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In this lesson we need to think about what makes up an animated documentary What are the implications of using animation in a non-fiction context? What issues arise from the use of animation in a documentary film.
We also need to consider the use of animation as a representational strategy in documentaries, what are the implications of the ways in which animation is used in animated documentaries, and other questions about animation.

Animated documentaries play an important role in theoretical discourses that explore legitimacy. By delving into this area, we find that animation as a mode of expression offers unique perspectives on social issues. Among other things, the identification of key authorities involves animators who are orientated towards deep insights and social awakening.

In the case of animation works that seek to address issues of equality, diversity, and social injustice, the evidence suggests that creators with a social concern and a mission for change, such as the Japanese animators Hayao Miyazaki and Toshi Ima, possess key authority in this area. These directors present deep social insights with their work, challenging theories of legitimacy and delivering powerful messages through the medium of animation. By creating thought-provoking characters and plots, these animated works provoke viewers to think about social injustice, prompting them to ask questions and expand their own perceptions. As such, these animated works serve as an important part of the legitimacy theory discourse, providing a unique and effective platform for addressing social issues.

In the class, it was talked about the duties of a director as both a technician and a stylist. In the course that followed, it gave us a better understanding of directing, about how to define a director and other more descriptive aspects of directing.
Auteur theory is about the role of the film director in the production of a film, his/her decision-making process and his/her control over the overall expression of the work. For Hayao Miyazaki, he is not only an animator, but also a director, who has shaped a unique directing style through his works and influenced the whole animation industry. Miyazaki is known for his unique visual style and profound storylines. Through the criteria defined in the lecture, we can consider him as an auteur because his work demonstrates a clear identification of authorship and a unique style that is reflected in every frame.
In Miyazaki’s work, we can find a deep concern for nature, humanity and social issues. His ideology is expressed through the camera, while his themes and aesthetics are embodied through the portrayal of delicate images and emotional depth. This is in line with the lecture’s definition of the director’s personal contribution.
Experimentalist Definition of Personal Contribution: Miyazaki’s animation work often involves experimental attempts at traditional animation, including novel treatments of set design, character development, and plot presentation. He pushed the boundaries of animation through his experimental approach and brought innovation to the field.
Through this lecture, we define Miyazaki as an auteur because his work is not only the creation of animation, but also the skilful application of various aspects of auteur theory. By looking at his unique identity, personal style, thematic concerns and experimental contributions to the field of animation, we can clearly recognise his notable contributions to the field of auteurism.

In this class we talked about the concept of abstraction, the Futurists Surrealists, Tartarists, Cubists, all left their own innovations in the form, language and conceptual approach to film.
Nigel left us with many links and documentation of experimental film.

A short film that fits the definition of experimental is Witness. From a classification point of view, this film could be considered an experimental animated short. It may relate to art animation in terms of genre, with an emphasis on emotional expression and viewer interaction with the story.

In terms of form and function, this film is presented in a non-traditional narrative form, constructing the plot by repeating scenes in such a way that the viewer is plunged into a cyclical experience. Through this form, the artist attempts to convey themes about time, fate and cycles. At the same time, the audience’s participation is emphasised in the work, as they need to observe the nuances in the cycle to reveal the truth of the story.

In terms of process, the film employs special animation techniques and styles, such as scene design in the form of a Möbius loop. These techniques not only provide a unique visual experience, but also reinforce the work’s themes of endless loops and time. The artist’s goal seems to be to challenge traditional animation narratives and convey deeper philosophical and emotional messages through experimental techniques.

Overall, Witness, through its experimental format, deep themes and technical innovations, engages the viewer in an animated experience that transcends the traditional while watching the film.

Before I begin, I clearly define the thematic area of film that interests me as narrative studies of circular cinema. This subject matter was so evocative to me in the films and television series I had previously viewed that I decided to research it, so the theme was defined in such a way that it helped me to narrow down my search and make it easier to find literature relevant to my research objectives.
Since I had majored in graphic design prior to this, I had read fewer papers in animation, so I first set out to read papers in the direction of either film or animation.
Keywords: cyclical cinema, narrative structure, modern cinema, narrative style, experimental cinema

In the second lesson, form was talked about, form refers to three dimensional objects and in the world we live in is almost made up of forms, so we must have a strong understanding of form. In order to create the illusion of form when painting we can understand how light reacts on an object.
After that it talks about colour, which is the element of art that reflects light, we need to understand that colour theory can be divided into three parts colour wheel settings and colour schemes, understanding colour theory allows us to better understand the importance of it in our creations. The colour wheel has three different colours consisting of primary, secondary and tertiary colours. The primary colours are red, yellow and blue, the secondary colours are orange, green and purple and the tertiary colours are made by mixing.
The second part of colour theory is colour value, which refers to the darkness or lightness of a colour.
The third part of colour theory is colour schemes monochromatic colour schemes are made up of one colour, and its shades and tints complementary colours are colours that are directly opposite to each other on the colour theory triads are made up of three colours on the colour wheel. Finally colour theory terms and definitions.
The element of art – space – is covered next. Our goal is to create the illusion of space. The use of space in art was covered There are six ways an artist can create the illusion of space on a two-dimensional surface.
Next, we talked about some of the terms used in art, such as positive space, negative space, illusion of form, illusion of depth, and perspective.
This was followed by texture in the elements of art, which refers to the way an object feels when we touch it when it is touched, and several descriptions of texture were introduced.
This is followed by line in the elements of art, which in art is now considered to be a moving point can be used in jade combing, line is most often used to show the end point of an object, line can also be used in painting to create the illusion of form, and can also be represented by crosses, shadows and shapes, next several types of lines are introduced, vertical lines, horizontal lines, straight lines, jagged rows of straight lines curved line variations, textured lines, and directional lines.
Next is shape, this line creates a shape when it is closed, shape is one of the expected elements of art, shapes play an important role in the creation of art, they contribute to the complexity of drawings and paintings influencing composition all shapes are two dimensional which means they only have a length and a width all shapes can be categorised into two types geometric shapes and regular shapes the shapes defined by an object are positive shapes the shapes defined around the object are negative shapes.
Value is one of the expected elements of art, colour value relates to light and dark.

In the first lesson, we need to start conceptualising the idea of choosing a topic for the research we want to do to write a dissertation.

When choosing a topic, we need to consider whether the topic will inspire me to research and discover and whether I will be able to apply new knowledge, Nigel also provided us with a framework and structure on how to write a good dissertation.

It also provides us with some ways to find academic resources.

The potential goals of our research, the need to explore areas that are helpful in time, or areas of interest to ourselves, as well as highlighting existing research and historical and contemporary contexts as well as adding new and original knowledge for practitioners and academics.

At the end the teacher said that we needed to present a speech to show the results of our assignments.

After the class, I went to the school library and searched for books on film, books on animation, or books on animation that I was interested in, but I haven’t found a specific point to think about yet.