This chapter supports the idea that there are two schools of thought on narrative strategies in animation. The first school believes that every animation, no matter how short, must have a story with a sequence of events taking place over a period of time, informed by a chain of causes and effects. The latter believe that animation has the ability to create new modes of narration without using a linear plot but instead using symbolic or metaphorical effects. Considering these two schools of thought Wells defines the terms associated with narrative processes with respect to animation. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Metamorphosis is the ability to change an image into a completely new image. Metamorphosis resists logical developments, in other words, it allows the animator to narrate by connecting seemingly unrelated images. In the consequences the metamorphosis combines “horror and humor, dream and reality, certainty and speculation”. Condensation is one of the first strategies of narration. Animation was always in short form, so the animator needed to “compress a high degree of narrative information into a limited period of time through condensation processes.” The characteristic of condensation is to merge the narrative premise and its result. Synecdoche is a figure of speech or object in which a part is made to represent its whole or vice versa. This can be like the use of “metonymy,” which is the replacement of an image with its action. Symbolism and metaphor: Symbolism is when something is used as part of the imagery vocabulary to suggest meaning. It's how the audience interprets the elements of the animation and understands the film. In other words, “a symbol invests an object with meaning”. On the other hand, metaphor is similar to symbolism in that it invites interpretation but “insists on openness.” Metaphor essentially arises from symbolism, in metaphor an image is applied to an object or action to which it is not literally applicable, as they intend the audience to have an engagement with the symbolic beyond the real. Fabrication is defined as reanimation of materiality. That is to say, it is the idea of ​​redefining matter and objects. Three-dimensional animation is directly concerned with the expression of materiality and creates disturbing images. Considering this definition, the meaning of the object is determined by common historical dimensions and creates the associative environment for the viewer. Associative relationships occur when suggestion or allusion is used to bring together seemingly unrelated images. The sound inspires feelings and emotionally tells the plot. Sounds not only create the mood and atmosphere of an animation and determine its pace and emphasis, but, more importantly, they create a vocabulary through which the visual codes of the film can be understood. The sound can be composed of voice-over, monologue, dialogue, instrumental or operatic music and sound effects. Acting and performance are another narrative strategy. In an animated film there is no character but rather the relationship between the animator and the figure. The animator must decide the character's range of motion, expression and behavior. The character is limited by the conditions and possibilities of the medium in which he was created. At first, the characters were called "performers" rather than "actors", as they were controlled to perform rather like a puppet. Please note: This is just an example. Get a customized document from our writers now”.