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A Study on Painterly Representation in the Animated Film , Focusing on Visual Representation and Narrative Features

애니메이션 <아버지와 딸>의 회화적 표현에 관한 연구 - 시각적 표현 및 서사적 특징을 중심으로

  • 김민규 (대구대학교 교육대학원 교육학과)
  • Received : 2018.05.01
  • Accepted : 2018.06.12
  • Published : 2018.06.30

Abstract

This study notes that the concept of painterliness, as defined by Heinrich $W{\ddot{o}}lfflin$, can apply to represent features in $Micha{\ddot{e}}l$, Dudok de Wit's animated short film Father and Daughter. It intends to examine the animated film's visual representation and narrative features in terms of painterliness. Comparing the Renaissance art style of the 16th century to the Baroque art style of the 17th century, $W{\ddot{o}}lfflin$ conceptualized the features of painterly style. In respect to this animated film, the images drawn by drawing tools are represented are represented by irregular and ambiguous shapes and meet $W{\ddot{o}}lfflin^{\prime}s$ conditions for painterly representation. Such a representation method in this animated film effectively functions as a double entendre or ambiguous narrative, while playing a key role in representing lyricism. In this animated film, painterliness contrasts with clarity, which commercial animated films provide, and plays a critical role in the representation methods utilized by auteurist animation directors. Painterliness in animated films is an element that should be highlighted, especially in the contemporary world where the forms of representation are becoming increasingly monolithic due to digital techniques. Continued research is greatly needed on this subject matter. Based on Father and Daughter, this study aims to examine the method of painterly representation that can be used in animation films, to explore its meaning and to underscore the importance of diversity in the forms of representation in animated films.

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