COURSE INTRODUCTION AND APPLICATION INFORMATION

Course Name
Stop Motion Animation
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 480
Fall/Spring
2
2
3
5
Prerequisites
None
Course Language
English
Course Type
Elective
Course Level
First Cycle
Mode of Delivery -
Teaching Methods and Techniques of the Course
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives This course aims to introduce the students to the use of frame animation, to teach experimental techniques and theories of animation art, so they can develop ideas, narratives and non-narratives by means of animation.
Learning Outcomes The students who succeeded in this course;
  • Apply an experimental approach to moving images.
  • Identify the history and theory of experimental animation and how they relate to other art practices such as cinema.
  • Create pre-visualization of moving images including storyboarding and mood boarding in an experimental context.
  • Compare innovative approaches to sound/image relationships.
  • Produce non-traditional images using animation.
Course Description This is a hands-on course that focuses on stop motion animation techniques. It examines the physics of movement in the production of moving images. It is designed to extend students' basic experiences in videography and editing. The course examines and applies animation in relationship with both cinema and fine arts. Evaluation will be based on two projects.
Related Sustainable Development Goals

 



Course Category

 Core Courses
Major Area Courses
X
Supportive Courses
Media and Managment Skills Courses
Transferable Skill Courses

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Required Materials
1 Introduction Screening: Man Ray, Le Retour a la Raison (1923), Norman McLaren, Dots (1940), Marcel Duchamp, Anemic Cinema (1926), Hans Richter, Ghosts for Breakfast (1927), Norman McLaren, Begone Dull Care (1949), Mary Ellen Bute, Rhythm in Light (1935), Jan Švankmajer, Historia Naturae (1967), Cinema 16: Contemporary Examples.
2 Thinking with visuals for non-narrative project: Storyboarding and creating mood boards for non-narrative content.
3 Pre-production and Model Making for stop motion. 1st Project: 25 sec. no-dialogue short film with music.
4 Shooting for stop motion: Camera and Stage. 12 principles of animation. Bring your camera and laptop.
5 Shooting for stop motion: Camera and Stage. 12 principles of animation. Bring works for discussion.
6 Editing for stop motion: Juxtaposition of images. Bring works for discussion.
7 Audio and motion synchronization. Bring works for discussion.
8 Review of the 1st project. Submission of the 1st project.
9 Various stop motion techniques for filmmakers. Final Project: 1 minute short film.
10 Script development for the final project. Submission of scripts for the final project.
11 Various image creation techniques for experimental animation using Photoshop and After Effects.
12 Various image creation techniques for experimental animation using Photoshop and After Effects. Bring works for discussion.
13 Individual critiques. Bring works for discussion.
14 Individual critiques. Bring works for discussion.
15 Semester review.
16 Review of the final project. Submission of the final project.
Course Notes/Textbooks

Instructor prepared PDF presentations.
Suggested Readings/Materials

Meadows, Mark Stephen. Pause and Effect: the Art of Interactive Narrative. New Riders Press (September 20, 2002).

Harris, Miriam, et al. Experimental Animation: from Analogue to Digital.  Routledge; 1 edition (11 Feb. 2019).

Russett, Robert, et al. Experimental Animation: Origins of a New Art. Da Capo Press Inc; New edition edition (1 May 1988). 

Smith, Vicky, et al. Experimental and Expanded Animation: New Perspectives and Practices (Experimental Film and Artists’ Moving Image). Palgrave Macmillan; 1st ed. 2018 edition (19 Sept. 2018).  

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
Presentation / Jury
Project
2
80
Seminar / Workshop
Oral Exam
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade
2
60
Weighting of End-of-Semester Activities on the Final Grade
1
40
Total

ECTS / WORKLOAD TABLE

Semester Activities Number Duration (Hours) Workload
Course Hours
(Including exam week: 16 x total hours)
16
2
32
Laboratory / Application Hours
(Including exam week: 16 x total hours)
16
2
Study Hours Out of Class
16
2
32
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
Presentation / Jury
Project
2
16
Seminar / Workshop
Oral Exam
Midterms
Final Exams
    Total
128

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
 Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1

To be able to define and discuss the history, underlying concepts and theories of cinema and digital media.

 X
2

To be able to develop a storytelling idea for cinema and digital media arts by using creativity and critical thinking.

 X
3

To be able to operate specialized technical equipment and competently use software in the fields of cinema and digital media arts. 

 X
4

To be able to execute the main tasks in the pre-production, production and post-production of an audio-visual work at the basic level including screenwriting, production planning, operating the camera, sound recording, lighting and editing.

 X
5

To be able to perform a specialized task at an advanced level either for pre-production, production or post-production of an audio-visual work.

 X
6

To be able to discuss how meaning is made through works of cinema and digital media; in what ways economics, politics and culture affect visual representation; how the conditions of production, consumption, distribution and interpretation shape images.

 X
7

To be able to perform specialized tasks for creating digital media narratives with interactive elements.

 X
8

To be able to conduct a critical analysis of a film or a work of digital media arts from technical, intellectual and artistic points of view.

 X
9

To be able to take individual responsibility of a film or a digital media work from scratch to product in a problem-solving manner.

 X
10

To be able to work as a crewmember by following norms of ethical conduct and taking initiative to improve the ethical standards of his/her working environment.

 X
11

To be able to collect data in the areas of Cinema and Digital Media and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1).

 X
12

To be able to speak a second foreign language at a medium level of fluency efficiently.

 X
13

To be able to relate the knowledge accumulated throughout the human history to their field of expertise.

 X

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest