3853 Special Topics in Film: Animation--Term Papers
In partial fulfillment of the requirements for this course, students must do a paper 7-10 pages in length. That paper must be typed (word-processed), double spaced, have margins of 1 to 1 and 1/2 inches on all sides, include a title page (in addition to the regular length), gather all notes/footnotes on a page or pages following the body of the paper, and provide a separate page listing "Works Cited."
The paper can not be a simple "reading" of one film or a random comparison of two works. It should focus on a group of films or a broad issue involved in animation studies and must include works other than those seen in class. Above all, it must investigate a particular problem or concern of animation history, theory, or aesthetics, either in film or TV, using any theoretical vantage you want and involving some research (although there is no minimum or maximum number of sources you must consult). As general guidelines, the paper might focus on the works of a single animator, director, or auteur figure, on a recurring figure or plot type within the genre, on a cultural or historical event that has had an impact on the genre, on historical changes in the genre, on a particular technology's impact on animation, or on the ways one medium has influenced another's approach to animation. Whatever you decide, though, do check out the topic with me. I shall suggest subjects throughout the semester; if you choose to work on one of those, just let me know. However, I shall accept no more than two papers on the same subject, so if you are interested in something, reserve it quickly. If you are unsure about an idea or find none of those suggested particularly inspiring, meet with me for explicit direction and topic approval. Before doing so, though, go to the library and consult at least two references on animation history/theory/aesthetics to help you frame a general question we can explore or talk about. In other words, you must do some homework first. Also browse your local video stores and consult on-line resources, since the availability of films is one of the ultimate limitations in doing any film-related research.
Below are a few sample subjects. Feel free to select one of these, but you must reserve the subject with me; and keep in mind that you are not limited to the few possibilities listed here.
1. Since it is a forthrightly artificial form, animation has often involved a self-reflexive dimension--as when KoKo the Clown climbs "Out of the Inkwell" of Max Fleischer at the beginning of his cartoons or when the Animaniacs figures emerged from the Warner Bros. water tower at the start of a television episode. Consider the iimportance of that reflexive element in a specific set of cartoons or films.
2. Examine animation's treatment of or approach to a popular live-action film genre, such as science fiction, the western, or the horror film. How do the animated films treat the genre's conventions?
3. Many early cartoons mimic or parody the figures and manner of live-action films. Examine this parodic impulse in the work of a single studio or cartoonist.
4. Consider how the introduction of a new technology like sound or color changed the nature of a group of cartoons. For example, compare black and white Silly Symphony cartoons to color ones, silent Felix the Cat cartoons to sound ones, or Tom and Jerry cartoons created for film exhibition to those done for television broadcast.
5. Look at how the cartoons or animated features of a particular studio responded to a major cultural event in American history, such as the Depression or World War II.
6. Examine the animation work of one of the following figures: Walter Lantz, Robert McKimson, Bob Clampett, Friz Freleng, John Kricfalusi.
7. Consider the impact that Frank Tashlin's career in animation had on his later work as a live-action director of such films as The Girl Can't Help It (1956), Will Success Spoil Rock Hunter? (1957), and Cinderfella (1960).
8. Examine the stop-motion animation of a figure like Ray Harryhausen. You might focus especially on his contributions to the science fiction genre, as seen in films like The Beast from 20,000 Fathoms (1954), It Came from Beneath the Sea (1955), Earth vs. the Flying Saucers (1956), and 20 Million Miles to Earth (1957).
9. Japanese anime has often explored territory that other cultures' cartoons and animated films have avoided, such as apocalyptic destruction, overt sexuality, and governmental corruption. Examine one of these concerns in a specific group of anime films.
10. Consider how our cartoons or animated films have addressed gender issues either in a particular period or over time. For example, the various Disney "princesses" have radically changed since Snow White and the Seven Dwarfs (1937). Tex Avery's various versions of Red Riding Hood (see Red Hot Riding Hood of 1943 as an example) certainly seem to present a new vision of women in war-time America. And Japanese anime is as likely (some have said even more likely) to have a female hero (or heroes) as a male.
11. Look at the adaptation of a comic book or comic strip figure to the cartoon form--Batman, Superman, Spiderman, Little Lulu, etc. How much does the animated version owe to its comics ancestor?
12. How do we advertise animated films (features or short cartoons)? Has our approach changed over the years? You might focus on print advertisements in a particular era or on contemporary web-based advertisement (i.e., look at the official web sites, such as those created by Disney for its films).
13. Consider the nature and conventions of the graphic "novel." How have those elements been translated into such films as Sin City, 300, etc.?
Whichever subject you pick, remember to do the appropriate background research (i.e., both reading and viewing). Your paper will be judged on the quality of the thought it demonstrates, the reading and viewing involved in its preparation, and the manner of its presentation (so be sure to follow all the formal specifications outlined in the first paragraph). Remember to cite any sources you consult in formulating your thoughts; failure to do so can result in plagiarism--and a plagiarized paper (in part or whole) receives a failing grade and is reported to the Dean of Students for action. Papers can be turned in at any point in the term, but the absolute deadline is Monday, Dec. 1.