KuboĪnd the Two Strings (Travis Knight, 2016) intermingles epic dimensions in the work of both Japanese director Akira Kurosawa and English director David With a visual style reminiscent at times of the work of French director Sylvain Chomet. The Boxtrolls (Graham Annable and Anthony Stacchi, 2014), in the fashion of Coraline being based upon Neil Gaiman’s novella for children, stems from the fantasy novel Here Be Monsters! (2005) by Alan Snow – and blends evocations of Dickens and a steampunk aesthetic Hughes, 1985) and reminders of Arthur Miller’s play The Crucible (1953). With a set of characters reminiscent of the iconic 1980s film The Breakfast Club (John
CORALINE LAIKA STUDIOS MOVIE
(Chris Butler and Sam Fell, 2012), for instance, combines signatures of the horror movie genre (obsessively collected by Norman), While extending the capacities of both analogue and digital production processes with each new film. In a similar fashion, LAIKA’s subsequent animations take recognizable plotĪnd genre structures and form new composites by marrying these structures with unexpected bedfellows from other narratives, Such as 3D-printed facial replacement parts. This combination of old and new sources is further echoed by the puppetsīeing clad in intricately handmade Lilliputian-sized clothes, while also drawing upon new processes aided by digital technology Traditional ball-and-socket metal armature puppets.
Of the classic Volkswagen Beetle car is parked adjacent to a Victorian Gothic house, and the characters are modelled upon Coraline’s adventures occur in a contemporary Oregon setting, in which an updated miniature version Is the rabbit hole in Alice in Wonderland, the wardrobe in TheĬhronicles of Narnia series, the path to the bathhouse in Spirited Away (Hayao Requiring portals 42 to reach alternate worlds. Of the door that accesses the shiny menace of the Other Mother and Father’s world summons memories of other narratives Offers a twenty-first-century take on a variety of global fairy tale and fantasy tropes the eponymous character’s discovery While forging connections with modern narratives and new technologies. The LAIKA oeuvre builds upon a range of traditional constructs, references and craftmanship In the zealous drive to break new ground, instances occur where the viewer is ironically returned to the point of origin and In turn I will consider the extent to which innovation arises in LAIKA animated features, or whether The communicative implications of such amalgamations will be explored by looking at examples found Techniques such as the fusion of disparate stylistic sources, the intermingling of narrative tropes and a blending of analogueĪnd digital technology. In this chapter, I will focus upon hybridizationĪs one of the chief strategies employed by LAIKA in the creation of fresh and emotionally charged perspectives, enabled through That he wanted ‘to tell these weird, thought-provoking, thematically challenging, emotionally resonant stories, but
Uesugi, recalls director Henry Selick’s encouragement – in the previsualization stages of Coraline (2009) – to ‘design with your own ideas, but something we’ve never seenīefore!’ This impulse towards innovation has extended to methods of storytelling and the depiction of charactersĪnd content, with LAIKA CEO, director and animator Travis Knight reflecting For instance, Coraline (2009) illustrator and concept artist, Tadahiro Alternative outlooks, new ways of seeing and the pushing of creativeīoundaries are terms frequently associated with LAIKA’s objectives as an animation studio.
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