Both concepts intrigued me while reading through since they make it possible to address varied modes of expression and construction in the field of animated film. The techniques are different in several ways including things like configuration and continuity. When it comes to configuration, orthodox animation has identification, figures and characters while experimental animation has the absence of conventional character. Orthodox animation also has specific continuity (includes adherence to a situation or storyline) while experimental animation has specific non-continuity (this is lack of linear continuity) (Zhang and Ruwei 211). Experimental animation is also characterized by the evolution of materiality, interpretive form, multiple style dynamics of musicality and presence of the artist. Orthodox animation, on the other hand, is characterized by the evolution of context, narrative form, unity of style, dynamic of dialogue and absence of the artist (Zhang and Ruwei 212).

The two techniques have differentiating elements, but in my opinion, none is more important than the other. This is because they help to complete each other when they are applied together. To have a good understanding of this can be enabled by assessing films that have employed these techniques. Among the films, there is Duck Amuck by Chuck Jones (1953). Orthodox elements in this film are observable through Daffy Duck given that he is an identifiable character and tends to take the audience through the narrative. The film also demonstrates experimental animation since it uses multiple styles like Daffy talking. Another favorable example is Your Face by Bill Plympton (1987). Orthodox aspects are shown by the use of lip-syncing in the film. Experimental aspects, on the other hand, are demonstrated by usage of abstraction for the identifiable character.

Work Cited

Zhang  Xiaopeng  and Ruwei Yun. Entertainment For Education. Digital Techniques And Systems. Heidelberg, Springer, 2010,.

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