• Cartoon and Animation Studies
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• s.32
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• pp.263-288
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• 2013

This research is about effects which frontal-flat cameras have on narrative films. This kind of confined camera angles make the audience have a sense of tension which is barely defined logically. I think the tension comes from aleatorism. The paper is a research on how aleatorism is working on what kind of value, and what kind of effects it has on narrative films. Russian Formalism had argued they had to meet aesthetic values by totally excluding narratives. It can be said that this was a practice for Brecht's estrangement that a sensitive arousal prohibits the audience immersing into excessive empathy and then make them have a reflective thought. But occasionally, optical arousals in narrative films induce deeper immersion into contemplation rather than reflective thought. I intend to find cases regarding this textualising Front-flat camera angles in narrative films and analysing their contents. To do this, I suggest a more specified definition of 'aleatorism'. Because the concept of the aleatorism is different between an aspect of static image like paintings or photographs and narrative contents like cinema. It is divided into approach through form and approach through content. And I also suggest an operative definition about 'Frontal-flat camera angle' with a several confinements because its formal definition is very flexible depending on audience. The case analysis will be done with a form of discourse discerning two aspects of form and content. Conclusively, Frontal-flat camera angle in narrative film is basically have an effect of attention by optical stimuli. But it cannot be said that this always means deterioration of narrative value. Depending on causality of episodes in the whole story, aleatorism which Frontal-flat camera angle has can support immersed contemplation regarding following narrative rather than reflective thought regarding amusing aesthetics.

• Archives of design research
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• v.16 no.3
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• pp.263-272
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• 2003

Motiongraphics is not short film and has a special communication method characteristic of design. As graphic design needs space-composition, motiongraphics requires time-composition. In the 1920's, artists belonged Bauhaus in Germany tried to realize time-composition in the plans for abstract animation. At that time the russian film director Eisenstein experimented with moving image composit on, creating new meanings through the montage of heterogeneous images. In the digital era of today, motiongraphics is composed of such various elements as moving image, photo, illustration, typography, etc. The editing in montage film is one-dimensional. Meanwhile, motiongraphics of these days consists of a lot of layers, composing various elements by editing. Motiongraphics needs time structure and visual rhythm as well as scenario or storyboard for time composition. The principle of time composition in motiongraphics ist similar to that of musical composition. If we compare the time composition of abstract animation or montage film with the melody in a solo, time composition for motiongraphicf is like a symphony. Various composing elements are developed under different tempos at the same time.