Fantasy/Animation

Dark (2017-2020) (with Nicolas Leu)

Twisting and travelling back and forth (and then back again) is Episode 71 of the podcast, which has Chris and Alex visit the fictional German town of Winden for Dark (Baran bo Odar & Jantje Friese, 2017-2020), Netflix’s hugely successful science-fiction series that tells the story of supernatural activity and conspiracy set against the backdrop of interconnected family trees and time-space conundrums. Joining them is the programme’s VFX Production Supervisor Nicolas Leu, whose film and television work beyond Dark as part of the RISE Visual Effects Studio also includes Game of Thrones (David Benioff & D.B. Weiss, 2011-2019), Marvel features Captain America: The Winter Soldier (Anthony Russo & Joe Russo, 2014) and Doctor Strange (Scott Derrickson, 2016), Creed (Ryan Coogler, 2015), The Fate of the Furious (F. Gary Gray, 2017), American Renegades (Steven Quale, 2017), and Dumbo (Tom Burton, 2019). Listen as they discuss Dark’s landmark status as Netflix’s first German-language series; digital compositing as an industrial process with the VFX production pipeline; forms of ‘digital chaos’ as a way of thinking through both Dark’s narrative of doubling and causality, but also its layering of live-action/CG spaces; the materality and black matter of time travel; and what Dark has to say about how what it means to ‘do’ science through fiction via a fiction that is, itself, scientific.

Space Jam (1996) (with Paul Wells)

Chris and Alex take to the basketball court for a sports-themed instalment of the podcast by looking at Space Jam (Joe Pytka, 1996), the part-animated, part-Michael Jordan sports comedy that has lots to say about the spectacle of stylistic hybridity, animation’s longstanding relationship to sport, and nostalgia via its many callbacks to Golden Age Hollywood cartooning all through the lens of NBA basketball. Joining them for Episode 70 is Professor Paul Wells, who is Director of the Animation Academy at Loughborough University, as well as being an internationally established scholar, screenwriter and director, working across and within both academia and industry contexts. Paul’s work has been central to the study, practice and research of animation as a field, and he has also written and directed numerous projects for theatre, radio, television and film. Listen as they discuss Space Jam as a laboratory for thinking about sport as a social metaphor for how societies should run; animation’s status as controlled drama (versus the unscripted nature of sport); notions of the professional versus the amateur in relation to sport’s rules, codes and conventions; the cultural practice of stars Michael Jordan and Bugs Bunny, and their ability to act as ciphers for the contemporary moment; how the medium provides a version of ‘perfect motion’ through its excessive lyricism; the politics of race and what Space Jam tells us about black identities and whiteness through its black musical vernacular; and how Joe Pytka’s film reveals how animation can manage the very metaphors of sport.

Star Wars: The Last Jedi (2017) (with Helen O'Hara)

Following our take on Star Wars: The Force Awakens (J.J. Abrams, 2015), the next instalment in the new Star Wars trilogy gets the Fantasy/Animation treatment for Episode 69, as Chris and Alex (and the Force) battle through Star Wars: The Last Jedi (Rian Johnson, 2017) to talk about its gender politics, questions of fandom and the film’s narrative of resistance, rebellion and struggle for power. Joining them for this celebration of contemporary Hollywood science-fiction is film critic and journalist Helen O’Hara, editor-at-large of Empire film magazine, and author of the book The Ultimate Superhero Movie Guide (2020) and the recent Women vs. Hollywood: The Fall And Rise Of Women In Film (2021). Listen as they discuss the ambivalent reception of Rian Johnson’s film, elements of its critical backlash, and how reviewers saw its vexed relationship to the Star Wars legacy; fan communities, gatekeeping and gender; the case of Kelly Marie Tran and the changing face of popular franchise cinema; how the film navigates themes of energy, force and balance ably supported by digital VFX and more ‘grounded’ effects technologies to create ‘lived in’ environments; sci-fi worldbuilding and the ‘incompleteness’ of fictional realms; Carrie Fisher as star, and the power of aging bodies that move through time (and space); and the central contradictions of Kylo Ren that enables The Last Jedi to question what it means to turn your back on genealogy.

The Prince of Egypt (1998) (with Francesca Stavrakopoulou)

Episode 68 marks Chris and Alex’s first look at popular animation studio DreamWorks, turning to the California-based company’s early cycle of cel-animated cartoons to examine The Prince of Egypt (Brenda Chapman, Steve Hickner and Simon Wells, 1998). Joining them to separate the historical realism from the packaged Westernised fantasy is biblical scholar and broadcaster Francesca Stavrakopoulou, Professor of Hebrew Bible and Ancient Religion at the University of Exeter, whose research encompasses ancient Israelite and Judahite religions, and portrayals of the religious past in the Hebrew Bible. Listen as they discuss the artistic and historic license (and forms of poetic embellishment) that support this part-musical animated adaptation; The Prince of Egypt’s late-1990s context and vital place within the development of DreamWorks as a successful Hollywood studio; how the original Exodus story functions as a foundational myth central to the construction of Israelite identity; the formal and narrative interplay between Moses’ divine power, the supernatural, and Egyptian magic; star voice casting, vocal performance, and problematic processes of white-washing and colour-coding; the use of embryonic digital imagery during certain spectacular set-pieces; and how The Prince of Egypt presents its Christian iconography alongside the framing of miraculous activity within Moses’ own search for figurative and literal truth.

Flushed Away (2006)

Chris and Alex return to the feature films of the Bristol-based Aardman Animations studio for Episode 67, travelling from the world of Kensington propriety ‘up top’ to the underground chaos of Ratropolis ‘down below’ for Flushed Away (David Bowers & Sam Fell, 2006), which tells the story of the trials and tribulations of high society rat Roddy St. James who is inadvertently flushed down into the sewers of London. Mirroring this narrative collision of worlds, Flushed Away also bears the industrial weight of such duality, being part of a 12-year, four-film $250million agreement between Aardman and Hollywood studio DreamWorks Animation to produce a series of animated features. Listen as Chris and Alex examine how Aardman’s stop-frame processes (and signature silicon-based Plasticine style) combined with the workflow of computer-animated films in the U.S.; character modelling and the sculpting of digital clay as part of the Flushed Away’s CG/stop-motion hybrid aesthetics; pantomimic expression and film comedy; questions of national identity and the film’s construction of a ‘national fantastic’; the Romantic origins of fantasy storytelling; and the contribution that Flushed Away’s creativity with waste, junk, garbage and cultural detritus makes to its crafting of a highly-detailed animated world.

Happy Feet (2006) (with Hannah Hamad)

Episode 66 is a real toe-tapper, as Chris and Alex dance to the beat of George Miller’s 2006 computer-animated musical feature Happy Feet (George Miller, 2006), produced by U.S. studio Village Roadshow Pictures in collaboration with Australian animation and VFX studio Animal Logic. Joining them to discuss this digital tale of all-singing all-dancing penguins is Dr Hannah Hamad, Senior Lecturer in Media and Communication at Cardiff University’s School of Journalism, Media and Culture, having previously been Lecturer in Film Studies at King’s College London, and Senior Lecturer in Media Studies at the University of East Anglia. Hannah’s first monograph Postfeminism and Paternity in Contemporary US Film was published by Routledge in 2014, and since then she’s gone on to write on recessionary reality TV, austerity, contemporary celebrity/stardom and postfeminist media cultures, the postracial, and feminist media history. Listen as they discuss Happy Feet’s racial body politics and problematic relationship to neo-minstrelsy; the ‘invisible’ role of dance performer Savion Glover within the film’s marketing campaign, and how Happy Feet’s status as a ‘post-Gollum’ motion-capture feature taps into its appropriation of black culture; discourses of the post-racial within mid-2000s animated features in Hollywood; the star vocal performance of Robin Williams; and the extent to which audiences are able to accept as the fantasy of the animated medium as a vital form of social discourse.

Inception (2010) (with Todd McGowan)

Are we dreaming, or are we awake? How do we choose which realities to believe in? What levels of fictionality count? Find out in Episode 65, which works its way through the dream logic and desires of Inception (Christopher Nolan, 2010), a film that probes deep into our unconscious to revel in how dreams allow us to participate in a shared fantasy. Joining Chris and Alex as they kick back through the layers of Inception’s rhizomatic, mazelike structure is Todd McGowan, Professor of Film Studies in the Film and Television Studies Department at the University of Vermont, and author of a number of books on psychoanalytic film theory, film comedy and popular media, including The Real Gaze: Film Theory after Lacan (2007) and The Fictional Christopher Nolan (2012). Topics for discussion include Christopher Nolan’s pre-occupation with revelation as a narrative device; how Inception’s interweaving, puzzling plotlines demonstrate trends towards complex narration by showing how beginnings can be constituted by the end; Nolan’s relationship with practical effects traditions, and the interplay between visual effects and the diegetic coherency of a fantasy world; why Inception is a rich film for thinking about what we want from visual effects, and what we desire of spectacular computer-generated imagery; spectatorial investments in social reality (as fictionality) and its application of “timespaces”; and the status of Inception as a broader metaphor for cinema going.

Captain Marvel (2019) (with Trixter VFX Studio)

2021 kicks off with a supersonic bang as Chris and Alex return to the Marvel Cinematic Universe (MCU) to explore the world of Kree Empires, alien shapeshifters, flerkens, and digital de-aging in American superhero feature Captain Marvel (Anna Boden & Ryan Fleck, 2019), based on the celebrated Marvel Comics character. Joining them for a discussion of Hollywood special effects production and the labour of fantastical imagery are the film’s VFX Producer Christine Neumann and VFX Supervisor Dominik Zimmerle of German visual effects studio Trixter based in Munich, whose work also includes a number of Hollywood blockbusters and other MCU entries Spider-Man: Homecoming (Jon Watts, 2017), Thor: Ragnarok (Taika Waititi, 2017), Guardians of the Galaxy Vol. 2 (James Gunn, 2017), Black Panther (Ryan Coogler, 2018) and the upcoming Black Widow (Cate Shortland, 2021). Topics for discussion in Episode 64 include the industrial relationships between Marvel Studios and its VFX vendors; the splintering of effects workflow into elements of animation, camera/layout, simulation, body dynamics, lighting, pre-visualisation, rigging and compositing; what goes into the creation of digital assets/artefacts, and the challenges in Captain Marvel of replicating everyday or domestic spaces and objects; taste cultures and connoisseurship in contemporary VFX spectatorship; the vital role of controlled lighting environments and virtual camerawork in the design of pristine effects imagery; and the distinctions between a ‘photorealistic’ and a ‘caricatured’ cat.

Animated Christmas Adverts (1951-2018) (with Malcolm Cook)

The Christmas spirit is finally in the air, with Chris and Alex using Episode 63 of the podcast as their annual opportunity to discuss all things seasonal - this time examining the fantasy of Christmas advertising, and the repeated role played by animation in the construction of festive commercials, television ads and brand promotions. They are joined in their Yuletide deliberations by Dr Malcolm Cook, Associate Professor in Film Studies (University of Southampton), whose numerous publications include the monograph Early British Animation: From Page and Stage to Cinema Screens (2018) and the co-edited collection (with Professor Kirsten Moana Thompson) Animation and Advertising (2019). Listen as they discuss the style and form of the following selection of Christmas-themed animated advertisements: Lotte Reiniger’s “Christmas is Coming” (1951) made in collaboration with the General Post Office (GPO) informing audiences about the last postal dates; “The Flintstones - Cocoa Pebbles” (1985) that provides a playful prehistoric retelling of Charles Dickens’ A Christmas Carol; the stargazing and fizzy drink-loving marine mammals of Coca-Cola’s “Polar Bears (Northern Lights)” (1993); the mixed media John Lewis advert “The Bear and The Hare” (2013) influenced by the sentimentality of Disney’s animated animals; Cartier’s 2016 luxurious offering titled “Winter Tale” replete with spectacular digital effects; and Hershey’s recent musical commercial “Heartwarming the World (Play the Kisses)” (2018) set to the tune of We Wish You a Merry Christmas. Topics include the entwined historical and formal exchange between the animation and advertising industries; the role of desire, enchantment and the magical-making quality of Christmas-as-fantasy (including thematic connections to the “film blanc”); the challenges of archiving animated advertising and its many pioneers; the value of analysing animation’s place within a variety of popular cultural experiences; the politics of audiovisual capitalist consumption and the business of Christmas; and the ways in which global brands historically lean in and out of the festive period through highly-animated commercial enterprises.

James Bond Title Sequences (1962-2015) (with Ed Lamberti) (Part 2)

The names Bond…James Bond in Episodes 61 and 62, as Chris and Alex tackle the official Eon James Bond 007 film series by casting their eyes over a longstanding staple of the franchise - the celebrated credits sequences. Beginning with Dr. No (Terence Young, 1962) and culminating in Spectre (Sam Mendes, 2015), listen as they place in rank order their ‘Top 24’ title sequences, judging their audiovisual spectacle, structural elements and broader connections to traditions in animated fantasy (Part 1 focuses on Bond films #24 to #13, while Part 2 counts down from #12 to their #1 ranked 007 title sequence). Joining them for this extended double-header is Dr Ed Lamberti, an independent researcher in Film Studies who has been a teaching assistant at King's College London, a screenwriting mentor at the London Film School, and who is currently Policy Manager at the British Board of Film Classification (BBFC). In 2019, Ed published his monograph Performing Ethics through Film Style, which discusses the ethics of Emmanuel Levinas alongside films directed by the Dardenne Brothers, Barbet Schroeder and Paul Schrader. He is also the editor of Behind the Scenes at the BBFC: Film Classification from the Silver Screen to the Digital Age (2012), and the assistant editor of the upcoming V. F. Perkins on Movies: Collected Shorter Film Criticism (2020). Listen as the trio examine elements of design, movement, rhythm and pacing in the Bond titles; the gendered imaginaries and Anglophonic fantasies of race that support the sequences’ progress of imagery; authorial figures such as Maurice Binder, Robert Brownjohn, and Daniel Kleinman; questions of coherency and the relation between image and soundtrack; and the broader structural role of the credits across the Bond series. Quite simply, nobody does it better.