Read & Discuss: Lamarre - The Multiplanar Image (2016)

Question

Read & Discuss: 
Lamarre - The Multiplanar Image (2016) (PDF)
 
Instructions:
Read this paper in full.
 
Then, consider: Multiplanar Image vs. Cinematism in Animation:
How does Lamarre’s concept of the “multiplanar image” challenge conventional notions of depth and movement found in cinematic “cinematism”? Provide examples from the paper to explain how multiplanar effects differ in Japanese animation versus Western animation techniques, especially regarding sensory or psychological impact on viewers.The Superflat, Superplanar, and the Politics of Visual Fields:
Analyze the arguments presented about “superflat” and “superplanar” aesthetics (Murakami Takashi and others) with reference to layered images in anime. How does Lamarre critique Murakami's use of "superflat"?
 
Return to this discussion later to check in your classmates' contributions and engage with at least 2 of their postings.
 
Additionally:
If during the reading you come up with questions or find sections hard to understand, please write those down and ask them here - maybe a classmate can answer them.

Answer

Answer

please find the attachment. read this well and develop your knowledge and understanding and then use it for your excellent grades. leave a healthy feedback as this is my real reward for completing this answer as a tutorial.

the multiplanar image – thomas lamarre
  
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1. multiplanar image in animation as compared to cinematism 
  
in his 2006 publication “the multiplanar image,” lamarre (2006) criticizes the traditional film motion by separating cinematism and animetism. cinematism is responsible for producing the effect of moving ahead within a 3d space, through perspective, camera motion and arranged layers of images. on the other hand, animetism focuses on lateral motion that allows separate layers to move independently of one another. thus, instead of creating the illusion of moving towards the screen, it generates the feelings of sliding, gliding and moving from one side of the picture to the other.
  
to demonstrate his point, lamarre gives a few illustrations. for example, in his animation film steamboy (2004), the landscape seen through the window of a moving train looks like a flat space with trees, hills and houses made of cardboard. this effect of depth comes from the independent moving of the “flat” layers instead of the application of the regular perspective. in the same way, in his animation spriggan (1998), the overlapped buildings create an understanding of gliding rather than entering the landscape (lamarre, 2006, pp. 120–121).
  
lamarre gives a comparison of japanese and western animation. disney utilized the technique of the multiplane camera in the production of snow white and the seven dwarfs (1937). the multiplane camera enables the animator to control the distance between layers of the animation, which ensures the necessary proportions and the impression of depth and space. in japanese animation, however, the effect is achieved through the use of independent moving layers. for instance, castle in the sky illustrates it well: there are layers of the background and the foreground where the layers disappear, thus making it possible to see what is below, causing the impression of swaying (lamarre, 2006, pp. 123-128).
  
the techniques described above led to the formation of different psychological impacts – the use of cinematism provides excitement, speed, and the feeling of arriving at a certain point while animetism implies movement from all directions and gives a sense of floating, freedom, and loss of orientation.
  
2. superflat and superplanar. japanese attitude towards visual fields
  
in his works, lamarre (2006) also refers to takashi murakami's theory of superflat, which refers to japanese visual art traditions that include ukiyo-e, manga, and anime. as for superplanar aesthetics, they assume that a number of visual elements creates an information rick field.
  
in neon genesis evangelion (1995-1996), hideaki anno integrates lots of different stories, symbols, and visual messages without establishing one dominant narrative. a similar technique is used in his and her circumstances (1998-1999), where the creators make effective use of manga-like still images, colors, graphic styles, and words to convey images of emotional intensity. this choice of techniques makes the audience active interpreters of the different meanings (lamarre, 2006, pp. 136-138).
  
lamarre recognizes the significance of murakami’s contribution but reproaches him for a rather limited and simplified interpretation of superflatness. first, murakami ignores the existence of distances and space between the images when he describes superflatness and predominantly speaks about flat images instead of multiples existed within them. second, the illustrations used by murakami are based on gainax’ productions, including neon genesis evangelion, and therefore cannot be considered as examples of all kinds of japanese animation. most importantly, lamarre disagrees with murakami’s view that superflatness can be seen as symbolizing japan’s moral degradation and military impotence after the second world war and the bombings, stating that it is a narrow interpretation of japan’s militaristic history and excessive complicating of artistic development (lamarre, 2006, pp. 131-135).
  
conclusion 
  
consequently, lamarre shows us how animated films can express motion, volume, and significance without relying on traditional cinematic realism. i concur with his assertions because i believe that flat images can hold very intricate meanings and invoke an array of emotions. thus, animation should be valued not just as a medium that replicates real-life cinema, but as a legitimate art form.   
question for classmates
  
are superflat and superplanar methods capable of generating greater feeling and understanding than three-dimensional animation?

reference
  
lamarre, t. (2006). the multiplanar image. mechademia, 1, 120–143. https://doi.org/10.1353/mec.0.0067

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Read & Discuss: Lamarre - The Multiplanar Image (2016)

Read & Discuss:

Lamarre - The Multiplanar Image (2016) (PDF)

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