Анимационният хибрид – симбиоза и противоречие
Animation Hybrids: Symbiosis and Contradiction

Summary/Abstract: Over the best part of the twentieth century, certain areas of animated and chronophotographic film preserved their methods of production and their specific aesthetics, but in the recent decades this status changed dramatically. In audiovision, different types of images are being converted into each other and representative codes – photographic, painted, computer-generated, etc. – are being blended to become ever more common. This article studies stylistic devices, representative codes and conventions of feature, documentary, scientific, educational and so on film coming into use in the field of animation. Animators are increasingly looking into large-scale opportunities for suggestion, stemming from the photorealistic image. Still, a conceptually devised hybrid, unlike simple collages and pastiches, wittingly profanes the traditional limits, propels expressiveness for- ward, enhancing the effect of each individual media, included therein. Each of the individual types of expressiveness (animation, feature film, documentalism, etc.) works like a magnifying mirror, pushing to the fore new opportunities for influence. These are often intended for the cultural background of the viewers to decipher, by concatenation of their cultural knowledge, different types of codes in the texture of the film. Subsequently, an aesthetic reading of the work is activated. In contemporary visual culture, a mixed DNA of art forms, genres, manners, techniques and approaches is perhaps the most typical distinguishing mark of the age. Animation, for its part, is a perennial medium for blending of mimetic with hyper-realistic images. In this respect it is animation that happens to be a universal intermediary.

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