Common and recognisable elements flow naturally from pre-established social understandings. Soul is evidently based on the premise of such visual familiarity alongside the familiarity of the workings and aesthetics of the city, the behaviour and appearance of humans, and the voices and sounds of contemporary culture. Photorealistic animation strives to achieve computer simulations that are totally indistinguishable from photographs or films (Darley 1997, 22). įrom its very start, Soul immediately shows animation’s potential for replicating the real, the known and the tangible with its photo realist visual style, presenting the architecture and skyline of New York city filled with busy commuters rushing to work. Although writing in relation to animated documentary, Anabelle Honess Roe’s proposed categorisation of mimetic and non-mimetic substitutions, with mimetic substitution portraying the already known while non-mimetic substitution following premises of suggestion, plasmaticness and abstraction (Honess Roe 2011, 228), can thus be extended to mainstream and non-documentary feature film production, and provide a useful way of distinguishing between the variant aesthetic styles that appear within the film. One aesthetic style used in the film caters to creating imagery that is familiar to the audience in its authenticity and compliance with the rigid laws of reality, while the other warps these laws through experimentation with gravity, volume and texture. This post will examine Soul’s broader representation of contrasted yet co-existing realities in varying aesthetic styles, which fully exploits animation’s ability as a versatile and innovative creative medium. A look back at the very first teaser trailer for Soul (originally released in March 2020 - see right), for example, immediately anticipated how the film would appear to exploit two juxtaposed forms of graphic representation: firstly, animation’s “orthodox” (Wells 1998, 36) and realistic depictions of characters and settings, and secondly, the medium’s more rhetorical function that renders the invisible and the unknown altogether more tangible. Soul is a rich case study to explore digital animation’s potential as a creative medium and technology Pixar’s film certainly demonstrates the capacity of digital animation to recreate both real and more surreal entities and environments. Souls are prepared in this version of reality to join their human (physical) body in the real world. The soul exists in the film as a behind-the-scenes realm which is created in ways that serve to represent our subconscious and non-physical mind. As part of its striking visual style, Soul animates and visualises the ‘soul’, a concept that is otherwise not seen by and intangible to the human eye. The story follows the life of a middle school music teacher named Joe Gardner (Jamie Foxx) who falls down a manhole on the streets of New York City into another world, a world in which his soul is separated from his body. on June 19, 2020, yet was finally released on the Disney+ platform almost a year ago in December 2020. Pixar’s much-delayed computer-animated fantasy film, Soul (Pete Docter, 2020), was originally scheduled for theatrical release in the U.S.
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