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Fig 1. Movie Poster. |
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Fig 2. Triplets of Belleville |
Belleville Rendez-vouz is hand drawn animation - Chomet’s favourite medium. This choice had a good impact on the narrative, the characters that are drawn are all unique as the director has a love for caricature and how far a design can be pushed, most characters are individual. Using hand drawn animation gives you more freedom to switch styles like the beginning of the film does, it starts with rubber hose animation like the very first Disney shorts did to present footage of the triplets when they were young before zooming out of the tv to the film’s present day in a different (and well matched) style - he’s using animation history to tell history basically. He chose to make this film a silent one so that he could push character design and visual storytelling to its full capacity which is essential to silent films and has an impressive result. In an interview with Animation World Network Chomet explains his logic:
“Im very involved with the whole line test thing. For me, when you've worked all day on an animation and that moment when you see the drawings move, thats really a magical moment, and there is no sound to it. I also think that an animation without the constraints of spoken words is stronger. If you have to fit everything to the words, all the gestural movement revolves around the mouth. Without it, you are much free to create true animation, to talk through animation itself. Animation modelled around the dialogue is like something, which has already been set in stone, theres less scope for interpretation.” (Chomet, 2003)
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Fig 3. Family Portrait. |
The way he transitions from scenes supports his theme of being strange and bizarre, he’ll morph a face into a hamburger or the bottom of a saucepan full of tadpoles to the moon. The way he does quirky movement supports his narrative such as how vehicles and cyclists move, how the waiter flops about, how the triplets shuffle across the floor, Madame Souza’s determined steps, the square men in black suits moving up and down shimmying with their steps - even movement has its own traits which adds to the creation/reflection of a character in addition to its design.
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Fig 4. Floppy Waiter and Men in Suits. |
Bibliography:
Chomet, S. and Moins, P. (2003). Sylvain Chomet’s 'The Triplets of Belleville'. [online] Animation World Network. Available at: https://www.awn.com/animationworld/sylvain-chomet-s-triplets-belleville [Accessed 10 Feb. 2018].
IMDb. (n.d.). Les triplettes de Belleville Awards. [online] Available at: http://www.imdb.com/title/tt0286244/awards [Accessed 10 Feb. 2018].
Illustration List:
Figure 1. Belleville Rendez-vouz Movie Poster (2003) [Poster] At: https://www.pinterest.co.uk/pin/152700243595455979/
Figure 2. Triplets of Belleville (2003) At: https://randomdescent.wordpress.com/2015/01/29/adventures-with-netflix-the-triplets-of-belleville/
Figure 3. Family Portrait (2003) At: https://www.pinterest.co.uk/pin/440508407292806091/
Figure 4. Floppy Waiter and Men in Suits (2003) At: https://imgur.com/gallery/qUvBDoc
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