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Indeed, his work on the blurry limit between dreams and reality can be considered to be as far away from realism as you can be – and the same could be argued of some moments in Takahata’s works. You might be surprised to see Satoshi Kon among this list. That is why, instead of animators and their specific cuts, I want to focus on directors for whom realism is arguably the core of their work : Isao Takahata, Satoshi Kon and Naoko Yamada. What matters in this specific scene isn’t a philosophical adherence of the director to the principles of realism (though that could be argued in End of Evangelion’s case), but rather trying to aim for maximal visual and emotional intensity in a climactic moment : basically, using realistic animation will make the scene, and therefore the entire movie, stronger because it stands out so much.īut what interests me here is something else : not its expressive use in cool bursts of sakuga, but when realism is the core of a work’s aesthetic, when it is entirely built around that idea and all the animation, with little or no exception, follows its principles. The question we have to ask is then : why realism ? When you have such a limitless potential at hand, why bother to try and mimic reality ? In the case of animators and the integration of their sequences into a work, realism can be considered to add intensity to a climactic scene : think of Iso’s Asuka vs the mass-produced Eva Units in End of Evangelion. However, paradoxically, some of the most important artists and works in the medium have seemingly relinquished this aspect, believed to be essential : look no further than Disney’s search for “the illusion of life” and, in Japanese animation, the talent and number of animators of the so-called “realist” school, from Toshiyuki Inoue to Hiroyuki Okiura.
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Indeed, animation is thought to be the perfect medium to transcend reality and give shape to one’s wildest dreams – it has become a cliché to say that the animator’s imagination is the only limit. The concept of realism in animation is a tricky one. Even without deliberately staging this, the cartoon is inherently a document of – hence a film about – the fact of its own making” (Daniel Morgan)