| Summary: | This thesis takes into consideration the historical narrative of filmmaking technologies that has been widely covered, namely by André Bazin, in which as technologies improve, filmmakers move closer towards realistic representations with their work. These technologies include camera mobility and volume, sound and microphone technology, set design, etc. There is a similar historical narrative for animation and animation filmmakers, where the technologies have improved over
the years to create polished pieces of cinema with perfected colors and lines. Before these technologies, the commonly used techniques posed limitations that actually impinged on the representation of the images; the images seemed less life-like or realistic because of clunky animation. In this way, these technological advances are less visually intrusive for an audience, and the images are more visually realistic. This thesis will argue that there are a few contemporary animators who
have begun to reverse this trend, using antiquated animation techniques to create images that look less realistic. Yet, the goal for these filmmakers is not to create jarring images pointlessly but to create a harmonious message between the animated form and content that feels more psychologically real, rather than visually real. This thesis will take three contemporary animators and argue that their work accomplishes this step towards psychological realism, most especially as they
reject not only the historical narrative of animation technologies and techniques, but also the larger historical narrative of cinema technology.
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