Introduction:
The artist discovers the images of his artistic works through his working on a certain material with special nature. The raw material has an image which stimulates the imagination of the artist who converts it to charts, statues, or an animation film. There are materials which have not been shaped yet, though they stir the admiration of the artist with its image when he finds a pure beauty in it which helps him find the beauty of his artistic work. Every raw material has its own sensational, concrete, shape, and color attributes which saturate the feeling of enjoyment and which gives pleasure to sight. The value of the material is represented in its sight and its attraction to the senses. It is also represented in its expressionistic dimension. Some materials have special shape flairs. They enjoy images which impose themselves on the images of the artistic works through which they are carried. Thus, these materials accept a certain shape while they refuse another one. Hence, it can be said that the shape of the artistic work depends with a great extent on the special attributes of the material used in its implementation and the extent of employing it ideally.
Topic of the research:
The expressionistic value and the functional role of the material in animation films
Problem of the research:
• Schools and trends vary as well as styles and techniques through the use of different material, so what is the extent of the good implementation of the capacities and characteristics of the material and employing it ideally
• What is the extent of perceiving the sensational, concrete, shape, and color attributes and the degree of its treatment to achieve the aim and the idea of the film through its interaction with the elements and components of the animation film
• What is the extent of perceiving the latent shape values in appearance for each material separately and its effect on movement
• The rarity of the deep studies for studying and analyzing the material as one of the elements constituting the items of the cadre in the animation film
Aims of the research:
• The ideal implementation of the material beginning from the reflections on the creative process and reaching the appropriate use of the material in which the appropriate capacities are available which achieve the largest amount possible of the aims of the idea of the film through its correspondence and harmony with the elements and components of the film as for shape, touch, movement, sound, and music.
• Ensuring the expressionistic and latent aesthetic values in the material and the extent of privacy for each one of them
• Shedding light on the raw material as one of the most important elements of shaping and studying the development of its use in animation films through different artistic ages
• Studying the different kinds of raw materials used in the animation film through the different styles and techniques
Hypotheses of the research:
• Achieving the ideal harmony and correspondence in the relation of the used raw material with elements and components of the film and the drama of the scene in the one scene
• Reaching the ideal vision in treating the dramatic topic through the diversity of the raw material in the one film
• The extent of effect of the nature of the raw material on movement in the animation film
Significance of the research:
• Significance of the research lies in identifying the distinguished shape and concrete characteristics of each raw material and supporting its relation with the elements and components of the film
• Achieving the thought dimension through the appropriate selection and ideal implementation of the used raw material in the animation film
• Achieving the thought dimension through the appropriate selection and the ideal implementation of the raw material used in the animation film
Limitations of the research:
Time limits: from 1926 to 1999 A.D.
Place limits: the research studies the expressionistic value and the functional role of the raw material in the animation film in the United States of America, Europe, and Egypt.
Methodology of the research:
The researcher, through being exposed to different experiments, styles, and techniques, analyses a group of films of different schools and trends in which raw materials varied. The researcher uses the following research approaches:
• The historical approach • The analytical approach
Chapters and contents of the research
The first part: the expressionistic values of the raw material in animation as a medium which combines the plastic art and cinema
Study in this part is branched out into the following two chapters:
The first chapter: the expressionistic values of the raw material in the plastic art
In this chapter, light was shed on the expressionistic values of the raw material in the plastic art through several points. The first of these points is the philosophy behind the technique: to be an artist, he should have an experiment, controls it and transforms it to a memory, then transforms the memory into an expression and transforms the material into shape. The artist should know his material and finds enjoyment in it. The artistic work should include three basic elements: the material, the topic, and expression. The second point is the dominance of the plastic values: each raw material has a special nature which interferes in the shape of the artistic work, as the raw material is the explicit and concrete content of the quality of the thought. The third point is the raw material, the tool, and other stimuli: beside the tool and the other stimuli, the raw material is considered an artistic stimulus with all it has of attributes. The creative effort which is performed by the artist is an attempt to shape meaning or the material in a way to become something which is the real essence of the artistic work. Each raw material has a special color which records the first impression of feeling. This color has a relation to the falling light on it in a way to incur reflection or absorption. Also, eacj raw material has a special touch. The surface characteristics and values differ according to the difference in the materials in their primitive attributes which identifies the visual appearance and which is caused by the extent of reflection of light and its absorption. At the end of this chapter, I dealt with the relation of the raw material wit the shape because shape is physical stereotype which the sides of the raw material reflect and in which the thought content is received.
The second chapter: the expressionistic values of the material in the art of cinema and animation
In this chapter, the researcher dealt with the development of the use of the raw material in the art of cinema beginning of studying the materials and raw materials which were used in recording the image the building unit of the film of the cinema and studying the photographic ingredients in brief. I also dealt in this chapter with the thought dimension and its effect on the technological treatment of this raw material because the type of the raw material of the tape of the film of the cinema used in photography has a critical relation ship with the projection of a certain meaning in the film or concentration on an important issue.
The second part: the different techniques and raw materials in animation films
In this part, I deal with the raw materials used through the two-dimensional techniques of animation in the first chapter. They are, arranged chronologically, beginning with the raw materials used in jigsaw technique through the film of " the adventures of prince Ahmed" by Lot Ringer in 1926, and then dealing with the primitive raw materials used through the technique of coloring with light " Rio gram" in the film of " Idea" by Barratson in 1932, and analyzing one of the historical distinguishing landmarks in which varied raw materials were used through two different techniques: Fantasia by Walt Disney in 1940, and passing through the Canadian school to show the most important films of the Canadian artist Norman Macklaren in the film of " Blinkity blank". It is one of the most important experimental films in which he directly drew on the film of the cinema. Then, we went through the French school to shed some light on the expressionistic value of the raw materials used through the technique of drawing on paper in the film of " Le chien Me, lomane" by Paul Gremo, produced in 1973. before we leave the French school, we analyse the raw materials used in the technique of drawing on cell " cell animation" though one of the most eminent French films " Le Roiet et L'Oiseau" by Paul Gremo, produced in 1980.
In the second chapter entitled: the different techniques and raw materials in the three-dimensional animation films, I deal with the study of the expressionistic value and the functional role of the raw materials used through:
• The technique of the art of animating doll films
• The technique of the clay of animating doll films
• The technique of animation using flat clay
• The technique of animating bodies
• The technique of animating using the elements of the image
• The technique of replacing
• The technique of animating using sands
• The technique of animating using the footprint
• The technique of animating using drawing on glass
• The technique of animating through the pin screen
• The technique of transformation and extracting images from another shoot
• The technique of animating using the computer
The third part: the relation of the raw material with the different elements in the animation films
In the first chapter, I deal with the relation of the raw material with the chronological era of the story, and how the used raw material has an important role in projecting the chronological era and the chronological period which is dealt with by the story of the film. Also, I shed some light, in this chapter, on the relation of the raw material with the expressionistic value of the movement. For example, the use of the raw material of clay and Pleistocene in making characters adds flexibility to the movement and speed of characters. The more there are accuracy and luck in choosing the appropriate raw material with the shape, mass and touch having the ability to contain the thought content, the more ability the artist has to express and communicate his idea as he wishes.
In the second chapter, I study the relation of the raw material with the sound and music in the animation films beginning with the history of linking the sound with picture in the animation films and how to the coincidence between the sound and the picture takes place and the mixture between them, and the study of the relation between the sound and the effect with the characteristics of the raw material including:
• The relation between the sound and the effect with the shape of the raw material
• The relation between the sound and the effect with the mass and the weight of the raw material
• The relation between the sound effects and the atmosphere with the raw material
• Making the sound into pieces to be appropriate to the parts constituting the touch of the raw material
At the end of the chapter, the researcher talks about the relation of the raw material with the photographic music.