Made by hand

Although the mainstream animation industry has adopted digital production methods, the attraction of laborious hand-made methods for making animation persists in the independent sector. The chapter considers how ‘craftivist’ opposition to mechanical, technological and digital techniques is validated in this community of practice through ideas that haptic knowledge by skilled physical labour and an exploration of materiality, autographic mark-making and imperfection (Wabi-sabi) are guarantors of authenticity and individuality that can only be carried out by hand. Why is this? What ideas and assumptions can be seen to underpin the notions of craft and crafting? Tracing connections between craft and activism since the Industrial Revolution, this chapter critically reflects on discourses of craft and the handmade through reference to Ruskin (1851), Morris (1892), Hobsbawm (2000), Thompson (1980), Benjamin (1935), Krauss (2000) and Takahashi (2005). Whereas the experimental animation community privileges analogue, handmade processes that appear to oppose and critique commercial animation production, building upon Warburton (2016) and Frayling (2017) it is argued here that this approach is underpinned by nostalgia and often faked. What looks like a hand-painted animation could actually be a simulation that was ‘painted’ in a software package: a pastiche of manual labour. Aesthetics alone do not guarantee that a work of art opposes the mainstream. Instead of recycling the past to create ‘artistic’ animation, it is argued in the conclusion that contemporary practitioners can equally investigate issues of labour and materiality through digital tools and virtual materials such as in the ‘ugly’ CGI animation of Nikita Daikur (2017)

The Girl Chewing Gum 1976 by John Smith

This In Focus situates Smith’s film historically, analyses its intersections with film and visual theory, and explores the changing conditions of its exhibition and reception