Puppetry, Puppet
Animation and
the Digital Age
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Puppetry, Puppet
Animation and
the Digital Age
Rolf Giesen
Edited by
Giannalberto Bendazzi
CRC Press
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Library of Congress Cataloging-in-Publication Data
Names: Giesen, Rolf, author.
Title: Puppetry, puppet animation and the digital age / Rolf Giesen.
Description: First edition. | Boca Raton, FL : CRC Press/Taylor & Francis
Group, 2019. | Includes bibliographical references.
Identifiers: LCCN 2018031269 | ISBN 9780815382041 (hardback :
acid-free paper)
Subjects: LCSH: Stop-motion animation films--History. | Puppet
films--History. | Animation (Cinematography)--History.
Classification: LCC TR897.6 .G54 2019 | DDC 777/.7--dc23
LC record available at https://lccn.loc.gov/2018031269
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Contents
Series Editor, ix
Author, xi
Introduction: It’s Not Just Nostalgia, xiii
Chapter 1 ◾ The Origin of Puppets and Homunculi 1
AN ACT OF MAGIC 2
Chapter 2 ◾ The Art of Silhouette Plays and Films 5
REFERENCES 9
Chapter 3 ◾ 2D versus 3D in Nazi Germany 11
WALKING MATCHSTICKS 11
LADISLAS STAREVICH 13
DIMENSIONAL ANIMATION IN SPACE 15
GEORGE PAL 18
THE DIEHL BROTHERS 28
REFERENCES 34
Chapter 4 ◾ Puppetoons versus Jiří Trnka 35
SQUASH AND STRETCH IN WOOD 35
TÝRLOVÁ AND ZEMAN 39
THE TRICK BROTHERS 43
v
vi ◾ Contents
DISNEY PLUS BUŇUEL AND CHARLES BOWERS 45
LOU IN WONDERLAND 47
HANSEL AND GRETEL 48
MEMORY HOTEL 49
REFERENCES 52
Chapter 5 ◾ The Dynamators 53
THE LOST WORLD 53
THE “ZEUS COMPLEX” 54
AT THE CRADLE OF THE DIGITAL AGE—AND NOT
KNOWING IT 59
REFERENCES 62
Chapter 6 ◾ Pixilation and Mocap: People Become
Puppets 63
NEIGHBOURS AT WAR 63
AVATAR 64
Chapter 7 ◾ The Road to Computer-Generated
Imagery 67
THE FORM AND THE SUBSTANCE 67
“CREATION” 71
BATMAN FOREVER 73
DIGITAL EVOLUTION AND DISNEYFICATION 75
REFERENCES 75
Chapter 8 ◾ The Decomposition of Images 77
SPEAKING LIONS AND CENTAURS 77
CYBERPUNK 78
REFERENCES 80
Contents ◾ vii
Chapter 9 ◾ Aardman, or A Renaissance of Stop
Motion 81
SYMBIOSIS BETWEEN STOP MOTION AND
COMPUTER-GENERATED IMAGERY 82
AN INHERENT CHARM FOR HALF THE PRICE 85
REFERENCES 86
Chapter 10 ◾ The Isle of Old-Fashioned Animators 87
PANDORA’S BOX 87
IT CAME FROM MEGASAKI 88
FANG MING, A.K.A. MOCHINAGA-SAN 92
PARANORMAN AND THE BOXTROLLS 93
REFERENCES 96
THE STOP-MOTION CHRONICLES, 99
BIBLIOGRAPHY, 111
INDEX, 113
Series Editor
Giannalberto Bendazzi, currently an independent scholar, is a
former visiting professor of history of animation at the Nanyang
Technological University in Singapore and a former professor at
the Università degli Studi di Milano. We welcome any submissions
to help grow the wonderful content we are striving to provide to
the animation community: giannalbertobendazzi@gmail.com.
ix
Author
Rolf Giesen is focusing on all facets of animation as a screenwriter,
curator, film historian, and lecturer working in Germany and for
a few years in China. For two decades, he did exhibitions devoted
to the work of stop-motion legend Ray Harryhausen.
Published:
Acting and Character Animation: The Art of Animated Films,
Acting and Visualizing. (co-written with Anna Khan)
xi
Introduction: It’s
Not Just Nostalgia
T here are two prejudices I encounter quite often.
It’s animation. It’s nice—but it’s not a real movie.
I tell them that it’s not only a real movie: it’s even more than a real
movie.
There would be no movies without the principle of animation,
and this principle will prevail even in a time when there are no
cinemas anymore.
And the second prejudice I am confronted with:
3D computers have virtually finished the era of puppets,
2D, cutout, or whatever animation.
There are people who say this in a nicer way. They say that 3D
computer animation is the logical consequence of stop-motion
animation, with the best qualities of 2D animation on top, and that
therefore stop motion is backward and only provides a convenient
niche for a small group of eccentrics.
I even meet animators who tell you that they like to take shelter
in such a niche, because they cannot imagine that they would ever
succeed in what they call the mainstream.
xiii
xiv ◾ Introduction: It’s Not Just Nostalgia
A niche is like a cocoon. The whole society is atomizing into a
plethora of cocoons. Everything is divided up, while a few global
majors take the helm.
As we have become part of a digital “revolution,” 3D computer
animation has been declared the global standard. This thought
is totalitarian. All of a sudden, the tools are going to instruct the
artist about aesthetics and which road to take in art.
Yet animation is no one-way road. It’s about variety, not about
what commercialists think should be the singular, beatific tool
that is best suited to grind out large quantities of images. In China,
for instance, the introduction of digital animation has made it
possible to produce more than 260,000 minutes worth of animation
annually. But you bet: most of it looks the same. And despite all
the tools, if it weren’t for market leaders like Pixar or DreamWorks
Animation, most 3D animation would look cheap and limited.
That sounds a little bit heretic—and it should.
Please let me run my train of thought and try to explain. I could
be an advocate of 2D animation as well, which I still consider high
art, because it’s about drawings and paintings set in motion. But
with this book, I decided to stand up for stop motion and puppet
animation.
This is, if you prefer, a plea for variety in animation and also for
variety in commercial animation. This is no plea against digital
animation and against tools that make all of animation easier. It
is, however, a plea against dulling standardization thanks to the
power of the new tools. To my mind, these new tools are given no
right to diminish any other type of animation. Two-dimensional
or puppet animation shouldn’t be subordinate to 3D computer
animation but equal.
While digital animation is raising a globalized claim, puppet
animation has always respected the national identity of its country
of origin: Russian stop motion is different from Czech or French
or German or Dutch.
Yes, we are aware that “conventional” animation won’t be fit for
the intermedia age, but so are most humans.
Introduction: It’s Not Just Nostalgia ◾ xv
To us, the main question shouldn’t be about the tools of
animation—paper, puppets, digits—but only about the quality
of animation. Of course, from the standpoint of photo-realism,
digital technology will always prevail. But this is certainly not
the pivotal question concerning the art of animation and art in
general.
Naturalist painting has certainly lost a great deal of power.
Photography has forced us into photo-realism that even dominates
the realm of fantasy and imagination. This is one of the reasons
true artists don’t compete with photo-realism anymore and have
created new expressions of art.
Why poetry? We have millions of bloggers sharing the latest
Tweets!
Why frame-by-frame animation? We get it in real time!
Why still have that jerky “antediluvian” animation if we can
make it much more fluid?
Jim Danforth, a dear friend and one of the great American
stop-motion animators, once remarked that ballet dancers are
moving in an odd way, not at all realistically. But we don’t go to a
ballet to see real, mundane movements, do we? We go to see artful
movement. With stop motion it is the same. We shouldn’t expect
to see real movement in a stop-motion film.
Art has a lot to with stylization. Gregory Jein, a fine American
miniaturist, once went to Japan to work on a postapocalyptic sci-fi
flick titled Virus (1980). He and his colleagues from Hollywood
were surprised to see that their Japanese counterparts didn’t care
for overall naturalism but enjoyed doing things that were stylized.
Eiji Tsuburaya, the late “father” of Japanese Kaiju films, had in one
of his films (Frankenstein Conquers the World) a miniature horse
being devoured by a rubber-suit monster. He could have used a real
horse and made a split screen, but said that the “toy” looked nicer.
And right he was. To people like him, naturalism wasn’t art and
xvi ◾ Introduction: It’s Not Just Nostalgia
sure wasn’t fun. Maybe it’s not good to link science fiction with art,
but I do remember that, while seeing old science fiction movies,
there was always a feeling of childlike innocence. We excuse this
unwelcome emotion (and the occasional wire we detect on screen)
with the explanation that they didn’t have computers back then in
film production and couldn’t solve it any better. The effects-laden
sci-fi blockbuster from our days, with cameras circling around
crashing skyscrapers and sound effects that injure your eardrums,
may have a lot more to offer but certainly no innocence. Sure, it
looks more real than reality, but at the same time, it’s rubbish
content-wise.
The idea to move images is as old as Stone Age art. The idea to
move puppets dates back to ancient times, too. It’s great to have
computers, but why should we sacrifice the tradition of puppetry
for it?
I can talk about this topic only as a historian. Luckily, I am no
film semanticist.
I have to thank Giannalberto Bendazzi, who invited me to
publish this little pamphlet in his new book series, and my wife,
Anna Khan. I want to dedicate it to the memory of the late
animation expert and stop-motion sponsor Michael Schmetz.
Rolf Giesen
Berlin and Grambin, Summer 2018
Chapter 1
The Origin of Puppets
and Homunculi
T he puppet, be it a hand puppet or a marionette, is an extension
of our heart, an extension of our soul.
Breathing life into a puppet, you wish it really would open its
eyes and live: the Pinocchio effect. In a way, the puppet has you over
a barrel. In stop motion, you are communicating with a puppet
like a shaman and the puppet seems to communicate with you,
at least in your imagination. A shaman acts as a bridge between
different worlds, the material and the spiritual world. There are
tales of ventriloquist’s puppets, demonic dummies, who have
minds of their own and absorb the puppeteer. Michael Redgrave’s
dummy from Dead of Night became the prototype for more devil
dolls to come. There is slight resentment concerning puppets on
behalf of many adults, as they confuse puppets with dolls.
“Aren’t you too old to play with dolls?” Ray Harryhausen was
once asked, and since that time he never talked about puppet but
model animation.
Puppets can be cult objects in the material world, including the
Voodoo puppets of black magic. Superstitious people believe them
1
2 ◾ Puppetry, Puppet Animation and the Digital Age
Puppeteer Gerd Josef Pohl and his Nosferatu marionette.
(Photographed by Martin van Elten. Courtesy of Gerd J. Pohl.)
to be cursed. Early shadow and puppet theaters have a religious
background. Puppets are materialist manifestations from the
spiritual world. Three-dimensional computer animation is only
spiritual: it doesn’t create material manifestations, only ghost
images. The animator cannot touch them.
AN ACT OF MAGIC
Creating puppets is an act of magic: like creating homunculi.
The so-called homunculus was the alchemic goal of Doctor
Faustus, the legendary necromancer and astrologer who—before he
became a durable character in literature—was the star of puppet plays
in which he sold his soul to the devil, a predecessor of Frankenstein.
One of these alchemists was Theophrastus Bombast von
Hohenheim, otherwise known as Paracelsus, a sixteenth-century
master of holistic medicine and natural healing, who is said to
have been interested in artificially made human beings, a concern
that in those days came close to blasphemous black magic.
The Origin of Puppets and Homunculi ◾ 3
In the second century, Hero of Alexandria even wrote manuals
on how to fabricate images of god that would move. He would
rotate statues and design a miniature puppet theater—not for
entertainment’s sake, but for religious purposes. To create a god
was to perform theurgy: giving life to inanimate objects. The
tradition of animated gods carried on in the fascination with
puppets.
There is a classic German short story titled “The Sandman”
written by E. T. A. Hoffmann in 1816: A man falls in love with
a girl—until he realizes that she is not human. The man’s name
is Nathanael. He abandons Klara, his down-to-earth fiancée,
for a beautiful girl he has seen from his room in a neighboring
building. This girl, Olimpia, does nothing but sit motionless in
her bedroom. She plays piano, however, as Nathanael learns, and
dances with perfunctory precision. When Nathanael talks to her,
she only responds with a gentle “Ah, ah!” To his horror, Nathanael
realizes that Olimpia is a life-size mechanical doll fabricated by
Spallanzani, his physics professor. Olimpia’s eyes are made of
glass. Inside her body is a clockwork mechanism that controls her
movements and dancing.
Olimpia is a relative of Disneyland’s Animatronics, and
Spallanzani is the ancestor of Walt Disney. Disney was the
proverbial puppet master. (There are even some historians who
claim that puppetry predates live actors on stage.)
I didn’t know that there was such a thing as the World Puppetry
Day. And I didn’t know that besides the Muppets, there was such a
thing as Christian puppetry, a form of Christian ministry through
puppetry.
The Art of Silhouette Plays and Films
Lotte Reiniger , Shadow Theatres and Shadow Films. London and New York: B. T.
Batsford Ltd. and Watson-Guptill, 1970, pp. 105–108. Reprinted with kind
permission.
Lotte Reiniger , ibid., pp. 11–13.
2D versus 3D in Nazi Germany
An Animated Dispute: Arthur Melbourne-Cooper and the Birth of Film Animation.
Norwich Film Festival, December 2, 2012.
September 1938: Der deutsche Film: “Poet am Tricktisch” Besuch bei Starewitsch
[The German Film: “Poet at the Animation Stand” Visiting Starevich.]
H. O. Schulze quoted from Rolf Giesen, Der Trickfilm: A Survey of German Special
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Puppetoons versus Jiří Trnka
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Don Sahlin interviewed by David Prestone for Closeup Magazine, no. 2, 1976.
The Dynamators
Mike Hankin , Ray Harryhausen: Master of the Majicks, Volume 1: Beginnings and
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The Road to Computer-Generated Imagery
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Jim Danforth , The Significance of Naturalistic Stop Motion Animation. Reprinted
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Béla Balázs , Early Film Theory. New York/Oxford: Berghahn Books, 2010, p. 174.
Ivan Sutherland , Father of Graphics. June 16, 2016. https://www.i-
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Edwin E. Catmull , Biography.
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Theodor Nelson , Computer Lib/Dream Machines, 2nd ed. Self-published, 1974.
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The Decomposition of Images
Ed Cumming , William Gibson: The Man Who Saw Tomorrow. The Guardian, July
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Solomon Israel , Artificial intelligence, human brain to meet in the 2030s, says
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Aardman, or A Renaissance of Stop Motion
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Wendy Jackson , An Interview With Aardman's Peter Lord. Animation World
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Bill Jones , He Kept His Nightmare Alive. The Phoenix Gazette. October 22, 1993.
The Isle of Old-Fashioned Animators
Don Shay , Dennis Muren—Playing It Unsafe! In: Cinefex, Number 65, March 1996.
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