These two modes cannot be seen as separate entities, but characterised only in relation to each other. This is a similar case to live action films. Furniss creates a table to represent the contrast between the extremes of the two modes (30); I have transcribed this below including only the points which I find relevant to my own current work. The paradigms of the 'independent' column shape my work more.
Traditional/ industrial/ hegemonic:
- Big budget
- Made in groups
- Dominated by marketing concerns
- Support dominant beliefs
- Reflect concerns of dominant social groups
- Small budget
- Made by individuals
- Limited to small-scale exhibitions
- Made by marginalised social groups
- Dominated by aesthetic concerns
'Many independent animators have worked as fine artists in various media,' (32) which is how I first discovering my enjoyment of animating; after developing an affinity and talent for art through my teen years. Moving on to animation felt like an extention of this. 'A great many animators who began as artists working in the realms of still drawing or painting have become interested in animation because it offers an opportunity to set their images in motion' (33).
Reference:
Furniss, M. (1998). Alternatives in Animation Production. In: M. Furniss, ed., Art in Motion: Animation Aesthetics, 1st ed. Sydney: John Libbey, pp.29-33.
