Suzan Pitt, 1979, Asparagus,America
Animation, as an audio-visual language art, is often used by creators to express personal outbursts of emotion, social ephemera, and other abstract subjects. Animation can be traced back to the earliest days of cave paintings and was often used to record significant historical events, such as hunting, rituals, and various religious activities. But for the Disney studios, World War II turned the animation factories into barracks, using animation as a weapon. Many government and military administrators understood that film was the best tool to educate, inspire and motivate people.
Categorisation: Animation is an integrated medium of creative expression for film and television. The creation of a good job is often influenced by a variety of historical, economic, and political influences. Historically, the late 1960s saw the outbreak of a second feminist surge, during which the world’s economic landscape changed dramatically. In the early 19th century, faithful women had to be pious, pure, and good at housework, and men morally influenced women through their roles as mothers and wives. In 1964, supported by the law, the student movement broke out. Many young women raised resistance against sexism, while in 1966, the anti-war movement in the United States, where women were mainly limited to providing moral comfort and support to young men, this traditional concept was reflected in a new type of revolutionary situation, where sexual freedom became sexual oppression. In animation history, feminist works have occupied a critical position.
Form and Function: Imagination is at the heart of animation, and these films invariably demonstrate how these female-identified and feminist animators, under the pressure of patriarchal domination, have flourished through a series of political statements and commentaries on public life – all of which have succeeded in animation in particular –to show their creativity.An issue often overlooked in the study of feminist films, media, and practices is animation’s critical capacity and potential. Both are historical markers of women’s individual and political resistance and the current burgeoning, deliberate use of film by female animators as a text of resistance. It makes sense.
The animated film turns the Asparagus into a male head-like vessel, the head sawed open, bright red with sap, and blooming beautifully. From the window, she peers in or views a man’s advances. But when this man disappears, she begins to lose it and debug herself, but how can she not leave her existing life? Asparagus is sex, the essence of a beautiful male form with its phallic stem, pointed style, and purple-green color. But as summer passes, it stretches high and becomes a subtle fern, leaning over the curb in the wind, the essence of femininity like long, tangled hair. It is a beautiful symbol of sexuality. The couch allows for rest and comfort, and she needs to relax a bit, employing sex. She puts on a mask and brings all kinds of temptations to the streets. The windows of the roads are a reflection of the times. I think Susan’s most significant limitation is that the animation lacks a vision of the future of feminism. In the production of the spirit, she favors the depiction of female appearance and the influence of the environment. Still, there is no doubt that this is an excellent experimental animation.
Formal Elements: In the animation, dazzling colors paint beautiful pictures; the motion pictures fluctuate like a vast, surging sea; it excites and delights the eye and the mind. Beautifully animated, with sometimes strangely raunchy visuals and a disturbing soundtrack, this is a strange short film, but it’s still gorgeous and entertaining. I think many moviegoers of experimental animation might immediately dismiss it as less plotted gibberish; however, if you greet the film’s bizarre atmosphere with open arms, you might find a shocking, funny, weird, beautiful, atmospheric, creepy, unique, provocative and fantastical wealth of animation.
Process: as Jung said, “Images are pregnant” There’s something about the ’60s and ’70s in the film – the acid and hallucinogens, the spectacular insight, the trance of being lost and found – and the color. All of Susan’s movies are handmade and shot on 35mm cameras – the slight shaking and layering of the film give the films a psychedelic style. The hand-drawn animation is vibrant and personal. The cackling vibrations of the shadows, the shifting light, and the medium of the film are all part of the look and feel of the film. The quality of the animation and the resolution color is very influential in working. It’s as different as looking at a painting and looking at a reproduction of an image – the quality of the film itself is part of the message.
From the color scheme alone, a swath of dazzling pinks and big reds suggest femininity, sensuality, and passion. In the lavishly decorated room, our eyes “follow” a faceless (masked halfway through) heroine on a journey that is iconic and familiar (woman, home, private domain), ending in an eerie, theatrical space. The theater is filmed with a stop-motion public, which is very different from the animated style of the entire film, realistic, realistic. The natural public prefers the unreal. Curtain after curtain, as if always can not be pulled out, masking what is behind. Behind the curtain is a huge figure, a hand, and this hand wants you to see whatever you want to see. He is the manipulator of everything. What does the waterfall mean? The mask in the picture is raw and dull, a rotating hole like an intestine where excrement is released and gets public admiration. The leather bag is like Pandora’s magic box, releasing endless compulsions. Notice the sofa is very eye-catching?
Sex toys correspond to the major companies, respectively, manufacturing goods. The surprise and amazement of the crowd. Leave all this to the people. The woman left, and she took off the mask. She went to the man, and here is a peek-a-boo shot of us spying on her, spying on her with our digital products. The meaning here is that this woman serves this man, and this woman is a general reference; she can already appear in various guises and be Santa Claus, as in the masked cabinet before. She can also be the man. The appearance of the waterfall in her mouth corresponds to the first play of the theater. What is the symbolism? Flowers, meat, whatever it is. Who gets the ultimate pleasure at the end, metal bands, fruit candy, hair dough, and who gets the ultimate pleasure? Susan uses a lot of vivid colors and music to articulate the film’s climax, creating a psychedelic yet elegant cinematic atmosphere.