The Phenomenology of Animation

This paper presents a framework for a phenomenology based on pure transcendental phenomenology that examines the nature of both the experience of viewing and creating animation. The technological innovation of film and cinema in general is based upon two overarching principles. The first is the phenomenon of the captured frame and the second is the spectator’s phenomenological experience of sequences of such captured frames. It is argued among animation and film theorists alike that the insights offered by the consideration of the phenomenon of the cinematic frame should form the nexus of all film theories. This paper argues that a complete theory of film and cinema should start by explaining this fundamental conceptual bedrock, and that the ‘already-created’ frame of film restricts insight into the phenomenology of cinema spectatorship. The article also shows how the practice of animation is instrumental to the proposition and elaboration of a phenomenology of animation.