But in this case, only the camera moved in relation to two-dimensional drawings, albeit on multiple planes. Thus, for example, some bushes in the foreground would be drawn on one plane some trees further in the background on another and character animation in the far background on a third, using the various planes to create the illusion of depth through the camera lens, often accompanied by some camera movement (closing in on the planes to simulate moving into the space). Disney also developed, more famously, the multi-plane animation stand, which set various elements of the scene (foreground, mid-ground, background) literally on different physical planes as the camera photographed the scene. In hand-drawn animation, Disney and others had experimented with depth in two different ways: one involved drawing a select number of frames in perspectival lines and then simply putting those frames in a loop (to save the time and expense of actually drawing enough frames to fill out the entire sequence). But the boxes spin as cubes, with a strong sense of dimension, just as a box, when it is pulled towards the foreground, changes perspective in precise proportional distribution of the object’s moving lines.Īs Andy slides Woody down the stairwell banister, a cut to Woody’s perspective plays with the movement into the spatial depth of field allowed for by computer animation. Thus, when Andy plays as Woody wrangles the cows, he spins two boxes around to reveal childlike drawings of cows. It also provides further opportunities for displaying the dimensional dynamics of computer animation. The title sequence offers a montage that establishes the relationship between Andy and Woody. And it does so while playing around with narrative genre, combining elements of science fiction, Westerns and daredevil action-adventure. ![]() It also acknowledges and appreciates the haphazard mixture of toys (the variances in scale, manufacturing and material sources, and genres) that accrue in a child’s life, and how children employ them in their play. And it recognizes and celebrates the creative play of children and the reality of their bedrooms, little microcosms swirling with meaningful commodities brought to life through the mirthful adventures of a child’s imaginings. Ordinary toys in an equally ordinary setting: a boy’s bedroom. It also effectively establishes the film’s rejection of the story world of Disney films. The pre-title sequence sets up the genre blending of the film itself, as well as the scaled-down universe of its narrative world. Reprinted with kind permission of the author, the British Film Institute and Bloomsbury Publishing. ![]() Excerpted from "Toy Story: A Critical Reading" © Tom Kemper (2015).
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