What Is the Work of Animation? The Plasticity of Time in the Fourth-Dimensional Image

Abstract

Plasticity is a central concept in the philosophy of Catherine Malabou and the theory of animation. And yet, the temporal dimension of transformation and mutability that Malabou foregrounds in her philosophy is missing from recent theoretical accounts of plasticity in animation studies​. ​In these accounts, plasticity appears as a mode of spatial extension, conveying the elasticity of form across a Cartesian timeline, whereas Malabou aims to understand time’s own metamorphosis and self-differentiation. This article invokes Malabou’s theorization of plasticity as the becoming of time itself rather than the becoming of things in time to rethink the perception of life-like movement in animation. Reviewing the techniques of animation that Frank Thomas and Ollie Johnston describes in The Illusion of Life as “drawing in the fourth dimension”, I argue that Malabou’s characterization of plasticity as the capacity “to see (what is) coming” (voir venir) gets to the heart of animation as an art of subjective anticipation. Utilizing the human perceptual system’s tendency to invent new structures and relationships in response to changing inputs from the environment, animation prepares us to anticipate the unforeseeable and to perceive an order of movement typically concealed by the movement of objects in space.

Keywords

• Plasticity
• animation
• Malabou
• temporality
• Disney
• movement