드로잉 애니메이션의 ‘간격(interval)’에 대한 연구

초록

This study aims to investigate the ‘interval’ which is an important factor in determining the aesthetic features of animation. This concept of the ‘interval’ has been mentioned (was introduced) by the Soviet film director, Dziga Vertov. He thought the interval in film is a means of revealing the truth of materials by extending the conventional human vision in a renovating way. Animation shows similar aesthetic features as film；however it is distinguished from film by two of its very unique kinds of interval. One is placing ‘spacing’ between two poses as an interval between frames and the other is an interstice between the layers that comprise the space of a scene. Due to these two specific kinds of interval, animation creates new ways of perception of movement and space. In animation, which actively uses intervals, movement is no longer possible to represent the time that is divided into equal intervals. The movement of the animation relying on adjusted intervals between frames can be flexible and confusing. Space also is perceived as layered rather than being continuous and integrated, so that is out of the legal space of the Renaissance perspective. In comparison with traditional films which give body to the vision in a humanistic viewpoint while it contains the strength of interval, traditional hand-drawn animation has a lot of possibilities to newly expanded perspectives of audience by exposing interval as reflective itself.

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