Miriam Harris, a New Zealand animator, held a virtual meeting of “30-20” on the sidelines of the Tehran International Short Film Festival and talked about the aesthetics is what motivate the viewer to watch the animation and give multiplicity to animation.
“The interdisciplinary aspect of experimental animation has caught my attention the most because there are so many capacities in this interdisciplinary space,” Harris said at the beginning of the session.
“A number of capabilities include combining different visual styles, combining different animation trends, and more. Here I will tell you the different ideas of prominent theorists about film and animation. I will focus more on the theories of one or two theorists because they are active in the field of animation and documentary. We will also have a deep but brief look at experimental animation and multiplicity in documentary animation,” she said.
“When we search for a hybrid in a dictionary, we find that it means a combination of different styles. Multiple animations and movies may include one or more feature sets. In such films have a variety of different visual styles that may contain analog or digital images and a combination of abstract images and. Images may be of live events in front of the camera, such as photography and archival images, and these may be combined with images of plastic arts such as design and collage, a combination of two-dimensional and three-dimensional space, from different materials in production. It is used, a combination of image and text, and its narrative process is probably more than one process,” she added.
Harris went on to show pictures of one of her animations and said: “These are a series of still images of the animation that I made in Warsaw in 2013 because I made the film that Warsaw is my mother’s birthplace.”
“As you can see in these pictures, there are different materials and images such as photography, design, collage, and… in this animation. Another thing used in this collection is Eastern European wooden dolls. A series of images that are actually taken and related to an experimental animation. This story provokes this dichotomy in the collection and says that it is a dichotomy between the past and the present,” she added.
she went on to show other images: “Different mediums have been used in the production of this animation. The point that has been made by the multiplicity in animation and documentary is that the text has become an image and vice versa. Both the images captured by the camera and the painting and design have abstract concepts that are emphasized by the color in the animation space, while the narration in the animation is more poetic, so it must have the right rhythm, good energy, and favorite emotions. Rather than just a linear narrative.”
She then displayed show three animations and said: “The style of these three animations is different. This difference in the style of animation production, designs, and contents is the main mentality of the film.” Aesthetic diversity is what motivates the viewer to see the animation, so if the recorded images were used instead, the quality of the animation would be reduced.
In another part of her conversation about the arrival of one of his relatives in Iran, Harris said: “Before, my mother’s uncle lived in Iran. One of the things that created a bond between Iran and Poland is that World War II. At that time, the train with the children wanted to leave Germany, but eventually, the train left Isfahan, Iran. I remember my mother’s uncle traveled to Tehran and in my opinion, Tehran was one of the most beautiful cities in Iran.
Harris has been a professor in the Department of Digital Design since 2015 and has also taught graphics and animation from 2003 to 2014.
Visiting professor of animation at Pacific Northwest College Portland between 2011 and 2013, she was a member of the planning and management department of communication, animation, and game design in the undergraduate course of the School of Media Design.
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Public Relations of Tehran International Short Film Festival.