mass production and reproduction – Caroline and rapid Prototyping

Click to View cut scene from coraline

Coraline is a stop motion animation created in 2009 by laika studios. and i feel is a prime example of where mass production is beneficial in some cases despite a general stigma within art towards the ability to mass produce a product.

Coraline was made by Laika studos in 2009. It was directed by Henry Selick and took 18 months to shoot after 2 years of pre-production planning and it costed $60,000,000 (estimated) to create, and it earned around  $75,280,058 in america by June 2009.

i think Coraline is relevant to mass production and reproduction because of the tecnieques used to create the puppets in the movie.  each and every part of the character  is made multiple times, each part has to be exactly the same and without flaws.

What i adore about this film is that almost every single Prop or costume has been hand made or produced by hand. for example, the sweaters that coraline wear among other knitted pieces of clothing where designed and created by a relatively unknown artist Althea Crome. It took her two weeks to knit each sweater and then things such as the glow in the dark stars on the jumpers where applied by the puppet makers so that each sweater was identical. (more than one person works on a scene at a time therefore meaning that duplicates where needed).

this is where the invention of detailed rapid prototyping comes in.  Rapid prototyping is a pass production tool that used a group of tecnieques that quickly and efficiently fabricate a scale model of a physical part or assembly. using 3d – computer aided design (CAD) data to build an image and then the design is created.

Although most artists may argue that being able to reproduce the same thing over again is detrimental; i feel that in the case of this film it was a positive use of technology that is used to create a beautiful piece of art.

Magician and surgeon compare to painter and cameraman.     –      Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction,’ 1937

and this is why i disagree with the quote by Walter Benjamin. I don’t think that a digital piece of art is like being a surgeon. through the use of technology and mass production the camera man becomes a magician, and gives live to a little collection of inanimate parts.


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