The typology proposed in this article comprehensively illuminates the formal characteristics of live action/animation hybrid films. By reference to six film analytical categories, the interplay of animation and live action film is explored within single images as well as on the level of montage, and is illustrated by means of examples from a wide variety of films. The flexible and adaptable set of parameters comprises all animation techniques and is applicable to whole films as well as to longer or shorter sequences. A further goal is to disintegrate the boundary that is often drawn between so-called mélange films and digital hybrid films. The only requirement is that the disparity between animation and live action film must be discernible to the viewers. Ideally, the application of the proposed typology will lead to a new historical positioning of hybrid tendencies within film history.
- `Yeah Looks Like It N'All . . .': The `Live Action' Universe and Abridged Figurative Design and Computer Animation within Modern Toss
- Cinematic Collecting: The Continuous Discontinuity of the Still Frame in Oskar Fischinger’s Walking from Munich to Berlin
- Hybrid Image, Hybrid Montage: Film Analytical Parameters for Live Action/Animation Hybrids
live action ,motion capture