Answer to Question 1
Technically, animated films can be as complex as live-action movies. The
same techniques can be used in both forms: traveling shots, zooms, angles, various
lenses, editing, dissolves, etc. The only difference is that animators draw these
elements into their images. Furthermore, animators also can use most of the
techniques of the painter: different kinds of paints, pens, pencils, pastels, washes,
acrylics, and so on. According to the French aesthetician Henri Bergson, when people
act mechanically rather than flexibly, comedy is the result. People, unlike machines,
can think, feel, and act reasonably. A person's intelligence is measured by his or her
ability to be adaptable.
When behavior becomes machinelike and inflexible, we find it laughable. One aspect
of machinelike behavior is speed: When a person's movements are speeded up on
film, he or she seems unhuman and ridiculous. Dignity is difficult in fast motion, for
acceleration robs us of our humanity
Answer to Question 2
Reverse dolly shots such as this are more unsettling than conventional
traveling shots. When we dolly into a scene, we can usually see where we're headed,to a geographical goal of some sort. But when the camera moves in reverse, sweeping
backwards as it keeps the running protagonist in frame, we have no sense of a final
destination, just the urgent, desperate need to flee.
As a result of this change, deoxyhemoglobin S
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