Today we looked at examples of two more from the list of ‘dominant models of narrative’. Firstly, Multiple perspectives on a single incident was represented by the Slovenian film ‘Four’. (Which I can’t find of the web). There’s a core incident - the climax, and we see developments towards this climax four times, each through the point of view of a different character. The characters are related to each other in some way, and to the climax. Variations on this structure can be seen in live action films such as Beautiful People, and Thirteen Conversations About One Thing.
We then paired off (me with Christopher Huizar) to devise a narrative based on 1 core event, with three characters for whom the event is meaningful. While also considering what animation could bring to the story the live action filming could not. Christopher and I got going with a truck/bicycle crash. Trick driver, cyclist, and witness who inadvertently causes the distraction that causes the crash.
We also looked at the narrative model of the list-led set of relationships to a core topic. For example, Portland animator Bill Plympton’s 25 Ways To Quit Smoking. We also watched a great piece by Nikki Braine called Procrastinating Gus. Our paired-up response to this one was ‘How to Fake Technical Proficiency’. But early on we concluded that the list we were coming up with was more about language, and would be challenging to express with images. Unlike Plympton’s ‘Smoking’, which is one sight gag after another. So when were were given the choice of which of the two exercises to pursue over the final two days, Christopher and I decided to go with the 1-story 3-POV one.
Then we talked at length about moral dilemmas. Starting with the chestnut example in which one imagines various numbers and types (friends, strangers, drunks, surgeons) of people lying on train tracks, and the train is coming and you can not stop it but you can flip the switch to run over the folks on track A or track B…you know the kind of thing. Comes up in ethics 101 and other places. Anyhow, characters’ agency is the key point, and that you can build a story on a moral dilemma, and have it play out based on the characters and their levels of agency. So the next exercise was to construct a set-up of a situation that presents a moral dilemma, then develop two tracks of problematizing from the one dilemma. I.e. answering ‘yes’ leads you down one track, which gets progressively more complex to answer ‘yes’ to, and same with answering ‘no’. Bag of money found at a bus stop was our starting point. It got more interesting when we gave the money-finder some significant backstory. Anyhow, moving on…
One interesting point that came out, as we were discussing ambivalent reactions (e.g. “I’d keep some of the money but hand the rest back…”) is that drama is driven by specific responses. You go one way or another, when faced with a dramatic choice. So muddying the response is not a great way to create drama. Comedic drives, however, often hinge on complications. If you were creating a dark comedy around the finding of cash by a sympathetic protagonist, introducing ambivalent responses would work. A lot of contemporary storytelling plays with ambivalence.
Then we looked at some major themes, such as desire for justice, fear of the unknown, self-discovery, etc. And tomorrow we continue our work on our multiple-perspective stories.
The late afternoon session was a lecture by Larry Sherman, a neuroscientist at OHSU. How the Brain Sees Motion: From the Static to the Animated Image.
Dr. Sherman did a good job of presenting the material to us lay people in a way that removed the jargon but presented the fascinating aspects of the latest findings in neuroscience. There was a compeling list of agnosias, the specificity of which point to neuroanatomical specificity is handling different type of information. A person with Drawing Agnosia, for instance, can recognize objects just fine, but cannot recognize the same object in a drawing. Achromatopsia robs a person of the ability to distinguish hues, even thought they can see perfectly well otherwise. There are distinct areas in the brain the light up in fMRI studies when the subject views or thinks about faces. And another area for bodies. And another area for houses, would you believe! There is a ‘house’ slot in the brain.
Dr. Sherman also talked about the limbic system, and in detail about how visual perception works, and how much data is processed in the eye before is gets to the occipital lobe, and the what goes on with it once it’s there.
The area of the brain that processes motion is called hMT+ . It’s very small. Damage to this area prevents you from seeing things in motion. Kind of the opposite to those reptiles that can only see something if it’s moving. The speaker cited a case where a woman woke up one day (presumably after a stroke) and found she could not see the coffee pot in her hand. She could feel it, but because it was in motion it was invisible to her. Then she was pouring coffee on herself and she couldn’t see it. She’d see a car in the distance, then step out onto the road, and suddenly the car was right there. So moving things she saw as still objects, a few seconds apart, with no ‘frames’ in between. I can’t imagine how you’d adapt to this. You wouldn’t be able to see your own body unless you kept still.
Then Dr. Sherman showed us some MEAs, motion after effects. Like how you stare at a red spot for 30 seconds, then at a white wall and you see a green ghostly shape, but this was with motion. He showed us a spiralling black and white animation, after which we looked at the back of our hand. The flesh was crawling of its own accord. Visually, of course - not really, but the effect was stong enough to creep me out and make me hind may hand. A motion after effect.
Today the workshop started to feel harder. Paul Wells, such an entertaining and buoyant (one of his favorite words) teacher, is speaking less now, and getting us to work more. Plus it’s an intense course: 8 hours a day for 5 days. For the record, The faculty at the Animation Institute are Rose Bond, Suzanne Buchan, Paul Vester, and Paul Wells.
More tomorrow…
Blue Mouse Monkey is pleased to announce the launch of a new artist website.
An incredibly accomplished composer, arranger, and performer, 
