Decoration And Fable:A Study On The Decorative Style Of Michel Ocelot’s Animated Films

Michel Ocelot is one of the most representative animation directors in French.His works not only show the traditional culture and artistic spirit of France,but also show the diversified culture and art of other countries.This paper pays attention to the decorative style shown in Ocelot’s animation,and analyzes it from this perspective.It summarizes the characteristics of flatness,linearity and order from the paper-cut techniques used in Ocelot’s animation,the influence of European illustration and other arts,its performance in the spatial structure of animation and the French cultural thought behind Ocelot’s animation fables.Based on Ocelot’s frequent use of paper-cut techniques in animation and his adherence to the two-dimensional style,the first part mainly focuses on the flatness of Ocelot’s animation.The paper combines with the analysis of Ocelot’s works in different stages,from the guiding significance of early paper-cut animation and paper-cut technology to his absorption of decorative style elements in different cultures.For example,he studied Chinese shadow puppets and created his special silhouette techniques in animation.When he tried to use three-dimensional techniques,however,some small techniques were used to make the animation style show a two-dimensional effect.These different works have a planar decorative style,which is also analyzed in detail.In the second part of animation modeling design,Ocelot was influenced by illustrators Aubrey Beardsley and Heath Robinson.This paper discusses the exaggeration and simplicity of character modeling design and the complexity and decoration of prop design.Also,the paper also pays attention to the diversified performance of Ocelot’s works,and analyses some patterns and decorations in his animation.The third part mainly focuses on the spatial structure arrangement in Ocelot’s animation,and discusses the emphasis on sequence consciousness,the use of geometry,the balance of visual perception and the use of collage techniques.The last part attempts to discuss the relationship between decoration and narration in Ocelot’s animation.Ocelot’s animation narrative presents the characteristics of fable.He inherits the expression of French absurdity and French humor in thought,and then the paper analyzes the reflection on the concept of power embodied in the image order under decoration,as well as some difficulties faced by Ocelot.