Animal Welfare
My intention for this animation is to portray the reality of animal neglect in a way that will cause emotion in those who are indifferent to animals’ suffering or consider them as objects rather than living beings. The intended audience for this short animation would be both adults and children, as it is important to instill the value of being responsible for the well-being of animals no matter the age. Although this audience is extremely broad, it would be ideal if the emotional approach appealed to those who did not show much regard to the emotions and welfare of animals (even though this idea is mostly optimistic, and there is a chance this audience will continue to not show care).
According to Nurse, A & Ryland, D (2014), “Key factors contributing to the weaknesses in animal protection include inadequate sanctions for violations, a pervasive perception among law enforcement that views animals as objects lacking inherent rights, and cultural practices that have historically regarded animals solely as resources for human needs.”
Key factors contributing to the weaknesses in animal protection include inadequate sanctions for violations, a pervasive perception among law enforcement that views animals as objects lacking inherent rights, and cultural practices that have historically regarded animals solely as resources for human needs.
Conceptual Design Transition Planning
My main intention with this animation is to portray a simple story with a linear storytelling structure so that it can be understood universally. I have tried to portray a story of a domestic cat being abandoned outside and not cared for properly. This cat waits next to his owner’s house – as he is used to returning home after a day outside – however, the doors do not open. The context behind this storyline was based on an encounter I had (and still have) with an abandoned cat that was in rather critical condition due to the owners’ negligence. The mistreatment of this cat has been reported to RSPCA however the situation is more complicated and the cat unfortunately did not get rescued. I wanted to portray the reality of animals in this kind of situation where they cannot return to the previous life of comfort due to the complicated nature of laws and restrictions against animal mistreatment.
When planning the conceptual transition, I have tried to find symbolism that could portray neglect, human cruelty towards animals, and misguided loyalty from the cat.
Visual Design Treatment
The [third] theory stated by Edward Tufte in Envisioning Information is the use of colour – I have drawn from this theory to create a colour palette for the animation. According to Tufte,
Animation History
I have been influenced by multiple animated works in order to create this animation. The first example is Cat Running by Eadweard Muybridge – it is a sequence of photographs representing the movement of a cat running. This diagram represents the narrative of space and time that Tufte mentions in Envisioning Information. The diagram presents the way in which a cat’s limbs move in order to propel itself forward into a running position. Each image is labelled with the conventional sequence order.
Catopolis (2021) is a short animated video by the animator Vewn. The stylization of this animation is distinct and almost absurdist. One element of this animation that stood out the most to me as a potential influence is the exaggerated perspective which highlights the power dynamics in the situation in between the characters. An example of this is the scene where the main character is having dinner with his father, and the distance in between them is greatly exaggerated.
The Plague Dogs (1982) is a British film that focuses on the mistreatment of two dogs. Its atmosphere is notably dark and sombre. The animation style in this film is rather realistic, which complements the themes well. This has inspired my animation due to the fact that it uses a more muted palette and it humanizes the animals whilst still keeping them accurate to real life.
“Dziwny swiat kota Filemona” is a Polish cartoon that focuses on the life of a cat and its target audience is mainly children however many adults view it fondly as a part of their childhood. The reason behind this animation being selected as an influence for my own work is the way that the cats are portrayed and their body language is not anthromorphised like in countless other animations.
Work in Progress
This landscape painting that I created for the last part of the animation is inspired by a historic village in Poland named “Kocia Góra” (which translates to “Cat Mountain”). The reason for why I chose this setting is the abandoned feeling that many of the buildings have, as well as the overall greyness in terms of the colour of the environment.
Classical Animation Piece
References
Nurse, A., Ryland, D. (2014) Cats and the law: a report for international cat care. iCatCare (formerly the Feline Advisory Bureau). DOI:10.13140/2.1.2736.5121
Plague Dogs (1982) Directed by Martin Rosen. [DVD] Metro-Goldwyn-Mayer.
Dziwny swiat kota Filemona (1972) Directed by Ludwik Kronic. [Television] Se-Ma-For.
Vewn (2022) Catopolis [Video]. https://www.youtube.com/watch?v=xYnv8tHyOJE&ab_channel=vewn [Accessed 8/5/2025].
Eadward Muybridge (1872) Cat trotting; change to galloping [Photography]. Royal Academy Art Collection.
Leave a Reply