Pop-up book inspired animated films are an attempt to combine pop-up bookʼs features and animation devices to create a contemporary style which is unique and can stand out from present ordinary films. Tools for communication have always been developed throughout the history of humankind in order to create new media which are more effective and more attractive. Although interactive books, such as moveable books and pop-up books, have been successful media since the thirteenth century, they have some limited properties leading to difficulties of access, such as high production-cost, limited dissemination and short life span. (Harrington and Zaghini, 2002)
Coles (2007) holds the view that the era of printed learning material for new generations has passed. Modern audiences tend to be more interested in electronic media. He also believed that young audiences do not directly learn anything from books on their first read, but they are initially attracted by its visual inventiveness. Once attracted, they will gradually learn through repeatedly receiving the media. By transforming pop-up books into animation device, audiences will benefit by being able to access resources more easily, cheaply and more frequently.
The combination may have some drawbacks, such as the loss of the interactive feature where the audiences are able tot participate in controlling their own perception. The purpose of the present research is to examine pop-up animated filmʼs capabilities of being a successful medium for modern audiences.
As the initial step, correlation between pop-up books and animated films is investigated by analysing their similarities and possible collaboration. According to Styles and Bearne (2003) who cited Nikolajeva’s work, the methodology of conveyance in picture books and films are similar. Both of them are synthetic media which encourage the audience’s perception using the interaction between verbal and visual interpretation. This is supported by Griswold (2010) who holds the view that the interaction is absolutely necessary in successful workpieces. Sole verbal or sole visual experience is not adequate to convey complete messages because they may narrate different stories when they are separated. The collaboration of them expresses more meanings.
Subsequently, the research explored the main features of pop-up books which could interact with animation devices by analysing successful factors of three preceding animations. Although the Happy Duckling (2008), the Ford Pop-up (2009) and the Settler 7 (2010) were presented with different visual and narrative cause of their various purposes and target audiences, they have been successful due to the pop-up books inspired style.
Eventually, the research intends to experiment on the enlightened principles by creating a short animated film, thence providing feedbacks and results by broadcasting to audiences in order to assessment and respond to its hypothesis. The practise will be developed by imitating the three-step process of animation production.
3.1. December 2010 - February 2011 : Pre-production
The film’s script, design storyboard, mood and tone will be development in order to determine the overall concept and appearance. Three-dimension pre-production, such as modeling, texturing and rigging, will take place in the second half of the period.
3.2. March - May 2011 : Production
The film’s cinematic composition will be arranged by layout and blocking based on the storyboard. Subsequent to animation, lighting and rendering will occur. The researcher will additionally collaborate with musicians to compose music and sounds.
3.3. June - July 2011 : Post-production
The whole visual elements will be embellished by compositing beside correcting minor mistakes. Thence, editing will take place to create the final workpiece.
3.4. August 2011 : Assessment
The film and questionnaires will be broadcasted through the Internet in addition to showing to selected audiences in order to provide feedbacks both of positive and negative aspects. Subsequently, the research will assess results, and respond them to its hypothesis.
COLES, H. 2007. Children's Books: Small Matters, Big Issues. Nature, 450, 946-947.
GRISWOLD, J. How Picture Books Work [Online]. Parents' Choice: Children's Media & Toy Reviews. Available: http://www.parents-choice.org/article.cfm?art_id=306&the_page=reading_list [Accessed 12 November 2010].
STYLES, M. (ed.) & BEARNE, E. (ed.) 2003. Art, Narrative and Childhood: Edited by Morag Styles and Eve Bearne, Trenthan Books Limited.
The Ford Pop-up, 2009. TV Commercial. Directed by ROISIN, F. LE NEZET, F. & JANAUD, J. USA.
The Happy Duckling, 2008. Film. Directed by DOLEV, G. UK.
The Settler 7, 2010. Game. Directed by UBISOFT. USA.
ZAGHINI, E. & HARRINGTON, S. 2002. Pop-up!: a Guide to Novelty Books, London, Booktrust.