'Understanding Animation- Paul Wells'

This book holds many quotes of interest.

page 24 chapter: animated films

''realism', it seems, is a relative thing, but the kind of film which seems to most accurately represent 'reality' is the kind of film which attempts to rid itself of obvious cinematic conventions in the prioritisaation
of recording the people, objects, envoriments and events which chaterastise the common understanding of lived experince. pg 24

connect to Elsa.

'hyper-relasim', and fundamentally defines Disney, and thoses who emulate the studio's style. For Disney, and others working in this way, to connote 'realitty'
'the chaters,objects, and envoriment with in hyper-realisit animated film are subject to the conventional physical laws of the 'real' world'. pg 25

'the construction, movement and behsavioural tendencies of 'the body' in the hyper-realidst animsted film will correspond to the orthodox physical aspects of human beings and creatures in the 'real' world. pg 25-26

'former Disney chief, Jeffery Katzenberg says pf Pocahontas(1995), the studio's most live-action orientated cartoon feature, that it is an exaggerated reality,
where the real possibility of Pocahontas diving 100 feet from a cliff into a  ac
of water may be made be more spectacular if she were to appear to dive 300 feet, a feat enacted in entire safety and with persuasive plausibility in animated form. At one time and the same time
'the very conditions of rationality' have been challenged but made to comply to a different, yet convincing, realist rational. it may still be the case that this perceptive on realism
will ultimate be unsatisfying.  pg 26.

'Adams photographic=c realism as a definitive view of landscapes imagery, suggest that Disney animators believe that they do move beyond traditional modes realist representation
 in their work, and maintain a hyper-realism which is neither completely accurate version of the real world, nor a radicile vindication of the animated form.' pg27

'Andy Darely, apropos of certain kinds of computer-generated imagery, has usefully suggested that this may be defined as second-order realism, where every object
and envoriment through recgonisablly 'real' precise in its construction, and logical in the execution of its own laws, becomes insistently over-determined
moving into relasim which  is simultaneously realistic but beyond the orthodoxies of realism. it maybe argued, therefore, that the mode of realism in animation could be
understod as over-illusion.' 27

'disneys mode of  of'squash and stretch'  animation necessarily ovre compresses and elongates charachter movement to give it an over-dedrtermained and often comic style, but remains taht moving figures within disney canon coorespond nnore directly
to 'relastic' movement than work informed by other approaches' pg 27

'aspires not only to natraulastic representatiomn but to engage with social reality' pg 28

'Jan Svankmajer has called 'fantastic  documentry' (Hames 1995:112), which are works based in relaity, but which revals intriinsic truths through
the machninations of animations in a subjective tool. reality in animation, therefore can only bea comparative and relative form, half-dedicated to representational  authencity,
half dediciated to the narraitive forms which highten and exhbit the fluid conditions of the real world' pg 28