Final
Week 9
In addition to developing the thematic chapters, I paid a lot of attention to the findings and the possibility of starting a new line of thought in the examined topic
I am grateful to my teacher, Nigel Mars, for his patience and support.
Week 8
This is a very important part of the thesis.
The literature review allowed me to familiarize myself with the current knowledge of the chosen field, as well as the boundaries and limitations of the given field.
The literature reviews also helped me understand the theory(s) driving the field, allowing me to contextualize my research question.
Literature review
The literature review explores the intricate nature of genre theory, especially in the context of
film and animation. The overview begins by acknowledging the simplicity of the definition of
the genre, as a concept facilitating the categorization of narratives and works of art based on
shared characteristics. However, it emphasises the flexibility of the genre as noted by film
theorists like Gunning. (2004, pp. 273–291) and (Grodal, 1999)
The point of view also plays a role in defining the genre. The real question is not what a
genre is, but when and what we consider it to be, according to Robert Hodge and Gunther
Kress, genres exist as long as a social group defines and validates the rules that create those
genres. (Chandler, 1997) The challenges in defining animation are underscored by Dobson
(2010, p. 11), who points out the lack of a unified, consensual definition in animation
research “even animation researchers have not agreed on a clear definition”.
Manovich (2001) suggests that animated films have always been at a disadvantage compared
to live-action films.
Bordwell’s (1988, pp. 146–151) work, questioning the validity of film genre theory, adds
depth to the analysis.
After the discussion of genre issues and animation theory, the research focuses on the
possibilities of the general classification of the animated film. Especially to the question of
whether the animated film has genres that belong to the animated film in a medial sense and
therefore cannot be realised in the live-action film?
To outline the answer, it was necessary to interpret Paul Wells (Wells, 1998) attempt to
examine such problems.
Andrew Tudor, who analyses the basic problems of separating film genres, also argues for the
position that genres presuppose a community of interpretation, saying that “a genre is what
we believe to be a collective”. (Tudor, 2003. p. 7)
Anthropomorphism as a unique animation option can be discovered in many genres.
As for crime genres, in terms of typical characters, their activities and usual plot structures,
the detective film The Great Mouse Detective (1986) and the cop film Az erdő kapitánya
(1988) are found in the animated film.
In the thriller genre, some animated films can have a key tension 101 Dalmatians (1961). A
good example of animated versions of film noir is Batman: The Animated Series (1992–
1995).
8
In examining science fiction and fantasy, the review acknowledges the linkage between
science fiction and the virtual nature of animated films, while fantasy aligns more closely
with the animated film’s portrayal of magical worlds. Visual effects dominate in these genres
(Gunning, 1992, pp. 56–62).
Films like The Iron Giant (1999), Wall-E (2008), and Fantastic Planet (1973) are analysed as
examples.
The review also covers the horror genre, which partly belongs to the fantastic genre the thesis
examines general elements that can be closely related to the possibilities of the animated film.
In the presentation of the destruction, decomposition and metamorphosis of bodies, graphics
and clay animation practically take on new dimensions Virile Games (1988), Wicked City
(1987), The Hunger (2013), while puppet animation is often used to create mysterious
phenomena The Sandman (1990). As for the genre of comedy, first, there are general
problems to deal with regarding the question of laughter and humour, because it is not easy to
define their nature. Steve Neale’s and Frank Krutnik’s book on comedy provided help in
interpreting this (Neale, Krutnik, 1990).
The examination of animated comedy reveals two subgenres: burlesque, characterised by
visual humour, and parody, a mockery of aesthetic phenomena. The study draws on the
writings of Iván Hevesy (1985, pp. 199–217) to argue that burlesque shares attributes with
cartoons, emphasising irrational elements and invulnerable characters. The analysis of parody
encompasses parodies within the same series Wallace and Gromit (1995), the same type of
genre parody in different films The Incredibles (2004) and Megamind (2010) and the atypical
mixing of genres as a strategy of genre parody Cat City (1986).
Week 7
The following methodology helps to summarize the studies and numerous research works that proved to be important to me in terms of the development of the topic. It also provides insight into the validity and reliability of the research.
Methodology
The methodology used in the essay is aimed at the analysis of genre effects and the concept
of animated film. Each chapter depends on studies by different authors, which suggests that
the analyses covered different aspects of the research findings.
The most prominent area of these trends is the genre theory of literature, which had an
obvious impact on the genre theory of film. Can films be classified into basic general
categories like those found in literature, i.e., lyric, epic poetry, and drama? Steve Neale’s
analytical work (Neale, 1980) serves as a foundational reference for this exploration.
Rick Altman introduces an alternative perspective, considering genre as a distinctive element
within the series of production, distribution, and consumption (Altman, 1998, pp. 284–294).
This contrasting viewpoint adds depth to the examination of genre effects on animated film.
The study also addresses the distinctions and similarities between live-action and animated
films, with Lev Manovich’s insights proving essential in this context (Manovich, 2001). The
analysis further connects the conclusions from these theoretical areas and explores the
potential for a general classification of animated film. Brian Laetz and Dominic McIver
Lopez contribute significantly to the conceptualisation of the genre (2009, pp. 152–161).
The exploration extends to the phenomenon of anthropomorphism, where characters with
human characteristics play diverse roles. The essay contemplates the potential mutual
benefits of anthropomorphism for animation and genre promotion, while recognizing that not
all aspects may share this symbiosis.
A critical dimension of the study involves examining the impact of reduced animation tool
usage on genre representation. María Lorenzo Hernández’s concept of the animated image
double meaning is invoked to illuminate the potential consequences of underutilizing visual
components in graphic animations (Hernández, 2008, pp. 41–53).
The investigation also includes an analysis of articles exploring the depiction of animals in
popular animated films. This facet examines the social and cultural influences these
portrayals may exert on viewers’ attitudes. Examples such as “Bambi” (Algar, Armstrong,
Hand, Heid, Roberts, Satterfield, Wright, Davis, and Geronimi, 1942) and “Finding Nemo”
(Stanton, Unkrich, 2003) serve as illustrative case studies in this regard.
