The animation director and his works are inseparable, because the animation director is the leader of the entire animation production group. The director is the key to the production of the whole work, he must grasp the overall situation, and make clear instructions and requirements for the work of role setting, painting supervision, voice actor and sound supervision. Therefore, the level of animation director directly affects the quality of animation presentation. And Tony as an animation director in 1988 to make the quality animation Mulan shows his ability.

Content:

The film is adapted from the Chinese folk Yue-fu poem Mulan Ci, which tells the story of Hua Mulan, who joins the army in place of her father to fend off the invasion of the Huns.

The work reflected the status of women in society at that time, but Mulan in the work as an independent and strong woman changed and led the world.Through his works, he conveys the strength and ability of women as well as men.

Theme:

What impressed me most was that tony, as an animation director, made the theme of female independence partly because he had three lovely daughters, and this work was exactly what he wanted to convey to his daughters that they could do whatever they set their minds to. At the same time, such works encouraged many women to pursue their own dreams bravely.

Scene:

Due to the Chinese theme of his works, Tony has a deep understanding of Chinese ink painting and architecture, and his painting style is also influenced by the creation of ancient and contemporary Chinese painters.

Character:

He applied a lot of references to his works, tried different styles of painting, and integrated Chinese freehand brushwork and cartoons to make his works more vivid.As a director, he needs to strictly control the animation style. From Mulan, we can see that he has very well integrated Disney’s style and Chinese elements.

To sum up, it can be seen that the Mulan animation produced by Tony as an animation director reflects his success as an animation director in terms of themes, roles and scenes. At the same time, the animation of Mulan also inspired me and gave me strength. I believe that a good animation can move people and give them power at the same time.

This short animated film is directed by Stig Bergquist, Jonas Odell, Martti Ekstrand & Lars Ohlson. Produced in 1994, digitally restored by the Swedish Film Institute in 2018.

Categorisation: 2D animation, Experimental animation.

Form and Function: The consciousness translated from this short film is a merry-go-round, in which a large number of short clips of repetition are used, and then suddenly stop with time. The carousel is a loop, like going to an amusement park and going round and round, but it ends at a certain point in time. The constant repetition and sudden stop in the animation are like the endless pressure and powerlessness of life, and the sudden stop and switch will give people a new cycle to start. Over and over again.

Content: ‘People struggling in the water, dry land fish struggling on the shore, this is 1798…
Human-faced sea creature body embryos are sorted by a seemingly evil person in a “thing” that appears to be harvested or produced on an assembly line. Monkey-like creatures operating underwater machines It’s 1837…’—Just one piece

Formal Elements: This work uses black and white colors throughout the whole process, without using bright colors, to create a serious atmosphere for the audience, forming an invisible pressure. Coupled with the loop in the animation, it gives a sense of powerlessness. The background music is a single beat, which forms a good echo with the picture and content.

Personal feelings: What he presents is a sense of familiarity, the anxiety that we have experienced in our lives and have not experienced premonitions is embodied in the form of animation, so there is a sense of familiarity, people can continue to live, not only have these negative emotions, but also many happy moments, so they have been alive.

The abstraction in the animation gives the audience infinite imagination space, different people will have different feelings to watch, the above is only my personal opinion, welcome to comment.

The class defines the key elements of visual language, including terminology, aesthetics, visual metaphor, distortion, colour and rhythm, and explores the application of these elements to moving images in a cultural context.