СЦЕНАРИО У АНИМИРАНОМ ФИЛМУ: НЕРАСКИДИВА ВЕЗА СЛИКЕ И ТЕКСТА
SCREENWRITING FOR THE ANIMATION: TINY CONNECTION BETWEEN WHAT IS WRITTEN AND WHAT WE SEE IN THE PICTURE

Summary/Abstract: This paper deals with different narrative models and their influence on the length and production of animated films. Even if the production decisions are usually limiting for the authors, history of animation has shown that financial and time restrictions might be used to help find creative solutions. A great example of this is the Zagreb school of animated films, which, at first was an attempt of several authors to produce their own films, and later on, it became a whole movement, with some great artistic achievements. Also, that is the reason why screenwriters who write for animation, must be deeply involved in production matters, and that’s why most of the animation directors (indie ones), write the screenplays for their films, and sometimes even create the entire animation themselves. For studio systems, on top of the importance pyramid is the audience. That’s why some artistic values might be out of focus, but on the other hand, commercial projects have a bigger chance at returning the invested money. The fact that there is not much of a commercial potential in short animated films, gives authors creative autonomy during the process, and gives them freedom to entirely express their visual thoughts. The technology of animated film is also deeply tied to the narrative/structure, but as long as co-authors work together during the process, that lack of freedom could be used as an advantage.

• Details
• Contents