Post-Processing Volume The post-processing volume is a powerful tool in Unreal Engine for controlling visual effects.
Specify the Region: Define the region where the volume will apply its effects. Selecting “unbounded” makes the effects infinite in scope but can be computationally expensive.
Recommendation: It is advised to work with a post-processing volume instead of relying solely on the camera’s post-processing settings.
Mobility Settings for Lights Lighting in Unreal Engine can be configured based on mobility settings, each offering distinct performance and functionality:
Static:
Precomputed lighting baked into lightmaps during the build process.
Performance-friendly, with shadows baked directly into textures.
Stationary:
A hybrid of static and movable lights.
Some lighting is baked, but properties like intensity and colour can be adjusted at runtime.
Movable:
Fully dynamic lights with real-time calculations for lighting and shadows.
The most performance-intensive option, requiring careful use in large-scale projects.
Directional Light
Example Use: The sun within the scene (default name: “Directional Light”).
Key Properties:
Source Angle: Adjusts the size of the sun.
Temperature: A computationally efficient way to define ambience and light aesthetics without relying on post-processing volumes.
Creating a Moon from the Sun:
Lower the source angle until the sun disappears (shrinking into pixels).
Reduce the light intensity.
Create a material for the moon by first making a master material and an instance of it (useful for sky texturing).
Use a primitive sphere, texture it, and place it over the altered sun.
Spot Light Spotlights are the least expensive light type to use in a scene.
IES Profiles:
IES (Illuminating Engineering Society) profiles can only be applied to spotlights.
These pre-optimized functions enhance performance and realism.
Download IES Light Profile Packs from Fab to access optimized light functions and materials.
Key Adjustments for Spotlights:
Increase intensity.
Adjust the inner cone angle.
Change intensity units to the lumen.
Sky Light
Skylights provide global illumination and are essential for realistic reflections.
Reflections
Access and adjust reflections via the post-processing volume.
Baked Lighting
Baked lighting is precomputed and stored in lightmaps, improving performance by eliminating runtime calculations.
Critique walk cycle in blocking & walk cycle in spline exercise.
Walk Cycle Animation in Spline
Delivering process
Rotation X. Sinusoidal.
Translation Z. The character moves with a constant speed, and therefore translation Z is described as a linear interpolation. Because the rig is reversed right to left, the graph editor defines linear interpolation that’s decreasing.
Translation Y. The body shifts up and down, in the cycles, so the approximation should be similar to each of wave.
Rotation X. All the poses, in green, refer to down pos. All the oranges highlights to passing pose. Rotation X, is higher in value for the passing poses, as the body shifts towards the front, and leans forward, significantly more than the down pose. For the down pose, the lean forward is minor, so it’s only slightly moving forward.
Rotation Y, foot.
Translation Z FOOT As the foot is moving, shaping the arc in Y axis, it moves from place A to B, easing in at the beginning of the movement (start of the making a step) and easing out (stop of making a step).
Animation and Its Relationship with Live-Action Cinema
Animation is often discussed in comparison to live-action cinema, which serves as a foundational reference point. While both mediums are distinct in their characteristics and aesthetics, animation offers unique possibilities for scene development that live-action cannot replicate.
Where Do Stories Begin?
The question of where stories begin ties into how we experience films and their narratives.
The Title Sequence: It acts as the entry point into the cinematic world, building anticipation and setting the tone. The title sequence invites us into the narrative space, raising the question: Are we inside the film, or is the film inside us?
Diegetic Space: Refers to elements of the story—like sound—that occur within the context of the film’s world and can be perceived by its characters. This space establishes a connection between the characters and their environment.
Intertwined Histories
The histories of live-action cinema and animation are deeply connected, evolving alongside and influencing each other.
Rotoscoping: Invented by Max Fleischer in 1915, rotoscoping involves tracing live-action footage frame by frame. This technique blends the precision of live-action with the creative flexibility of animation, offering lifelike movement while still embracing artistic stylization.
Narrative Strategies and Innovations in Animation
Animation borrows some narrative strategies from live-action cinema while forging its own unique storytelling modes.
Shared and Unique Strategies
Analytical Editing (Realist Influence): Begins with an establishing shot to orient the audience, navigating characters and objects within the scene.
Example: The Maltese Falcon, Shaun of the Dead
Constructive Editing (Formalist Influence): Omits establishing shots, leaving spatial relationships to the viewer’s imagination. This technique builds suspense and challenges conventional storytelling.
Example: The End of St. Petersburg, Number, Please?
Rethinking Practice
Provocative questions about narrative structure and medium-specific storytelling arise, informed by theorists like Marshall McLuhan, who viewed technology as an extension of the human body and media as an extension of thought.
What Is Cinema? Realism vs. Formalism
Realism:
Cinema as the art of reality, portraying the everyday life of ordinary people with precise, detailed settings.
German Expressionism and films like Blue Velvet by David Lynch focus on harsh realities while maintaining an artistic lens.
Formalism:
Cinema as an interpretation of human expression, offering a new way to view reality.
Examples include Hitchcock’s Psycho and Burton’s Vincent, which use framing and visual stylization to transcend realism.
Cinema as Metaphor
Cinema as a Window:
In realism, the window is static, offering a view into the world. (André Bazin)
Cinema as a Frame:
In formalism, the frame is dynamic, shaping action and character focus. (Sergei Eisenstein, Rudolf Arnheim)
Cinema as a Doorway:
Cinema acts as a portal to another dimension, transitioning from flat to 3D space.
Examples: Orpheus (Cocteau), The Darjeeling Limited (Anderson), and Blue Velvet (Lynch).
Cinema as a Mirror:
Reflects the boundary between real and virtual worlds.
Examples include the works of Bela Balázs and Christian Metz, as well as stop-motion by Robert Morgan, which blurs the line between animation and reality.
Animation as Sequential Art
Norman McLaren emphasized that animation occurs between frames, aligning it with theories of sequential art. This concept highlights the transformative nature of animation, bridging gaps between the real and imagined, and exploring the interplay between the physical and virtual worlds.
By offering new modes of storytelling, animation transcends traditional narrative structures, making it a medium uniquely suited to reimagining the possibilities of cinema.
My initial thought was an image of war—collapsing buildings, deconstructed familiar living spaces, and destruction. The man-made landscape is being torn apart by bombing and bombardment, with architecture falling to ruins.
I quickly realized I didn’t like this idea. Scenes of horror, suffering, and terror caused by war are still present today, and I didn’t feel inspired to create something rooted in such darkness. I appreciate the beauty in life, and since there’s already a scarcity of it, I didn’t want to dwell on or reflect on the uglier aspects of human existence.
I think at the back of my head I was referring, to the exhibition I’ve been to in the past “Fragile Brutalism”, exploring the future of the Ukrainian urban landscape affected by the result of the war. More info here Fragile Brutalism | Goldsmiths, University of London
What’s Possible?
As a complete beginner, I faced the limitations of not knowing what was possible to achieve. In the first week, we were shown some examples, and as the weeks progressed, I discovered more and more possibilities. I was encouraged by the idea that almost anything can be brought to life in Unreal Engine. However, I also became acutely aware of the vast amount of knowledge I lacked.
I knew it would take time and effort to learn how to implement my ideas. Discussing this with Serra, we both agreed that my decision to approach the project experimentally was reasonable and justified.
What is a Familiar Environment?
It’s the places we live, love, and laugh in. The world around us—nature, the countryside, landscapes.
I started off thinking generically. But the key word for me was “environment.” While reading 3D World magazines, I often came across terms like “environmental artists.” That’s what I wanted to learn: how to create worlds.
I wanted to think big, so manually placing assets wasn’t an option. Instead, I explored ways to optimize my workflow. I discovered procedural techniques for populating terrains with objects such as rocks, trees, and foliage. Most of my inspiration came from other artists’ work, especially those featured in 3D World magazine.
Initially, I thought the concept of the familiar could be boring. It needed deconstruction to make it exciting. Unreal Engine offers a platform to create far beyond regular landscapes, so I thought—why not aim high?
Soon, I became inspired by surrealist aesthetics, particularly paintings with surreal themes. I was drawn to the works of Polish artist Zdzisław Beksiński, whose art I was fortunate to see last summer in Sanok. Examples of the Beskinksi work are pasted for reference below.
Exploring Surrealism
This led me to explore methods for visualizing the unconscious mind, inspired by Sigmund Freud’s theories. Freud famously disapproved of surrealist aesthetics, yet his ideas about the unconscious deeply influenced the surrealist movement.
The unconscious often produces surreal visuals that lie between the real and unreal, resulting in distorted yet sophisticated aesthetics. These visuals are often odd, mysterious, and compelling. To me, this felt like an interesting way to deconstruct familiar landscapes.
Salvador Dalí, for example, used techniques to manipulate his perception. One of his methods involved waking himself from sleep just as he entered the deep phase, by letting a plate fall and create noise. This allowed him to capture distorted perceptions of the room around him.
I became fascinated with these ideas—perhaps too fascinated—and spent far too much time reading about Freud, Jung, and the surrealist movement. Eventually, during a conversation with my mentor about my project’s progress, I realized my true goal was to learn Unreal Engine. So, I moved on to practical studies and decided to incorporate only a few surrealist concepts into the art direction of the project.
World Creation
For this project, we were advised to use assets from Fab (formerly Quixel Bridge). Essentially, the world was our oyster. However, I was hesitant about using someone else’s entire project. I wanted to create something of my own, even if it might not look as visually impressive.
More than anything, I was interested in techniques rather than visual appeal. I decided to focus on functionality first and add the “icing on the cake” later. My approach was similar to developing a minimum viable product (MVP): start small, iterate, and improve.
Terrain
The foundation of any world is its terrain. Unreal Engine includes a landscape mode for sculpting environments. Using a brush, the terrain can be shaped manually. However, most tutorials recommend using heightmaps instead.
I experimented with this. First, I generated a Perlin Noise heightmap in p5.js and used it to create the terrain. It worked to some extent.
Then, I tried digital drawing in Adobe Fresco, creating black-and-white images with brushes scattered across the canvas. This method also worked, but I wasn’t particularly impressed with the results—or the process.
Critique weight shift & Planning and blocking for walk cycle animation.
Philosophy of Walking
“Walking is the process of falling over and catching oneself just in time.” This simple yet profound observation highlights the forward-leaning posture inherent in walking—a controlled imbalance that propels us forward.
“Walking is the process of being stuck in place for a moment before moving ahead.” This personal reflection adds a philosophical layer to the act of walking, emphasizing the interplay of stillness and motion that defines each step.
Here’s a revised and polished version of your text, broken into sections for clarity and flow:
Philosophy of Walking
“Walking is the process of falling over and catching oneself just in time.” This simple yet profound observation highlights the forward-leaning posture inherent in walking—a controlled imbalance that propels us forward.
“Walking is the process of being stuck in place for a moment before moving ahead.” This personal reflection adds a philosophical layer to the act of walking, emphasizing the interplay of stillness and motion that defines each step.
Walking Styles: Personality Through Motion
Each character has a unique way of walking, which can be crafted to reflect their personality and mood. By manipulating timing, position, and offset, animators can develop distinct characteristics that make every walk cycle feel alive and meaningful.
Inspiration: Ryan Larkin’s Walking
Shows how tiny changes in posture, rhythm, and style can portray various personalities and moods through the simple act of walking.
Body weight shift critique
Overall, this is a good attempt; however, more focus needs to be placed on the centre of gravity (COG) and physical accuracy. Some of the proposed poses in the blocking phase are unrealistic and impossible to recreate with the human body in real life. Therefore, it is advisable to always cross-check the poses against your own body movements to ensure they are achievable and grounded in reality.
Vanilla walk cycle blocking exercise
The purpose of this exercise was to understand how the walk cycle works. Due to the complexity of the movement, where all body parts are in motion—and each can be broken down into principles like the bouncing ball—it is particularly challenging for beginner animators to animate a walk solely based on reference. To address this, George provided full guidance through the animation process, demonstrating how to block a walk cycle in 24 frames per cycle.
Mise-en-scène, meaning “putting in the scene,” refers to the arrangement of everything within a frame or scene. This concept, rooted in theatre and French terminology, is central to both live-action and animated storytelling. In animation, it aligns with the principle of staging and serves to guide audience attention, establish mood, and convey narrative meaning.
Elements of Mise-en-Scène
1. Setting and Props
Settings and props are critical in creating the world of the story.
Filmmakers and animators can either use pre-existing assets or build custom environments for more control over aesthetics and audience response.
These elements manipulate the viewer’s emotions and establish context.
2. Character Stylisation and Placement
Costume, hair, and makeup signify the character’s social role, personality, and attributes. For example, a cruel character might use a cigarette as a prop to pause, build tension, and emphasize their demeanour.
Character placement refers to the areas of the screen occupied by characters, influencing the viewer’s perception of their relationships and importance.
3. Body Language and Facial Expression
These aspects work together to convey emotions and character intentions.
Micro-expressions may be explored independently for deeper emotional nuance.
4. Shot Framing
Tight framing: Characters and objects are enclosed within a confined space, often creating tension or intimacy.
Loose framing: Allows for more open space, emphasizing freedom or isolation.
5. Blocking and Screen Density
Blocking refers to how characters and objects move and are positioned within the frame.
Screen density, or the amount of visual information in the frame, can evoke a sense of chaos, calmness, or focus.
6. Composition
The arrangement of elements within the frame includes the use of horizontal, vertical, and directional lines, guiding the viewer’s eye and creating balance or tension.
7. Lighting and Colour
Lighting and colour establish the mood, atmosphere, and focus within a scene.
High-key lighting: Bright and evenly lit, often used for upbeat or comedic scenes.
Low-key lighting: Characterized by deep shadows, creating a dramatic or mysterious atmosphere.
High-contrast lighting: Emphasizes stark differences between light and dark, adding tension or intensity.
These techniques work together to set the scene’s mood and ambience.
Breaking the Fourth Wall
Breaking the fourth wall involves characters directly addressing the audience, creating a unique connection. This can happen through close-ups where characters actively talk to the viewers, as seen in traditional cinema and shows like The Office. This technique disrupts the narrative boundary, making the audience part of the story.
Camera Shots and Angles
1. Types of Shots
Close-up: Highlights facial expressions, conveying emotions in detail.
Long Shot: Establishes the setting, focusing more on body movement than facial expressions.
One-Shot: Features a single character in the frame.
Two-Shot: Includes two characters, often highlighting relationships.
Group Shot: Displays more than two characters.
2. Camera Angles
High-Angle Shot: Makes subjects appear smaller, emphasizing vulnerability or weakness.
Low-Angle Shot: Makes subjects look larger, emphasizing dominance or power.
Camera Movements
1. Pan Shot
The camera remains fixed but moves left or right on its axis.
2. Tilt Shot
The camera remains stationary but tilts up or down.
3. Travelling Shot (Dolly Shot)
The camera moves forward or backwards while fixed on its axis.
4. Crane Shot
The camera moves in multiple directions—up, down, in, or out—while mounted on a mechanical crane.
Animation and Narrative
Clear Storytelling
The narrative must be clear to avoid ambiguity unless the animation is experimental in nature.
Key Narrative Techniques
Staging: Ensures that the story is communicated effectively within the scene.
Character Placement: Establishes relationships, power dynamics, and focus.
Blocking and Movement: Guides the viewer’s eye and conveys story elements.
Composition: Balances visual elements to create impactful frames.
Scene Entry: Thoughtful choreography of how characters enter the scene enhances storytelling.
Critique ball with tail in spline & planning the weight shift exercise.
The Center of Gravity COG
For Humans: The centre of gravity (COG) for humans is typically located around the hips or pelvis. This is where the main control resides in character rigs, serving as the foundation for natural movement.
For Hero Characters: For hero characters, the COG shifts to the chest, reflecting their predominant movements, such as flying or leaping through the air. This adjustment enhances the believability of their superhuman abilities.
Maintaining Balance: To ensure proper balance in animation, it’s essential to apply correct weight distribution within the positive space of the character’s body mass. This helps achieve a sense of realism and stability in movement.
COG exercise
The following images present the outcome of the exercise, practicing the COG by aligning the bony rig with poses corresponding to the reference images. Where the red marking is Gerorge’s feedback.
Forward jump
Posing with the use of the live-action snapshot reference, is to ensure the accuracy of the physical logic, and distribution of the weight in consideration of the COG, however, the animator role is to go one step beyond, to make it visually appealing with use of exaggeration and assymetry.
Kneeling jump
Kneeling jump breakdown of action, video source: 3 Exercises To INCREASE YOUR VERTICAL Pt.2 | JUMP HIGHER | The Lost Breed used as the reference. Breakdown including the anticipation: hand movement that implies the preparation for the jump, stretch and squash of the spine, marked with the ball reference under each pose, pendulum consideration where the hands follow the chest and pelvis moving up front.
This example was broken down correctly; however, it is visually uninteresting because the posing throughout the action is symmetrical. Animation should aim for asymmetrical posing, as this allows for more variation in the line of action, making the movement appear more dynamic. Animation has the advantage over real-life action in that movements can be exaggerated. Considering this, the current example is far too dull to justify the time spent animating it.
A ball with tail spline animation feedback
Managed to make progress, and achieve fluid motion of the tail.
Need to pay more attention to the timing and spacing. The allocation of frames is incorrect, which results it the undesired movement. More specifically, instead of jumping to falling, jumping to flying and coming down was delivered. Rule of the thumb is that more frames are allocated for the ease in and ease out, as the character accelerates upward or downwards, to show the gradual movement.
Body weight shift planning > blocking > spline exercise
Instructions & Guidance (notes from in-class talk)
1. Setting Up the Basics
1.0 Change Default Tangents to Stepped
Switch the default tangent to “stepped” mode to make it easier to block out key poses and focus on timing.
1.1 Create a Default Pose
Start with a neutral default pose. Use both the front and left views to ensure accuracy and alignment.
1.2 Set Up a Quick Selection Tool
Create a quick selection tool for all the controllers, excluding the root controller. This will streamline the animation process and save time during adjustments.
2. Anticipation: Adding Realism to Movement
2.1 Offset for Anticipation
Introduce anticipation by slightly offsetting the pose in the opposite direction of the intended movement. This creates a sense of tension and preparation before the action begins.
2.2 Incremental Adjustments
Use the “+” or “−” keys to control the gizmo for incremental adjustments. Remember:
A larger gizmo results in smaller, more precise movements.
Set the foot roll to 100 and adjust it in the graph editor across the entire animation timeline for consistency.
2.3 Create Multiple Anticipation Poses
Develop around 4 anticipation poses to build a dynamic and fluid movement.
3. Weight Shift: Crafting the Contact Pose
3.1 Clean Up Between Poses
Reset all values to 0 before moving on to the next pose. This ensures clarity and reduces errors.
3.2 Define the Contact Pose
The contact pose is critical for establishing the weight shift. When the hips take the weight, the body naturally leans toward the supporting side. Add subtle rotation in the direction of the hip movement to enhance realism.
Shooting reference
Creating a video reference in front and side views for the body weight shift involved ensuring the camera was stable. Both perspectives needed to match precisely in timing, as two different cameras were used to capture the reference. The footage was then aligned in Premiere Pro, and consecutive frames were screenshotted for breakdown purposes, making it clear how to perform blocking for the action.
The image below shows the collection of screenshots, presenting consecutive frames of the action, which served as a reference for my blocking process.
Body weight shift study: breaking down in class demo
The image below shows my investigation of the class demo on the body weight shift, as explained to us with consideration of both the front and side views.
Observations/Notes:
The body moves slightly in the opposite direction before the action is undertaken, providing a visual clue for anticipation.
This is followed by a significant movement toward the intended direction to build up anticipation.
It is crucial to consider the COG (centre of gravity) as a reference point when performing blocking to ensure that the poses in the blocking are accurate and physically make sense.
As the weight of the body shifts, the COG shifts, requiring adjustments to the character’s poses.
The feet move in such a way that, in the side view, the trajectory forms an arc, ensuring organic movement.
The step to the side starts from the heel unless the animation is intentionally depicting a tiptoeing character (like a Pink Panther, for example).
The passing pose is an approximation of symmetry, with the centre of gravity positioned in the middle due to even weight distribution across both legs.
The contact pose, following the passing pose, involves dragging the foot. By analogy to the pendulum exercise, as the body shifts to the side after the step, the other foot follows by being dragged. This must be accentuated in the animation.
As the foot is dragged, it moves upwards with the heel, while the toes remain in contact with the ground. This creates a distinction between local dragging (toes) and global dragging (leg). Both must be carefully implemented to ensure accurate movement.
Films and other forms of media often contain subliminal or overt political messages, shaping societal perspectives and influencing behaviour.
1.0 Subliminal Advertising
Subliminal advertising is a marketing technique that uses hidden images, sounds, or messages to influence consumer behaviour without conscious awareness. The aim is to tap into the subconscious mind, where decision-making primarily occurs.
Example: In 1957, James Vicary famously claimed to have flashed the phrases “Drink Coca-Cola” and “Eat popcorn” during a movie, too fast for conscious perception. He asserted that this resulted in increased sales of these products. However, his claims were later debunked. (Source: BBC News – Does subliminal advertising actually work?)
TfL bosses ban advert for new West End play because it features a two-tier Victoria sponge that ‘promotes’ obesity
1.1 How Do Politics Shape Media Production?
Political ideologies and cultural narratives significantly influence the creation and content of media. Decisions about what stories are told and how they are presented often reflect prevailing political and social climates.
1.2 Politics in Pop Culture
The Worldwide Privacy Tour is a satirical take on Prince Harry and Meghan Markle’s decision to “step back as senior members of the Royal Family” and their subsequent rebranding. The episode humorously portrays the “Prince of Canada” and his wife visiting South Park, claiming they are in search of privacy and seclusion. However, their actions create chaos in the town and bring them into conflict with fourth-grader Kyle Broflovski.
Popular animated series frequently address political themes, using satire and humour to critique society:
Family Guy – Parodies absurd political situations and offers critiques of both right- and left-wing ideologies.
The Simpsons – Tackles issues such as corruption, environmental concerns, and corporate greed, with characters like Mayor Quimby representing real-world political archetypes.
South Park – Known for its timely and provocative political commentary, addressing topics like elections, social justice movements, and political correctness.
BoJack Horseman – Explores the intersection of politics with celebrity culture, media influence, and personal scandal.
American Dad! – A satirical look at right-wing ideologies through the lens of conservative CIA agent Stan Smith.
Futurama – Uses its futuristic setting to comment humorously on modern political issues such as climate change and government control.
Rick and Morty – Occasionally incorporates political themes, exploring issues like government control and existential questions of authority and freedom.
1.3 Animation as Political Commentary
Animation has been a powerful medium for political and social critique:
Norman McLaren: Neighbours (1952)
A stop-motion film that uses a simple conflict—neighbours fighting over a flower on their border—to critique war and human violence.
Despite winning an Academy Award, the film was banned in some places due to its portrayal of cruelty, including scenes involving babies.
Joanna Quinn: Britannia
A biting critique of British Imperialism, highlighting its rise and fall through satirical and brutal imagery.
Winsor McCay: The Sinking of the Lusitania (1918)
An animated propaganda film depicting the sinking of a passenger ship during World War I, emphasizing the tragedy of civilian casualties.
1.4 Animated Documentaries
Animated documentaries combine factual storytelling with creative animation to communicate complex ideas or personal narratives.
Defining Characteristics:
Created frame by frame.
Represents the real world rather than an entirely imagined one.
Presented as a documentary by its producers or perceived as such by audiences.
Often clarifies phenomena, educates viewers, or explains abstract concepts.
1.5 Examples of Animated Documentaries
Walking (1968): Directed by Ryan Larkin, this Canadian short film showcases vignettes of how different people walk, offering an observational and artistic take on human movement.
Abductees (1995): Paul Vester’s documentary is based on interviews with individuals who claim alien abduction experiences. Animation is used to depict their surreal, emotional, and often unsettling accounts.
Representation in Animation
Disney’s Dominance and Its Global Influence
Disney has long been the central force shaping global animation culture, presenting an American-centric perspective that dominates popular appreciation of the medium.
In the early 20th century, as animation industrialized, international animators strove to develop unique styles. However, the sheer volume of content produced in America led many to adopt American techniques and aesthetics. Examples include:
Japan’s Tiny Chibisuke’s Big Adventure (1935), which reflects the influence of earlier American works like Jumping Beans (1922).
Egypt’s Mish Mish el Shater (1939), produced by the Frenkel brothers, which mimicked American techniques to appeal to local audiences.
Christian Thomasson emphasizes that early animation embraced a cartoonist, exaggerated approach, creating visual experiences beyond live-action’s capabilities. Ironically, while many early animators celebrated stylization, Disney shifted toward a more realistic and aspirational visual style.
Hollywood and “The Other”
The Concept of “The Other” in Media
“The Other” refers to characters who deviate from societal ideals—norms often defined as white, cisgender, heterosexual, non-disabled males. These norms are societal constructs maintained by power structures that marginalize diverse identities.
During Hollywood’s “studio era,” many films used monsters as metaphors for “the Other,” dehumanizing those outside the societal norm.
The Celluloid Closet (1995) critiques the dominance of heterosexual and heteronormative portrayals in cinema.
I Am Not Your Negro explores the negative, dehumanizing representation of Black, Indigenous, and other ethnic minorities in mainstream media.
Disney’s Evolving Representation
A Shift Towards Inclusivity
Recent Disney productions show progress in representing diverse genders, ethnicities, and cultures. However, this inclusivity often remains superficial.
Moana (2016) authentically depicts Polynesian culture with a largely non-white voice cast, yet its creative direction was led by four white men.
The authors of From Mouse to Mermaid: The Politics of Film, Gender, and Culture argue that animation serves as a platform for exploring identity and cultural expression, beyond mere entertainment.
Nicholas Sammond highlights that animation’s theatrical roots included problematic practices like blackface, visible in early cartoon characters such as Felix the Cat and Mickey Mouse.
Racial Stereotypes in Early Animation
Examples of Racial Bias
Animation has reflected the racial biases of its time, perpetuating harmful stereotypes:
Fleischer Studios’ I’ll Be Glad When You’re Dead, You Rascal You (1932): Intended to celebrate Louis Armstrong’s music, it caricatured him as an “African cannibal.”
Warner Bros.’ Coal Black and de Sebben Dwarfs (1943): Part of the “Censored Eleven,” it featured extreme racial caricatures and was later withheld from circulation.
Disney’s Trader Mickey (1932) and Mickey Steps Out (1931) perpetuated racial stereotypes, as did live-action films like The Jazz Singer (1927), infamous for their blackface performances.
These portrayals exaggerated traits associated with marginalized groups, reinforcing stereotypes under the guise of humour and simplicity.
Live-Action Parallels
Stereotypes in Live-Action Films
Donald Bogle’s Toms, Coons, Mulattoes, Mammies, and Bucks (1973) outlines restrictive archetypes for African American characters in live-action films, such as:
The “Mammy” figure (e.g., Gone with the Wind).
The “Coon” stereotype, portrays Black characters as comedic and subservient.
These roles starkly contrasted with the wide-ranging, complex narratives afforded to white characters, reinforcing racial hierarchies in storytelling.
Responses to Past Representation
Avoidance vs. Authenticity
In response to criticisms, studios often avoided addressing racial stereotypes directly, opting instead to exclude non-white characters. For instance:
Chuck Jones replaced Tom and Jerry’s original “Mammy” character with a white Irish maid in the 1960s.
More recently, efforts have shifted toward authentic representation, empowering diverse creators to share their perspectives. Examples include:
The Proud Family
Bébé’s Kids
The Boondocks
These works centre on Black characters and themes, created and produced by Black writers and animators, enabling more meaningful storytelling rooted in lived experiences.
Countering Stereotypes in Animation
Some animators push back against historical stereotypes by creating counter-images that challenge past narratives, while others advocate for nuanced portrayals that reflect the complexities of human experience.
Further Reading
Introducing Intersectionality by Mary Romero provides tools to analyze how privilege and exclusion manifest across social identities. This framework deepens our understanding of how media representation impacts various groups, emphasizing the need for nuanced portrayals.
The following presents instructions on performing physics within UE5. These are embedded screenshots of the Word document that I made as the result of the studies and exploration. When rendering a lot of simulation physics within Unreal, it is recommended that you switch to Nanite.
