Larkin's Reclamation of Fame through the film Ryan
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Nov 24, 2024
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Larkin's
Reclamation
of
Fame
through
"Ryan"
Chris
Landreth's
film
Ryan
(2004)
is
an
incisive
critique
of
contemporary
society.
The
film
may
be
regarded
as
excellent
given
the
several
awards
it
won,
including
the
Academy
Award
for
Best
Picture
in
the
2005
ceremony.
The
video
chronicles
the
ups
and
downs
of
famous
animator
Ryan
Larkin's
life
in
the
early
1960s,
spanning
his
many
different
creative
and
professional
endeavors.
Chris
Landreth's
use
of
psycho-realism
in
the
mix
of
animation
genres
helps
in
making
the
film
distinctive
both
visually
and
thematically.
It
is
apparent
from
the
visuals
of
the
film
that
Landreth
frequently
uses
surreal
images
to
help
the
viewer
relate
to
the
characters
in
a
way
that
wouldn't
be
feasible
through
traditional
means
like
speech
or
narration.
Throughout
the
entire
video,
viewers
may
keep
an
eye
out
for
different
kinds
of
motion,
hues,
and
shapes.
The
way
every
move
looks
is
informed
by
its
unique
importance
and
function.
From
the
analysis
of
each
part
of
the
film,
there
is
one
central
idea
that
emerges
and
sticks
with
the
viewer
(Fore
278).
Landreth
utilizes
examples
from
real
life,
such
as
poverty,
trauma,
and
addiction,
to
demonstrate
how
a
man's
sense
of
self
can
be
severely
damaged
by
adversity
and
lead
to
his
eventual
fall
into
a
chasm.
This
was
the
exact
case
of
Ryan
Larkin.
His
sense
of
self
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2
was
significantly
destroyed
by
his
addiction
to
beer
and
extreme
poverty.
Ryan
uses
vivid
hues,
a
variety
of
object
types,
characters,
and
historical
and
contemporary
points
of
view
to
portray
this
concept.
Chris
Landreth
uses
a
kind
of
CGI
animation
known
as
psycho-realism
in
addition
to
the
more
traditional
methods.
The
surrealist
aesthetic
is
discussed
in
context
with
the
rest
of
his
work
in
the
spiritualist
argument
(Kim,
108).
Using
digital
3D
animation
methods,
he
creates
a
three-
dimensional
world
populated
with
disembodied
beings
reminiscent
of
a
horrific
LSD
trip
or
a
psychotic
episode,
which
is
completely
distinct
from
any
animation
style
we
see
today.
Unlike
Larkin,
Landreth's
animation
method
doesn't
seem
to
have
a
clear
direction,
and
despite
the
film's
impressive
visual
effects,
it
may
be
difficult
for
viewers
to
describe
the
film's
distinctive
visceral
style.
It's
possible
that
the
disparity
stems
from
the
different
eras
in
which
the
two
artists
produced
their
respective
works.
Landreth's
interview
with
Larkin
is
being
turned
into
an
animated
short
film,
which
features
not
just
Landreth,
but
also
Larkin's
former
business
partners
and
coworkers.
To
demonstrate
how
fragile
human
beings
are,
Landreth
overcame
his
own
fear
of
weakness—a
fear
that
holds
us
all
back—instead
of
just
giving
us
the
tragic
story
of
a
lost
ability.
In
Ryan,
Landreth
deftly
demonstrates
how
he,
too,
is
susceptible
to
change
as
he
listens
to
Ryan
Larkin's
interview
by
applying
the
psycho-realistic
technique,
in
which
people's
inner
feelings
are
reflected
in
their
outside
looks
(Majeed,
2020).
It
is
evident
that
Landreth
did
not
just
want
to
show
his
audience
a
sad story
of
a
talent
that
was
ruined
but
wanted
to
purge
himself
from
weakness
and
fear.
Due
to
Landreth's
peculiar
animation
techniques,
we
are
made
to
think
and
see
as
if
the
film
was
a
live-action.
However,
it
doesn't
take
long
to
peel
and
dismember
them.
The
faces
of
the
figures
are
continually
changing
to
represent
the
monsters
inside
of
everyone's
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3
head.
Ryan
Larkin
is
made
to
seem more
disembodied
than
everyone
else
to
emphasize
how
fragile
his
mind
is.
Vivid
colors
are
used
extensively
throughout
the
picture.
From
the
moment
that
director
Landreth
enters
into
the
scene.
The
film's
use
of
vibrant
colors
draws
attention
and
serves
a
particular
purpose.
In
the
beginning
of
the
film,
viewers
are
confused
by
all
the
bright
colors,
but
they
soon
learn
their
significance.
Chris
Landreth,
the
film's
director,
opens
the
film
by
reflecting
on
his
life
and
naming
three
significant
difficulties
he
has
encountered.
Colorful
or
comical
traits
are
painted
on
his
body
and
face
to
symbolize
each
tragedy
he
has
endured.
There
were
bright
threads
sticking
out
of
one
side
of
his
face,
a
joyous
smile
was
etched
into
the
side
of
his
head,
and
his
face
looked
like
a
rainbow
that
had
been
shattered.
One
of
the
ironic
introductions
he
gives
to
Ryan
is,
"I
live
in
Toronto,
a
city
in
Canada
where
I
see
way
too
many
shades
of
grey
for
my
own
good
health;
a
few
years
ago,
however,
I
became
friends
with
a
splash
of
color
in
the
form
of
a
slight
fragile
gentleman
from
Montreal
named
Ryan
Larkin"
(Fore
280).
The
irony
here
is
that
after
watching
the
interview,
he
paints
Ryan
as
a
bubbly
and
cheerful
person,
which
is
the
complete
opposite
of
what
he
actually presents.
Throughout
the
short
film,
we
are
exposed
to
the
voices
of
Ryan
Larkin
and
those
who
knew
him,
but
these
voices
come
from
strange,
twisted,
disconnected
3D-generated
characters
with
unusual
and
slightly
scary
looks.
In
one
of
the
film's
most
heartwarming
moments,
a
young
Ryan
is
rendered
incredibly
lifelike
using
a
blend
of
CGI
and
black-and-white
old
photos.
Dancing
and
even
making
a
sudden
leap
into
one
of
his
own
films,
Ryan
is
a
sight
to
behold
in
all
his
glory.
The
whole
time,
the
voice
track
is
comprised
of
actual
interviews
that
Landreth
conducted
with
a
wide
variety
of
people.
Many
of
the
film's
stirring
scenes
and
overall
emotional
impact
may
be
traced
back
to
this
fact.
Numerous
philosophical
allegories
are
embedded
in
this
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film.
However,
Landreth's
intention
to
convey
his
message
through
the
graphic
violence depicted
in
the
artwork
is
clear.
Ryan's
face
seems
to
have
disappeared
entirely,
as
if
time
and
use
had
eaten
it
away.
Ryan
is
literally
being
eaten
alive
by
his
fear
of
personal
failure.
It's
an
appropriate
effect,
one
that
suggests
that
in
both
reality
and
art,
individuals
are
suffocated
to
the
point
of
nonexistence.
Conclusion
The
short
film
Ryan
has
a
definitive
ring
of
excellence
in
its
production
and
execution.
Almost
every
film
I've
seen
that
tries
to
depict
pain,
struggle,
or
emotions
does
so
by
overusing
words,
expressions
on
faces,
and
silence.
The
film
stands
on
its
own
since
its
central
message
was
transmitted
in
ways
other
than
via
language.
The
characters'
inner
anguish
was
conveyed
through
a
kaleidoscope
of
vivid
colors
and
distorted
images
that
gave
spectators
a
unique
perspective.
From
my
perspective,
the
film
brilliantly
depicts
the
exhaustion
of
the
mind
as
a
result
of
emotional
and
physical
setbacks.
I
am
not
an
artist,
but
I
can
appreciate
the
struggles
of
those
who
have
been
there.
Landrith's
use
of
strange,
attention-grabbing
images
to
tell
a
heartfelt
story
left
viewers
with
a
new,
creative,
and
personal
animation
that
didn't
pander
to
any
one
demographic.
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Works
Cited
Fore,
Steve.
"Reenacting
Ryan:
The
fantasmatic
and
the
animated
documentary."
Animation
6.3
(2011):
277-292.
Hesselberth,
Pepita,
and
Carlos
Miguel
Roos
Munoz.
"short
Film
experience:
introduction."
Empedocles:
European
Journal
for the
Philosophy
of
Communication
5.1-2
(2015):
3-12.
Kim,
Chee-Hoon.
"Expression
of
Surrealism
in
Chris
Landreth's
3D
Short,
the
end."
The
Journal
of
the
Korea
Contents
Association
7.10
(2007):
105-114.
Majeed,
Tawseef.
"Psychorealism
in
Scene:
Artistic
Imagery
of
Subjective
Psyche
and
Emotions
in
Ryan
(2004)."
Studies
in
Indian
Place
Names
(2020).
YouTube,
www.youtube.com/watch?v=nbkB]ZKBLHQ&ab
channel=NFB.
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