Last year was a bonus year for animation. What makes a truly great animiation for me is how it could not be humanised in anyway. Or to humanise it would be to lose something essential to either the story or characters. Like puppetry. And like puppetry it pulls in a greater level of investment from me to animate it than 'real life' stuff does. I think it must track back to my cave-living ancestors: that need to imbue everything with our image. It's putting to a good use our inherent need to humanise everything, our egotistical drive...
And so last year's pick of the bunch:
The Secret of Kells was beautifully drawn. A French Irish collaboration, it called to mind Scandinvaian design more than anything. The horror was terrifyingly delicate. T fecund nature more tangled and patterned than anything 'real'
A Town Called Panic was an hour of absurd mayhem; non-stop panic which I could not have coped with if there'd been a real person anywhere near it, but from a plastic horse, cowboy and indian it was just silly and more silly.
Mary & Max pulled off a touching, near-sentimental friendship with a grotesque love. The greyness of the claymation adds to the characters' intensity. More pain than laughter but I relished every ouch
How can such enegery be directed into poetry?