By Jayne Pilling
As severe curiosity has grown within the designated ways that paintings animation explores and depicts subjective event -- rather in terms of wish, sexuality, social structures of gender, confessional modes, fable, and the lively documentary -- this quantity bargains designated research of either the method and perform of key modern filmmakers, whereas additionally elevating extra common concerns round the specificities of animation. Combining severe essays with interview fabric, visible mapping of the inventive technique, attention of the overlooked factor of the way using sound differs from that of traditional live-action, and filmmakers' evaluations 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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Additional info for Animating the Unconscious: Desire, Sexuality, and Animation
These fragments are then stuck on the wall in her studio. A storyboard gradually develops. A few months later, she meets with the editor of the film. From a picture-scenario pinned on the board, Cournoyer and the editor move the fragments around, threading the series of metamorphoses together. It is in the process of taking these fragments, each of which has its own meaning, and linking them together that an emotion, a guiding line, maybe even a narrative, emerges. Cournoyer then returns to her drawing board to fill in gaps between sequences of metamorphoses.
Q. takes a clearly ludic approach to its portrayal of desire. Sexuality is everywhere, and the message is easy to understand, since everything is illustrated literally. The setting is the seaside, where holidaymakers frolic on the beach. The protagonists’ erotic fantasies are illustrated by amusing surrealist collages, with the hostage body as a recurrent motif. Sardine-women, two young mermaids, a beach umbrella-man, a lobster-seducer and so on. Using the analytical term ‘object relation’,4 Drapeau points out the ‘object’ nature of the woman, who becomes, here, something to be consumed.
I had to start again. It was like a religion. It was in my mind all the time. I was raping my brushes and staining my drawings. It became more and more liberating. I worked in a primitive, direct communication with my devils and found the story in the execution’ (quoted in Robinson 2005: 95). An astute analyst of Cournoyer’s working methods, Hébert sums up her process since The Hat: ‘After watching her make several films, I realised that she’s seeking a kind of welling up of material, when she gives expression to something that is beyond her control.