Abstract
2D animation grants its characters a malleability which allows for their forms to be an active participant in the story. For instance, Samurai Jack (2001) exhibits this in its use of shadow and silhouette to communicate power dynamics. Moreover, in Song of the Sea (2014) the characters shift between human and animal-like forms as the film tells a narrative which blends mythology and realism. Hence, there is a fluidity in 2D animation that is inherently transposed onto its characters, and is a part of the narrative of the animation. This fluidity becomes a part of the characters, and can be used to express a transition or fluidity with these character’s identity. ‘BROOD’ utilises this understanding of animation to explore the journey and emotions of transitioning as a transgender person.
‘BROOD’ is a break from typical explorations of transgender identity, as it purposefully removes this narrative from a literal representation of the human body. Instead the narrative exists in a more surreal space, which is necessary to communicate the unseen emotional aspects of this perspective.
The metamorphosis is conveyed through shadows, with a focus on the emotional journey which occurs after the transition. These shadows contain bird and cockroach motifs, using the connotations of these animals and behaviour in nature to add another layer to the exploration of these feelings and relationships. In doing so, the film creates a new articulation of these themes in animation, and adds a new dimension to the existing tradition of surreal explorations of identity in animation.
Following submission, I'd like to add a few finishing touches/edits to this film before distributing it further.