The weekly plan
This study examines the genre characteristics of the media products used by motion picture culture – films and animated films.
Topic
The role and significance of the genre in its relation to the animated film.
Are there genres of animated film that cannot be realised in live-action film?
Contents page(s) & Introduction & Literature review
Contents page(s)
- Contents page(s)
Examples will be provided.
Abstract………………………………………………………………………………………..
Acknowledgements…………………………………………………………………………..
Introduction……………………………………………………………………………………
Literature review……………………………………………………………………………….
Methodology……………………………………………………………………………………
Themed topic chapters………………………………………………………………………..
etc.
Introduction
Most movies these days are animated. Many consider animation to be a genre, but is it really? There are storytellers and filmmakers who work in certain genres and say they “make a genre film.” This seems simple enough on the surface but being a “genre storyteller” requires full understanding of what genre means.
The world of animated films is a vibrant and diverse medium that has captivated people of all ages for decades. However, when discussing animated films, an important question arises as to what role and significance the genre has in this artistic field. Animated films span genres from fantasy to adventure to comedy and drama, challenging traditional categorization and broadening the horizons of storytelling.
This work explores the issue of the animated film genre, delving into its development, significance, and impact on the audience experience.
The first half of the dissertation reviews the issues of genre theory and animation film theory. First chapters contain topics such as everyday use of the concept of genre, its position in different approaches to art and art forms in general. However, the most prominent area of these tendencies is the genre theory of literature, which had an obvious influence on the genre theory of film. After outlining the still-disputed problems of film genre theory, the thesis attempted to define the concept of film genre. It also approaches animated film as a discussed phenomenon and tries to outline a definition that can help eliminate problems arising from different approaches to animated film. During the discussion of animated film, this research examines its unique aesthetic characteristics (basically creationism and artificiality). Emphasising the possibility of an intermedial interpretation of the animated film; It deals with the differences and similarities between live-action and animated films, paying attention to the position of animated films in the system of film types. It then connects the conclusions of the two theoretical areas discussed, considering the possible general classification of the animated film. After reviewing the genre writings published so far in the animated film, it highlights the possibility of a completely new thesis: animated film has no genres that cannot be done in live-action film.
In the second part of this thesis, this thesis is proved by examining animated versions.
It studies three general corpuses of the popular film genres prevalent in live-action films, focusing on separate films, series, and full-length films: firstly, crime genres (detective fiction, film noir, thriller); secondly fantastic genres (science fiction, fantasy, horror); and thirdly, comedy (especially certain subgenres of comedy such as slapstick, burlesque, and parody). In the case of animated versions of these genres, it is pointed out that the use of animation features and the presence of genre components are not mutually exclusive, even if they are not equally emphasised in all cases.