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Mechademia 7Lines of Sight$
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Frenchy Lunning

Print publication date: 2012

Print ISBN-13: 9780816680498

Published to Minnesota Scholarship Online: August 2015

DOI: 10.5749/minnesota/9780816680498.001.0001

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PRINTED FROM MINNESOTA SCHOLARSHIP ONLINE (www.minnesota.universitypressscholarship.com). (c) Copyright University of Minnesota Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MNSO for personal use.date: 21 September 2021

Image Essay: Mobile Worldviews

Image Essay: Mobile Worldviews

Chapter:
(p.174) Image Essay: Mobile Worldviews
Source:
Mechademia 7
Author(s):

Stefan Riekeles

Thomas Lamarre

Publisher:
University of Minnesota Press
DOI:10.5749/minnesota/9780816680498.003.0009

In cel animation and digital animation, the anime image is composed of layers. Compositing is the term commonly used to describe the process of establishing of relations between image layers. The usual point of departure and overall focus for discussions of compositing are the relations between characters and background, and there is a tendency to treat backgrounds as inert and static backdrops for action. But production design in anime does not simply provide a passive space for action and emotions to be played out. It plays an active role in orientating and qualifying all manner of movement, which is conveyed in the Japanese term used to describe the role of production design—sekai-kan or “worldview”—an incipient mobility that generates perspectives. This chapter explores the layers of production of such “mobile worldviews,” both to impart a better sense of the dynamics of animation and to acknowledge the range of artistic contributions to anime production. The production of a “worldview” through background painting, design, layout, and books is done with an eye toward depth under conditions of movement, and as such, is inseparable from the whole of animation.

Keywords:   cel animation, digital animation, anime production, compositing, production design, animation

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