Analyzing Paul Wells 'Track'

In this short, a horse and a donkey go on a wild chase after a rabbit and a racoon steal the horses’ bushy, black tail. For the most part, the story gets distracted by jump cutting to live-action sequences of the music recording session. As someone who loves working with music and sound, this movie appealed to me as soon as the chase started. The reason is that I believe the music constitutes the actual pace. For instance, each character in the chasing sequences was clearly shot in twos for normal movement, as opposed to fast. This works fine for the first half of the film. However, as the chase reaches its peak at the end, the tempo of the music increases, but movement speed remains constant. In short, I wish the movement speed would match …show more content…
In the case of orthodox, the film tells the story a wild goose chase just to frame up a horses’ tail. Additionally, the objects are based on specific figures that reflect a studio style. However, in the case the experimental approach, timing arises from the animator’s intention, which in this case is based the dynamics of musicality. Furthermore, there is a debate on whether the music recording shots require an interpretation. Nevertheless, the viewer will realize its true meaning by the end of the …show more content…
If the narrative was linear based, the animator would want the viewer to focus on the just the animatic, from the tail cutting to the rabbit cave. However, what if the music recording shots represented a second narrative thread, as if that and the animatic were told simultaneously. If so, then the narrative is multi-linear based. For example, the structure stars with a violinist pulling one of her strings, followed by the rabbit and racoon appearing from a bush, followed by another violinist shot and then a shot of the horse and his sidekick. As the plot progresses to the chase sequence, we see a few shots of the chase followed by a jump cut to a recording shot. As mentioned above, these shots require an interpretation until the end of the film. In order to build that meaning, the camera rack focuses from the instrument to a framed picture of the horse hanging in the background. At the end of both threads, the movie cuts to the rabbit’s hideout, showing a bunch of framed photographs of horses with their respective tails pinned to the wall. Basically, the narrative structure is composed of an animatic that tells a story, followed by live action shots that provide a meaning. But in the end, one last animated shot constitutes the ultimate