Foss, Hannah

English

ScholarWorks@UA

The traditional gender role of the ‘kitchen mum’ was avoided in this animation- a dated cliché which is still present in many children’s TV shows around the world. Dressing Mama Bear in an apron or bow, or giving her a mixing spoon prop would have easily identified her as ‘homely mum bear’. However, in the interest of displaying and promoting the ideal of gender equality, this idea was scratched.Symbollic Props featured in this film: Letter, Suitcase, Plane, Fish, Cup, Seat, Sign, Ball, Fruit, Goal Area, Sport Jersey, Score Board, Trophy.“The Griz of Oz” - an experiment in culture and language barriersHannah Foss and Miho AokiArt Department, University of Alaska Fairbanks, 505 South Chandalar DriveFairbanks, AK 99775AcknowledgementsThis work supported, in part, by the CLA Undergraduate Research Oppurtunities Program. Thankyou to Gary Laursen, Kerrie Kay and the UAF Honors Program for their support, sponsorship and guidance. Thankyou to Miho Aoki, Eddie Rosas and the UAF Art Department for their support and guidance throughout the development of this BFA Animation Thesis.characterGrizMama BearWallabiespersonality motivationCurious, enthusiastic, good natured, clumsyTo be accepted by the wallabiesTo help her sonfind happinessNoneTender, worried, lovingNeutral party with no judgment or biasestablishing and maintaining characterUniversal expressionsUniversal themescomprehension and anticipationUniversal symbollic propsIt is important to establish, define, and maintain the personalities and behaviour patterns of the film’s characters. This allows the audience to under-stand the actions and underlying motives of the characters. This level of understanding invokes viewer empathy for the characters.This film was conceived with the objective of creating an animation that could effectively convey a plot through non-spoken and non-written methods.A plot can be effectively expressed non-verbally in film if universal emotions, themes and ideas are employed in addition to the story-telling elements of art, design and film theory.embracing and rejecting cliche’One must have an awareness of cliché and implement educated decisions on which to avoid or embrace. Clichés can effectively comfort your global audience with familiar themes and situations, but must be used sparingly to avoid suffocating the originality of your film and your own creative voice.Utilised clichés include the initially clumsy protagonist winning the sports game and the ‘happy ending’ embrace, consisting of the protagonist and his friends & family. Sadness / ShameConfusion / DoubtTaciturn child / Anxious parentAwkward silence with strangers Comfort food when upsetTearful farewell to close onesHappiness / ExcitementSurprise/ BewildermentUniversally comprehendible props are, by definition and function, generalized and conceptual. Therefore, a specific plane type is not drawn, but rather the concept of a plane that demonstrates properties which differentiate it as a plane.Detail is ignored in the interest of essence and conveying its quintessential ‘plane-ness’, ‘bear-ness’ or ‘tree-ness’.Colour and design theoryIt is important to establish a cohesive design for the duration of the film, concerning colour palette, narrative tone, levels of realism, abstraction and cartooniness in the film design and animation.The colour palette plays an important role in establishing mood and theme in each scene. It can help convey the geographical setting, atmosphere andphysical temperature of a scene, as well as the mood or demeanour of the characters.The ‘narrative tone’ concerns the silent narrative that the film expressesgraphically- the message resonating throughout the film. Cohesive character and setting design ensures that the different screen elements amalgamate.The Alaskan landscape displays a cool palette- conveying cold, sadness and calm.The Australian landscape displays a warm palette- conveying heat, happiness and excitement.Humans thrill at finding patterns in their daily routine, because it allows them to predict or anticipate outcomes to similar situations. Establishing patterns in your plot encourages audience participation and anticipation.Once the audience absorbs this scenario, the theme can be repeated. Each subsequent time, the audience is prepared and anticipates the disastrousoutcome. Audience anticipation was observed over multiple screenings of this animation; viewers would start groaning forebodingly upon seeing the bear’s reaction and laugh in anticipation of the chaotic outcome. Encouraging audience participation allows the viewer to empathise with the protagonist and feel engaged in the story.Scene premise Reaction Action OutcomeScene premise Reaction Action Anticipation of Outcome

"The Griz of Oz" - An Experiment in Culture and Language Barriers

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"The Griz of Oz" - An Experiment in Culture and Language Barriers

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