Contemporary Genres / Forms Case Study ( STOP MOTION ANIMATION )

WALLACE AND GROMIT CASE STUDY  

Genre	Clay animation Comedy Adventure Suspense
Written by	Bob Baker Nick Park Steve Box Mark Burton
Directed by	Nick Park Steve Box Merlin Crossingham
Starring	Peter Sallis (1990–2010) Ben Whitehead (2009, 2011–2013)
Theme music composer	Julian Nott
Opening theme	"Wallace and Gromit"
Composer(s)	Julian Nott
Country of origin	United Kingdom

While carrying out this case study i found out that the characters Wallace and Gromit were crafted out of plasticine. This allow the creators to use sculpting tools for details and move the characters when taking shots to create the stop motion.


Wallace and Gromit is a British clay animation comedy series created by Nick of Aardman Animations. The series consists of four short films and a feature length film.

MCCOYS TV ADVERT 

   
The crisp company  Mccoys created a stop motion advert , although it is crisp from the advert I was able to spot characteristics that the director has given to packet with a voice of a grown man. The animation is a perfect duration of 41 seconds. In this short clip you are able to identify the bad and good characters, the crisp packet will not let the bad crisp enter the packet showing the quality of Mccoys. The sound effects of the crisp packet crunching helps create effect.

KUBO AND THE TWO STRINGS  TRAILER

 source: https://www.wired.com/2016/08/art-of-kubo-video/



Kubo follows the fantastical quest of a young boy in ancient Japan an ambitious move for the stop-motion studio. Not only did Laika take on the always tricky challenge of animating water, the team also had to integrate that with practical puppets and sets.

Epic and action-packed, Kubo and the Two Strings is an animated adventure movie with human and animal characters, magic, monsters, and an emotional family story at its core. And Laika, the studio behind the film, made it entirely using 3-D-printed puppets and the latest CG.

And the sweeping story, about a boy on a quest, is full of the unusual. The biggest challenge of making Kubo, says producer Arianne Sutner, "is the sheer scope of it." Unlike the studio’s previous films, this one is almost all exteriors and many outdoor locations, from the opening scene in the boat to the public square, into the woods, and under the sea. “It’s a big, exterior, road movie,” says Sutner. “An outdoor adventure with David Lean proportions. And we wanted it to be really cinematic, even in stop-motion animation on