Download Animating the Unconscious: Desire, Sexuality, and Animation by Jayne Pilling PDF

By Jayne Pilling

As serious curiosity has grown within the specified ways that paintings animation explores and depicts subjective adventure -- rather relating to wish, sexuality, social buildings of gender, confessional modes, myth, and the lively documentary -- this quantity bargains distinctive research of either the method and perform of key modern filmmakers, whereas additionally elevating extra normal matters round the specificities of animation. Combining severe essays with interview fabric, visible mapping of the artistic method, attention of the overlooked factor of ways using sound differs from that of traditional live-action, and filmmakers' reviews of every others' paintings, this special assortment goals to either galvanize and remove darkness from through an insightful multi-faceted approach.

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Extra info for Animating the Unconscious: Desire, Sexuality, and Animation

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Indb 25 17/10/11 17:26:55 animating the unconscious child who does not realise any apparently sexual connotation; which is different from the adult perspective. In the film, the girl seems to have moments of happiness, as when she dances in her ballet dress. And the music that accompanies these images has nothing threatening about it. However, as the film demonstrates so well, the situation turns to nightmare. The second source of the film’s pleasure is that experienced by Cournoyer in drawing.

Montréal: Les 400 coups. indb 30 17/10/11 17:26:56 Michèle Cournoyer: Comments on making The Hat1 Research and development: I went to see exotic dancers, I took photos, and photos of people in bars. I had all these images, backgrounds. I had other research: I interviewed a lot of girls, and an adult, who had been abused. And then… what do I do with all this material? Someone who encouraged me told me not to censor myself; so I just started drawing in bed by myself. I have to go inside myself just to do the essential; because it is an intimate story.

From Drapeau’s perspective, Cournoyer has delved deeper into her unconscious than in the preceding films to arrive at these primitive images. And in this he sees an interesting trajectory, with Michèle Cournoyer offering an increasingly in-depth analysis of human nature. In Cournoyer’s films, the female is usually treated as an object. It is as if, in the development of her body of work, she has delved more deeply into her unconscious, to uncover this destructive, phallic image. It is a trajectory that appears as an analysis of human nature in its fundamental components.

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