Until now, the majority of studies related to fantasy have focused on the creation of specific and engaging events or personas, with less emphasis on the role of physical space, especially in the creation and visualization of fantasy in animated films. This research examines the role and function of spatial symbols in creating and visualizing fantasy in supernatural animated films.
In this research, we analyze the decorative and interactive roles of physical space (location) in the examined works. Semiotics is employed as a tool to identify spatial signs and the fundamentals of visual literacy to achieve a deeper understanding of the surrounding world. Visual signs encompass elements such as line, shape, color, and texture; through their interaction, they create visible images. In animation, the significance of these signs and the design of their combinations to evoke specific emotions in the viewer are particularly emphasized.
The primary focus of this study is on the signs and shapes present in the backgrounds of the films and their relevance to the subject matter. By identifying these visual signs and examining their relationship to fantasy creation techniques, we explore the use of these forms in establishing a specific space and animation environment. This research adopts a descriptive-analytical approach, utilizing library sources and semiotic analysis of the selected films.
To investigate this issue, two animated films, “Coraline” and “Monster House,” which effectively utilize physical space in their creation of fantasy, are analyzed as case studies. In “Coraline,” the home environment serves as a backdrop for storytelling. The plot revolves around a young girl who migrates to a new location with her family, settling into a house that harbors secrets. The setting possesses traits that the protagonist discovers, revealing the magic and mysteries of the house, ultimately shaping her destiny through the adventures she embarks upon within the new home.
The unique characteristics of this house, such as a small door on one of the walls that acts as a portal to a parallel world, along with the visual elements employed in this animation—such as the cracked texture of Coraline’s room ceiling, the old wooden texture of the house, the wall colors, lighting, and shapes used in the interior and exterior spaces—create a fantastical atmosphere. As Coraline explores different areas of her new home, the audience becomes acquainted with the physical space of the story, as well as the character and interests of the protagonist. Therefore, the presence of distinctive visual features in the space underscores the importance of analyzing this work.
In “Monster House,” the character of the monster is represented by a house that possesses human-like qualities, with three children deciding to confront and defeat it, facing various challenges along the way. The signs in this animation are directly relevant to the subject matter; for instance, the house functions as the monster’s mouth, its tongue is a red carpet, and so forth. A key feature of this animation is the anthropomorphization of the house; not only does its appearance resemble a human face, but its interior also mimics the human body. Sharp forms, cubes, and circles contribute to the portrayal of the monster’s true appearance.
All visual elements are designed so that the characters realize the house’s human-like qualities upon entering. Additionally, the human behaviors of this character lend credibility to the living nature of the monster house, making its role as a character in the story vital for the creation of fantasy, thus warranting further examination.
To explore this matter, a descriptive and analytical approach is employed, analyzing the visual signs present in the location of the narrative events and their role in creating fantasy. The findings indicate the significant role of visual signs in preparing the audience for the forthcoming events in both films. Furthermore, it is observed that visual signs, in the form of specific visual frameworks, generate distinct atmospheres (such as fear) and meanings within the film sequences.
Moreover, the story is framed around the capabilities that the location provides to the characters, reflecting both their inherent characteristics and those of the characters themselves. Considering a location as a character and employing principles of fantasy, exaggeration, and transformation can leverage the space for storytelling. The house, in the human psyche, is often static and less frequently utilized as a narrative character. Visual signs can indicate the presence of a character in future scenes or highlight their traits. Additionally, the forms used in character and space design share common shapes that create visual coherence in line with the story’s concept and shape the film’s genre.
By utilizing visual signs and geometric shapes, one can create techniques for fantasy, while also visually enhancing the narrative progression. In essence, visual signs facilitate the visual alignment of the space and characters. The integration of these elements and signs, typically accompanied by change and transformation, renders the fantasy of the story more believable.