Released in 1937, The Old Mill is an Oscar winning short animated film[1] and part of the Walt Disney Animation Studios/RKO Radio Pictures early Silly Symphonies Animated Collection.
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Given that the Walt Disney
Animation studios, the ‘practitioner’ chosen for closer examination as part of
this Hons study, has released 50 full length animated features and numerous
short animated films; the question must be raised as to why focus on The Old
Mill, a short that was released over 70 years ago instead of newer releases
from the studio? The answer is twofold, not only is The Old Mill the short that
is most closely aligned with the Project that will be produced as part of this
Hons study, but the short film also introduced many of the techniques and
approaches still used in modern animation today. Although the technology may
have changed in relation to layout and background design, The Old Mill is the
definitive example of how backgrounds and incidental characters can progress a
narrative without the presence of a central protagonist, reliance upon
character or omnipresent voice over narration. This aspect of the animation
corresponds directly with my own study into the importance of background and
layout in progressing story as illustrated in my current research focus
question:
“Aside from the omnipresent narrator, what filmic devices and visual
development techniques can be employed in animated films to convey a sense of
character and a progression of a linear narrative when there is an absence of a
visually represented character or protagonist on the screen?’’
My research has also found that the Walt Disney Animation studios, provides the most comprehensive exploration into the techniques, practices and technological advancements associated with background and layout development. For this reason, the studio, rather than a single practitioner has been selected for study; this is also in keeping with the departmentalised production line model of traditional animation film creation wherein a collective is responsible for particular production.
The Old Mill tells the linear
narrative of a single evening in the ‘life’ of an old windmill and its residents
of assorted animals and birds as they face an unexpected storm that threatens
their collective existence. The narrative itself is chronologically linear and
written to best demonstrate environmental storytelling where the story is told
through the environment and backgrounds rather than focus upon character. This
story is a moment in time and its cyclical nature indicates that this has
happened in the past and will most likely occur in the future. The Old Mill
opens with an establishing shot of the old windmill in its current state and
the film also closes with the same, albeit altered and storm lashed, windmill
nestled in the landscape with life going on around and within it.
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This visual ‘bookending’ of the
narrative reinforces the voyeuristic nature of the short, a peek into a moment
in time that is created by the foregrounding of the background and the seeming
unrestrictive access that the viewer has with the environment. This is the same
narrative device that I will also be using in my animation project wherein the
viewer will get a definite sense that they are witnessing a moment in time
through the careful placement of recurring motifs and symbols.
The short animated film, The Old
Mill not only utilises a linear narrative but also cutting edge technology in
the area of layout and background design; technology that was to change the
role of the background and the importance of setting in animation. This was the
first time that the Disney Studio had employed their multi-plane camera which
for the first time enabled backgrounds to become more than simply a flat space
where characters performed, the illusion of depth created by the multi-plane
camera meant that the audience where able to ‘enter into’ the world of the
animation with greater sense of realism and thus immersive quality.
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| See Walt Disney's explanation of the multi-plane camera here |
Backgrounds could now become
environments that could convey a sense of mood and atmosphere that could stand
alone as a ‘real world’ environment; key in the process of environmental storytelling.
The added depth and elements of forced perspective take the viewer into the
action in much the same way that a point of view shot does within a live action
film. Interestingly, although the mode of delivering such an effect has changed
from the multi-plane camera, to the computer the essence at the core of this
revolution in background design remains unchanged.
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| Screenshot from Toon Boom Animate Pro which digitally recreates the multi-plane camera in 2010 |
As the camera pans up through the
mill the illusion of depth intensifies and the viewer recognises that they are
moving into the rafters and with this enclosing space comes a greater sense of
intrusion and intimacy. (@1min 33sec)
The cooing of doves, symbolic of
love are seemingly amorous in their relations with one another and the camera
moves away as if not wanting to intrude on their private moment. (@1min 27sec)
We are however, as the viewer aware
that we are actually in the Mill with these critters as both the mice in the
rafters and the owl break the fourth wall and recognise our presence. (@1min
43sec)
These are the only critters in The
Old Mill that acknowledge the viewer and it is this process of breaking the
fourth wall that identifies the voyeuristic point of view camera shot rare in
animation films but an integral component of environmental storytelling. As the
camera pans further into the rooftop, the bats begin to leave their roosts thus
signalling the start of dusk and the viewer is lead via the environment (leaves
falling into the pond disturbed by the bats flying out into the night) outside
the Mill.
Once outside the Mill the
exploration of the micro world of the windmill continues and sound design,
including a greater integration between character and music, begins to become
more important. Sounds associated with the change from dusk to evening such as
frogs and grasshoppers are important in demonstrating the passing of time. As
with all works concerned with environmental storytelling, sound design is
crucial in conveying meaning and atmosphere in the absence of a narrator or
character to act as a guide through the narrative. As the impending storm
begins to build the environment itself literally seems to come to life conveying
a sense of fear as the colours darken and once benign trees and reeds take on a
major role in the music and the action. (@4min)
The Mill heaves and rattles in time
with the music and the increased number of cut shots between the various
critters and the state of the building itself and the storm outside aid in
creating tension as if the viewer was unsure of where to look. The use of
repetition in these cut shots (section 4:22 of the film) further echoes the
original action of the windmill which in turn correlates to the broader subtext
of the repetitive nature of each day in the ‘life’ of the Old Mill.
The cool colour palette and
employment of special effects lighting bring the outside storm into the Mill
and its affect upon the Mill’s residents illuminates the temporary nature of
their existence. (@6min 17sec)
These colours also evoke a sense of
fear and the coldness of the storm can almost be felt by the audience as the
wind howls and the rain lashes against the weakened Old Mill. The storm
sequence, in every aspect from shot length to colour palette and sound design,
contrasts starkly with the initial vision of the windmill as a gentle
safe pastoral haven in the opening scenes. (@28sec; @4min 7sec)
In this moment, there is a sense of
immersion within the environment and the rapid cut shots unnerve the audience
as the point of view voyeurism of earlier is again highlighted as we see the
owl from earlier again break the fourth wall and acknowledge our presence. (@5min
54sec; @7min 38sec)
The comedic anthropomorphic
qualities of the owl serve to humanise the moment and his/her scowl at the
storm is only what we have come to expect from this bird who does not like to
be disturbed. His/her connection with the audience is key in reminding the
viewer that the environment has been progressing the narrative and the fact
that we can return to the owl at various moments within the story without
having to rely on him/her as a central protagonist further emphasises the power
and importance of the environment and the background in telling the story of
this Old Mill.
In keeping with the traditional
linear narrative, The Old Mill has an identifiable three act structure. As
quickly as the storm eventuated, it also subsides, and life at the Old Mill
returns to the way it has always been, although now more slightly on a jaunty
angle.
In reverse order the bats return from the
nightly routine and the residents are all present and accounted. The sound
design becomes gentle and unobtrusive and the camera trucks back taking the
viewer away from this glimpse into a single moment in the ‘life’ of this
windmill. (@8min36sec)
The Old Mill, despite being
released in 1937, is one of the few animation shorts that successfully utilises
the notion of environmental story telling long before it was ever coined as a
phrase in the games industry. The short does not rely upon a narrator or a
central protagonist, the audience is immersed into this world through first
person point of view shots and innovative layout advancements such as the multi-plane
camera. My Hons project and associated research will strive to expand upon the
concept of environmental storytelling and push the boundaries of background and
layout design to create a truly immersive, intriguing and ultimately engaging
experience for the viewer.
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