Pedro Serrazina

“The multiplication of images leads to an impoverished understanding of space. ”

Befebvre, the production of space

“The drama on the screen can exist without actors.” –Andre Brazin.

because he is not good at characters, he brings the settings to the forefront.

Crazy Katz, it is the backgrounds changing that are really exciting.

non-comformist spatial visions. questinoning the boundaries between the animated and the human space, at a time of mechanization. (blackton, the enchanted drawing, Cohl fantasmagorie, Winsor McCay Gertie.

Animation is a spacial art, as opposed to a medium whose history is always written from a figure-based perspective, be it the characters or even…
Telotte, animating space.

Non-realistic spaces that help us question our understanding of space.

the space reflects the graphic play of the story. (the space is a character)  Svankmajer. (alice) -an example.

How does animation become a tool for exploring and experimeint with the spaces of our world?

Georges Schwizgebel, Le Ravissement de Frank N. Stein (1982)

At the end he suddenly morfs into the head of frankenstein, the space is the head. then, he pulls us out of the head into a theatre space. modern film does not question the space, just simply entertain. (polar express) a tool for realism and entertainment, it looses the capability of the art.

Raimund Krumme, Crossroads (1991)

If social space generates action and events, animated space does not need to be fulfilled by theme parks or conform to being live actions tool in mainstream attraction films.

Disorienting the viewer is one of a filmmakers most valuable tools noel burch, theory of film practice