Kenneth Diaz

“Princess Mononoke” (1997), directed by Hayao Miyazaki, is one of the Studio Ghibli films that examine the topic of the struggle between man and nature. The woodland spirits symbolize the natural environment in this video, while people represent the forces of industrialization and progress. Ashitaka, the main character, becomes embroiled in this struggle after being cursed by a demon while protecting his community from a marauding boar god. He travels to the forest searching for a cure and becomes engaged in a battle between humans and forest spirits led by the ferocious and enigmatic Princess Mononoke.

While the decision to close their 2D animation divisions was understandable, it was also contentious, drawing criticism from many animators and animation enthusiasts who believed that 2D animation still had a place in modern cinema. Aside from feature films, 2D animation is flourishing in television shows, web series, and video games. Popular TV series such as “Avatar: The Last Airbender” and “Gravity Falls” employ 2D animation effectively, while video-game firms such as Studio MDHR have had significant success with their 2D-animated game “Cuphead.” Overall, while Disney and other major studios’ decision to close their 2D animation divisions was comprehensible, it was perhaps not an ideal one. Today, 2D animation thrives, with many independent animators and studios producing outstanding and profitable works using traditional techniques.

Yes, there are several instances of product placement in modern animated television shows. The usage of real-life brands in “The Simpsons” is one example. In one episode, for example, the protagonists visit a KFC restaurant and discuss the fast-food chain’s menu choices. The episode was chastised for its obvious product placement, but it indicates the continuous usage of this marketing approach in modern animated TV series. Social media influencers and content producers regularly collaborate with marketers to advertise items on their platforms, in addition to traditional product placement. This is frequently accomplished through sponsored content or influencer marketing campaigns, in which the influencer develops and distributes material highlighting the product to their audience.

“Rooty Tooty Toot” is a 1952 short animated film made by United Productions of America (UPA). The film is about a little kid who learns the joy of music and the transformational influence it has on people around him. Color, patterns, sketching, and restricted movement are used to establish a distinct visual style and express the film’s message. Color is used in “Rooty Tooty Toot” in a bright and vibrant manner. The backdrops are frequently a single, brilliant hue, such as a deep blue night sky or the bright red of the boy’s trumpet. The characters are also drawn in bright colors, with basic forms and little features. Color is used throughout the film to generate a sense of energy and excitement, and it underscores the essential role that music plays in the tale.

The short film “The Hand” (1965) by Ji Trnka is a stop-motion animation about a struggling artist whose creative aspirations are frequently hampered by a disembodied hand. The hand is represented to be more strong than the artist, symbolizing the oppressive and censorious powers that existed in Czechoslovakia during the Communist era. The film is subversive because it criticizes the harsh dictatorship that was in power at the time. The disembodied hand might be viewed as a metaphor of the Communist regime’s attempt to regulate all aspects of creative expression and silence any dissident voices.

Both “Bust the Axis” and “Momotar no Umiwashi” are World War II propaganda films that attempted to promote morale and condemn the enemy. In “Bust the Axis,” the antagonist is depicted as a faceless, terrifying force with no distinct traits. They are portrayed as robotic, machine-like entities with no feeling or compassion who exist just to harm the Allies. This presentation perpetuates the negative impression of the opponent as cold and cruel, devoid of personality or uniqueness.

“Steamboat Willie” is notable not just for having Mickey Mouse’s premiere, but also for employing fully synced sound, which was innovative at the time. The film’s sound is employed to accentuate the action and enhance the film’s comic effect. For example, in the moment where Mickey is piloting the steamboat, the sound of the engine and the slapping of water against the boat are timed with the movement of the boat, giving the spectator a more immersive experience. Similarly, as Mickey utilizes various things on the boat as musical instruments, the sound of each object is timed with his movements, making the song more engaging and interesting.

“Gertie the Dinosaur” by Winsor McCay and “Fantasmagorie” by Emile Cohl is both groundbreaking works in the area of animation, and they represent two distinct types of animation. The usage of hand-drawn animation methods is one of the key commonalities between the two films. Nonetheless, the techniques of animation range greatly.

Emile Cohl employed a simplistic and abstract technique of animation in “Fantasmagorie,” creating his figures and environments with a single line. Lines are utilized to generate movement, form, and texture, whereas the background is frequently a static pattern or a plain white screen. Cohl’s animation is more concerned with producing a visual show than delivering a tale, with the characters engaging in numerous stunts and antics.