perfectly match movie images and soundtracks. Once the musical director gave the production an idea of the film’s sound the animators and artists would begin animating story segments and preparing synchronisation sheets. These provided precise timings to synchronise actions and particular musical beats. The developed animated film also contained beat marks to provide timings and remove distractions when the musicians were recording. Music and animation were then combined. Several early Disney animations used this method. And despite its challenges, this method helped animation and sound become more closely synchronised.

2. Control Device for Animation

Another innovation William Garity helped Disney develop was the Multiplane camera. This invention positioned a camera above several transparent layers. Different scene elements were then put on the layers. Creating the illusion of depth within the scene. While filmmaker Lotte Reiniger had been using similar methods of creating depth, Disney patented the invention. Using visual depth to great effect in short (The Old Mill) and feature films (Snow White and the Seven Dwarves). 

3. Method of Creating Cartoon Effects

Some Disney patents were revolutionary, others, are mundane. This patent focuses on creating rounded effects like shadows by placing a layer of transparent material with a uniform colour in the shape of an effect over a drawn animation cell and photographing it. Essentially superimposing an effect rather than drawing it. Though underwhelming, this method certainly saved the artists time as they would not need to painstakingly draw every aspect of an effect. Which also saved on production costs.    

4. Sound Reproducing System

Synchronising animation and sound was not Disney’s only auditory advancement. When making Fantasia William Garity and John Hawkins developed the idea of a sound system that used multiple speakers around a venue. Allowing for a surround sound experience. Some now also consider Fantasound, as it was known, to be the precursor to stereo sound. As such it has had a real lasting impact on the film industry.

5. Photographic Animation Transfer Process

David Spencer’s invention involved photographing a rough sketch of a character or scene. The film negative was then placed over a transparent cell sheet with light-sensitive dye on it. The dye was then cured through exposure. Thus replicating the original sketch. This process was faster than the previously used Xerox method. But later computer advances and Disney’s implementation of the CAP system made this process obsolete.

6. Method for Flattening Acetate-Based Films Using Steam

Despite modern Disney’s intent to remake and replace its older properties, Disney also patented a way to help with film preservation. One of the biggest problems with acetate-based film is its tendency to become damaged by heat or humidity over time. However, Disney developed a method that used a specific amount of steam to flatten the film. Allowing for playback to capture its soundtrack. With many films shot on acetate stock, this method is invaluable for preservation. 

7. Real-Time High-Quality Facial Performance Capture

One of Disney’s most talked-about recent innovations is its advancements in facial capture technology. Disney’s technology now allows for the capture of more detail in an actor’s facial performance. Thus allowing the animated characters they are playing to display more emotion. But will this patented method lead to more great performances, like with Thanos in Infinity War? Or will they simply use it to recreate deceased performers e.g. Peter Cushing in Rogue One? Only time will tell. 

And this is just a glimpse into Disney’s patent collection. That said, no matter your feelings on the company or the results of their inventions, it’s undeniable that Disney, from its inception until today, remains an innovator (for better and worse) in the film industry.

Also Read: Disney Shifts Its Focus Away From Cinemas

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post 7 Interesting Patents Owned By Disney appeared first on Big Picture Film Club.

Synopsis

A group of aliens called Nerdlucks come to earth and try to kidnap the Looney Tunes (who live underground) to rescue their boss Swackhammer’s failing theme park, Moron Mountain. Outmatched technologically, the Looney Tunes, challenge the aliens to a basketball game to earn their freedom, expecting an easy victory. But the aliens steal the talent of Earth’s best basketball players, becoming the intimidating Monstars. The Tune’s only hope is to get Michael Jordan (playing himself) to coach and play with them. But with Michael having retired from basketball to play baseball professionally does he still have what it takes to save the Tunes?

What Did I Like?

Space Jam’s best elements are its animation and direction. The animated characters move smoothly and have a great level of energy that feels in keeping with the classic Looney Tunes aesthetic. In addition, their incorporation into live-action settings along with the real actor’s interaction with the animated world feels natural and well done. The eye-lines, framing, use of props, and stage actions gives everyone a feeling of presence and weight in the world, which helps audiences buy into the world being shown.

Another positive is the voice acting which gives every animated character a distinct feel. Billy West is suitably self-assured as Bugs Bunny, Dee Bradley Baker shines as the selfish Daffy Duck, and Kath Soucie is certainly memorable as the sultry Lola Bunny. The voices of the Monstars add a real level of danger to proceedings with their intimidating and maliciously evil tones and Danny DeVito feels truly slimy as Swackhammer.

Then there’s the delightful soundtrack. Full of RnB and hip-hop tracks which are undoubtedly endearing to those who love 90s music. But the subject and emotions communicated by each song fits and adds to the scenes they are used in. And of course, the Quad City DJ’s theme song is infectious; remaining permanently ingrained in many people’s heads to this day.

What Did I Not Like?

Space Jam’s story is incredibly underdeveloped and doesn’t seem to know who it’s aimed at. The excuse to involve the Looney Tunes in the story feels flimsy at best (Swackhammer sees them on TV and decides to make them his star attraction. Why exactly?). Michael’s story also feels lazy. Despite the initial setup of Michael leaving basketball to play baseball the movie spends little to no time with him away from basketball or doubting his ability when the Looney Tunes ask him to play. Thus, it lacks any impact and makes the human’s story feel mostly pointless. With everything else being a cookie-cutter, cliched underdog story. Tonally the film is also inconsistent. With the Looney Tunes’ child-friendly over-the-top slapstick and funny voices contrasting awfully with long stretches showcasing humourless sports drama and Michael’s private/business life.

The human characters also lack interesting dimensions. The actors are written as either bland versions of themselves or stock characters. Which quickly becomes boring. The acting doesn’t help. Wayne Knight aside, all the human actors are clearly putting in no effort. And the athletes featured in the film are terrible at acting. The worst offender is undoubtedly Michael Jordan who just doesn’t have any discernible personality or charisma to latch onto as the main character. Because no characters make an impression and the lack of enthusiasm or talent from the human stars is palpable it also diminishes most of the attempts at comedy. Making large portions of the film a chore to watch.

Finally, because the film’s story, characters and much of its humour fails to engage viewers the blatant product placement for McDonald’s, Nike, Gatorade etc. and the use of the film as a branding exercise for Warner Bros animation properties and a vehicle for NBA players becomes more difficult to stomach. Contrary to films like the Lego Movie, which showed it’s possible to make great movies from merchandising opportunities, this movie feels uninterested in being anything more than a commercial. Which sincerely sours the whole enterprise.

Verdict

Space Jam’s animation and direction which mixes animation with live-action remains incredible. The voice actors are distinct, and the great soundtrack really enhances the viewing experience.

But the poor story, which doesn’t seem to know its audience combined with lazily drawn or stock human characters and mostly bad performances (Michael Jordan being the worst) makes it impossible to invest substantively in the action. While also making many jokes flounder, and the films aggravating use as a vehicle for product placement and branding harder to ignore.

Ultimately, Space Jam doesn’t hold up without the rose-tinted glasses.

Rating: (1.5 / 5)

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Retro Review: Space Jam appeared first on Big Picture Film Club.

Also Read: LIFF Short Film Panel (Part 1)

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post London Independent Film Festival 2021 Short Film Panel (Part 2) appeared first on Big Picture Film Club.