Coraline, bucking the CG toon trend, combines old-fashioned stop-motion animation techniques with the newfangled wonders of modern 3D. Which, was widely recognized as the best digital cinema ever made in the contemporary post cinema era. For the purpose of offering all ages brave children an unusual adventure, Coraline bestowed value on artistic and cultural prestige with digital stereoscopic filmmaking and fully affirmed the growing interest in digital projection among exhibitors and cinematography.
The film symbolizes the world of Carolyn in three styles. They are gray and dark, colorful, and bright in dark. One is the image in Caroline’s critical eyes; another is the ideal country in her fantasy; and only the last one is world in the normal state of mind and perspective. The three kinds of image and three mentality, represent the growth trajectory of a person, when the rebellious and fantasy receded, he should use a mature mentality to see the world, then the world will show its inherent beauty and real.
A young girl open the door to another world which concealed within her own. In this way, Henry Selick’s Coraline expresses its question of desire, space, and embodiment. Unlike previous RealD features, Coraline produces a track for the digital uncanny through the stereoscopic animation’s silence.
Besides, Coraline’s narrative also gives context for these changing reflections of cinema by using an ongoing debate to explain the relationship between femininity, form and matter. It let the spectator reconsider the patriarchal dynamics which represent the metaphysics of west.
By focusing on Coraline ’s depiction of the Beldam and the formation of her character, I suggest that the movie uses its chora to produce a post-cinematic “bridge between the intelligible and the sensible, mind and body” that can replace celluloid’s indexical invocation of the material while also providing catharsis for that loss (Benson, 2016).
Through the digital stop-motion animation, the film achieves the tensions. This, enables it to consider about the transition into and out of essence. Coraline ’s stop-motion technology depend on the computer-designed profilmic models and CG to render the horrible atmosphere in conversation with the digital 3-D projection.
For the spectators, stop-motion is similar to a stage which was in an escaping or running state all the time, subverting the social hierarchy of the body and things that need to be produced. The racial overtones which Coraline builds in the excessive animation and the stop-motion through capturing the instability of material and image as well as the inherent unconsciousness of the body give audiences a post-cinematic experience.
Written by: Yuehan Zhu
- Shane Denson, Julia Leyda (2016).POST-CINEMA: Theorizing 21st-century film. United Kingdom: REFRAME Books.
- Thomas J. McLean. (2008). On the Set with ‘Coraline’: Where the Motion Doesn’t Stop. Animationworld. Available from: http://www.awn.com/animationworld/set-coraline-where-motion-doesnt-stop. [Accessed 25 February 2017].