Media convergence in animation : an analysis of aesthetic uniformity
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Please cite this item using this persistent URLhttp://hdl.handle.net/11693/32738
This thesis analyzes the uniformity in animation aesthetics within the framework of convergence theory. The sources of aesthetic diversity in animation art are demonstrated along with the process though which these became precarious over time as realism became an end in itself. It is suggested that the diversity is due to the independent use of such elements of the screen image as the line and the form, and such elements related to movement as the motion and the time. When these elements are harnessed to create a realistic image and movement, the diversity is lost, and there occurs uniformity. This has been aggravated with the emerging computer technology which made it possible to create highly indexical photorealistic images and videorealistic movement. This process can be interpreted as a special case of digital and technological media convergence, which brought together previously separate design activities, and merged their aesthetic principles. The result is an hybrid aesthetics prevalent over separate domains, including animation. Due to industry related reasons, this realism based aesthetic approach became so dominant that it pushed all the others to obscurity, causing a decrease in diversity and increase in uniformity in animation aesthetics.