On the issue of classification of parameters of artistic space in an animated film

Zaitcev Aleksei Yakovlevich ORCID: 0000-0002-1118-1877 PhD in Art History Senior lecturer; Department of Animation and Computer Graphics; All-Russian State University of Cinematography named after S.A. Gerasimov 3 Wilhelm Peak str., Moscow, 129226, Russia art-mary@mail.ru Other publications by this author

Artistic space in the context of screen arts is a complex and multifaceted concept that covers both physical and conceptual aspects that affect the viewer's perception of works, is actively discussed in theoretical discourse and includes various approaches to its terminological definition and classification. It contains various elements such as the organization of the frame, time characteristics, sound design, interaction with the audience and others. The issue of the artistic space of cinema and its relationship with other types of art has been widely covered in film studies ^[1,2,3,4,5].

The following techniques distinguish animated cinematography from other types of screen arts: the method of creating movement, the method of creating screen space and time, the use of editing, which, unlike editing in game and non-fiction films, is the final stage of the process of creating a work ^{[6, p. 10]}; "the entire installation structure <an animated film> can be provided and built in advance and in all mounting details" ^[7]. The peculiarity of animation art "lies in the fact that the author [...] can create visual constructions that are impossible to embody in other types of cinematography, resorting to the use of unique tools that contribute to the most complete and accurate reflection of the author's inner feeling and vision of the screen image" ^{[8, p. 36]}. The form of an animated film presupposes the integrity of its artistic concept, which is ensured by:

- the organicity of artistic, visual and ideological solutions that are adequately consistent with the general idea of the work;

- the correspondence of the director's idea to the choice of the visual solution of the film;

- the connection of the idea of an image solution with the technologies of its on-screen embodiment;

- the relationship between materials and production methods with the idea of the director and the production designer, designed for a certain audience perception ^{[8, p. 39]}.

The concept of "artistic space" in animation is complex and multifaceted, undergoing significant changes over time, which makes it the subject of in–depth analysis and research. In animation art, space is an active element of storytelling and plays an important role in creating a unique artistic world.

The classification of artistic space in animation covers many aspects reflecting the diversity of approaches to the creation and perception of animated works. For example, art historians were engaged in the development of a classification of the parameters of artistic space in animation: E.A. Popov, who divides the space of an animated work into on-screen, geographical (three-dimensional) and personal ^{[9, p. 125]}, and attributes such parameters as "length, uniformity, three-dimensionality" to its properties ^{[9, p. 178]}; A.A. Sedlovsky, classifying the types of artistic space as relevant, fixing the real environment that is modern to us, historical, transporting the viewer to past epochs, spatial images ^{[10, p. 17]}; E.V. Trapeznikova divides the space of an animated film into the following types: mythological-religious, fabulous, historical ^{[11, p. 39]}. The objectives of these classifications were to assist in the disclosure of the author's concepts underlying the research.

Yu. B. Norstein, an outstanding animator and director, in his works focuses on the parameters of the artistic space of an animated film, considering it as something more than just a background for the characters. He emphasizes that space in animation is a "living organism" permeated with emotions and meaning, which allows you to create multi–layered and deep works, he uses the technique of multi-layered editing, which allows you to create a more voluminous and deep space, changed the traditional idea of time in animation, proving that animated movement can be not only fast but also slow, experimenting with tempo and rhythm, combining rapid movement with moments of inactivity. This creates harmony between time and space, allowing the viewer to immerse themselves deeper into the atmosphere of the work ^[5].

Russian animation theorist and historian N.G. Krivulya identifies the following principles of structuralist analysis of an animated film: 1) identification of the visual series (base); 2) its division into the following elements: time, space, movement, character, color scheme, drawing, technology; 3) analysis of the visual series consisting of interconnected parts ^{[12, p. 11]}.

Based on these principles, in relation to the analysis of the artistic space of an animated film, we propose to introduce the following parameters: semantic, temporal, montage-rhythmic, color-light, sound. Let's look at these parameters in detail:

The semantic (semantic) parameter of the artistic space of an animated film covers many aspects related to the understanding and interpretation of its content, structure and visual language. The semantic parameter also includes an analysis of the emotional load of various scenes and characters. As noted in film studies ^[13], viewers' perception of emotions may depend on how audiovisual elements interact with each other. In animation art, "at first glance, there may be no meaningful meaning at all, but at the same time its plot will be subordinated to a certain logic understandable to the viewer and, thus, make sense" ^[8].

The semantic analysis of the film involves the study of the relationship between various elements of the film: plot, characters, visual style, symbolism, etc. This approach allows us to identify how each element contributes to the creation of a common meaning of the work ^{[12, 13]}. Thus, the semantic parameter of the space of an animated work is a complex interaction of many factors that form the overall perception of the picture and its meaning for the viewer.

The temporal parameter of the artistic space of an animated film covers the interaction of time and space, which is a key aspect in creating an artistic image and plays an important role in the dynamics of an animated film, influencing the viewer's perception of events taking place on the screen.

The dynamics in animation are determined by the following aspects: speed (denotes the general perception of movement and the energy of the scene. Fast animation can create a sense of tension and action, which is especially important for combat scenes or chase scenes); emotional stress (slowing down time at key moments can enhance the drama, while the rapid passage of time creates tension or chaos); timing (determines not only the speed of movement, but also the size and weight of the characters. Proper timing helps to create the illusion of realistic movement); chronotope (the relationship between time and space of the work). The use of flashbacks or parallel time can change the perception of current events and add depth to the plot, which allows you to create multi-layered narratives where time becomes an integral part of the artistic space.

The editing and rhythmic parameter of the artistic space of an animated film interacts with other aspects of animation, such as sound design and color palette. For example, musical accompaniment can emphasize rhythm (the ordering of movements and repetitions, which can enhance the emotional reaction of the viewer) and atmosphere, enhancing the emotional effect of the scenes. Editing determines the sequence of frames and their relationship: effective editing helps to create the dynamics of the plot and manage emotional perception. Various editing techniques can be used to create smooth transitions between scenes or to focus on important points. Directors often use graphics to visualize the rhythmic pattern of episodes, which helps them control the mood and emotional perception of the audience ^[14], "unlike the principle of "montage assembly" of a feature film, in an animated picture, the montage structure of the film is already visible at the storyboard level, as it will be as a result" ^{[8, p. 49]}.

The color-light parameter of the artistic space of an animated film plays a key role in creating a visual perception and emotional load of the work. This parameter includes the use of color and light to shape mood, accentuate attention and convey meanings. The color palette of the animated film defines the overall atmosphere and emotional context, "color interconnected with internal motives of behavior <characters>, carries a psychological burden" ^{[12, p.27]}. Lighting in animation not only creates an atmosphere, but also affects the perception of shapes and textures of objects, "light allows you to receive information, showing the characteristics of visual space and the volume of objects, accentuates individual intra-frame objects and details" ^{[8, p. 48]}. Proper lighting helps to highlight the key elements of the scene and direct the viewer's attention, and the combination of color and light forms a unique visual space.

In animation art, "color and light provide a basis for interpreting their artistic, aesthetic and semantic (and even sometimes symbolic) meaning from different angles determined by a certain methodological approach and cultural and historical context, including a specific national cultural tradition of color symbolism, its nuances and color ratios" ^{[8, p. 49]}.

As an example of the glow effect masterfully created on the screen, one can cite the work of Valentin Olshvang, a director and artist, "his films are animated paintings filled with an amazing secret light that seems to break through the thickness of clouds, caresses the eye – and hides, but beckons, beckons..." ^{[15, p. 455]}. Olshwang uses unique author's techniques to achieve a luminous image in his paintings, which gives volume and special attractiveness to the artistic space of films.

The sound parameter of the artistic space of an animated film plays an important role in creating an atmosphere, emotional context and interaction with the audience, and is an integral part of its artistic language. It includes the use of sound as a means of storytelling, as well as its influence on the perception of visual images.

The sound design of the animated film includes music, dialogues and sound effects that work together to create a single audiovisual series. Each of these elements performs its own functions: music sets the mood and emotional background, enhancing the perception of scenes; dialogues help develop the plot and characters of the characters, as well as convey information about what is happening; sound effects create realism and depth of space, adding details that make the animation world more convincing.

Sound in an animated film can be used to create an atmosphere, for example, using acoustic effects to create a sense of presence (echoes in caves, street noise). Audiovisual counterpoint can cause the viewer to feel dissonance or tension. Modern technologies allow you to create a multi-channel sound design that enhances the immersive effect: placing sound sources all over the screen creates a sense of three-dimensional space. The use of the "sound around" system allows the viewer to feel part of what is happening, which increases the immersiveness. Sound in animation does not just accompany the visual series, but interacts with it: sound elements can emphasize important points in the plot or focus attention on details. Sound can serve as a connecting element between different scenes, creating smooth transitions and maintaining the rhythm of the narrative.

Art historian E.A. Rusinova emphasizes that sound plays an increased role in animation art ^{[16, p. 120]}, since it not only complements the visual series, but also enlivens it, creating a deeper perception of the work. Sound becomes an organic part of the style of an animated film, influencing both the creative process and the consciousness of the audience. This makes his research an important aspect in the context of the artistic and aesthetic specification of animation, taking into account modern sound technologies and their impact on the viewer's perception. Silence plays an important role in shaping the image of an animated film, its "potential is the creation of an artistic, emotionally and meaningfully deep space on the screen" ^{[17, p. 68]}. Describing the effect of silence in cinema, R. Arnheim wrote: "Silence is perceived by us [...] as a neutral background, which is not an emptiness, but an important component of the cinematic space" ^[18].

From our point of view, the above parameters contribute to a holistic and in-depth analysis of the animated work. Let's analyze this statement using the examples of two films by outstanding animated film directors Y.B. Norstein, the film "The Tale of Fairy Tales" (1979) and D.A. Geller, the film "Man meets Woman" (2014).

"A TALE OF FAIRY TALES"

The space in the animated film "The Tale of Fairy Tales" by Yu.B. Norstein is permeated with emotional saturation. The author believes that the cartoon can speak to the viewer in the language of feelings and philosophical reflections. Space becomes not just a background for action, but an active participant in the narrative, able to convey the inner states of the characters ^[19].

Figure 1. A frame from the animated film "The Tale of Fairy Tales" (1979), directed by Yu.B. Norstein. Screenshot from open sources: Norstein studio VKONTAKTE. URL: https://vk.com/video/@norstein_studio?z=video-216060936_456240015%2Fclub216060936 (accessed 11/19/2024).

The semantic parameter of the artistic space. The film is filled with archetypal images, it shows the interaction between life and death, which is manifested in the characters' looks and their relationships. Images from biblical plots and folk tales are used to create a deep context in the painting. As Norstein writes about one of the episodes of the picture: "...My drawing is a mixture of reality, fiction and the Biblical Testament. Actually, just like the film" ^{[19, p. 74]}. The spinning top (Figure 1, Figure 4) symbolizes both protection and threat, creating tension between these two states. The apple (Figure 2) in the film symbolizes temptation and sin, as well as the beginning of life. The manuscript serves as a guide between the worlds of reality and fairy tales, symbolizes creativity and the possibility of self-expression, as well as a connection with the past and the future. The return of soldiers from the war is a reference to the author's childhood memories of the war, which adds depth and context to the events depicted. The film explores the contrasts between life and death, which is manifested in the correlation of images and events, creates a unique space where reality and fairy tale are intertwined, contains many references to mythology and literature. Thus, the semantic parameter of the cartoon "The Tale of Fairy Tales" reveals the complex relationships between symbols, cultural meanings and emotional states.

Figure 2. A frame from the animated film "The Tale of Fairy Tales" (1979) directed by Yu.B. Norstein. Screenshot from open sources: Norstein studio VKONTAKTE. URL: https://vk.com/video/@norstein_studio?z=video-216060936_456240015%2Fclub216060936 (accessed 11/19/2024).

"... the apple in the film connects different episodes: an apple at the beginning, in raindrops, an apple that a boy eats, an apple that fell from his hand into the snow, and in the epilogue apples are like manna from heaven, like sadness..." ^{[19, p. 110]}.

Figure 3. A frame from the animated film "The Tale of Fairy Tales" (1979) directed by Yu.B. Norstein. Screenshot from open sources: Norstein studio VKONTAKTE. URL: https://vk.com/video/@norstein_studio?z=video-216060936_456240014%2Fclub216060936 (accessed 11/19/2024).

"...Winter shots filled with the inner light of white snow interspersed with transparent green apple flowers, pink baby cheeks, and characters' clothes convey the feeling of pure childhood memories..." [pp. 40-41].

The temporal parameter of the artistic space. In the "Tale of Fairy Tales" time is represented as a multi-layered, where different time layers intersect and interact. For example, at the beginning of the picture we see an infant, which symbolizes the beginning of life, and this image contrasts with more mature scenes taking place in a fairy-tale world, which creates a feeling of transition from childhood to adulthood, where each temporary space carries its own emotional load. The film actively uses memory elements, which allows the viewer to immerse himself in the characters' past. The scenes where the Top observes the world around it reflect not only its direct perception, but also memories of childhood and how these memories form a personality. Scenes of dancing and celebrations create a sense of eternal return to the joyful moments of life, which contrasts with the more serious and gloomy aspects of existence, demonstrating the cyclical nature of time, where events repeat or overlap. Linear time in the film is represented through a sequence of events that unfold around the main character, a Spinning Top, watching what is happening and moving between different time layers. The film shows the memories of characters who create associations between the past and the present.

Thus, the temporal parameter of the artistic space in the "Tale of Fairy Tales" reflects the multi-layered and complex elements of the narrative, which combine cyclic and linear aspects of time.

Figure 4. A frame from the animated film "The Tale of Fairy Tales" (1979), directed by Yu.B. Norstein. Screenshot from open sources: Norstein studio VKONTAKTE. URL: https://vk.com/video/@norstein_studio?z=video-216060936_456239320%2Fclub216060936 (accessed 11/19/2024).

The editing and rhythmic parameter of the artistic space of an animated film includes a variety of editing techniques, such as changing plans and angles, which create a sense of movement and dynamics. For example, sharp transitions between large and general plans help to focus on the emotions of the characters and their inner state. The rhythm in the painting is an important element that forms not only the visual, but also the emotional structure of the work. It is achieved through a combination of various editing techniques, musical accompaniment and sound effects.

Figure 5. A frame from the animated film "The Tale of Fairy Tales" (1979), directed by Yu.B. Norstein. Screenshot from open sources: Norstein studio VKONTAKTE. URL: https://vk.com/video/@norstein_studio?z=video-216060936_456239320%2Fclub216060936 (accessed 11/19/2024).

The color-light parameter of the art space of an animated film The "Fairy Tale of Fairy Tales" is an element that forms the visual and emotional atmosphere of the work. The painting is conditionally divided into three layers by color scheme, which allows you to create a contrast between different episodes and moods: "the story of the Spinning Top" (Figure 6), which is solved in a "dense", muted, gloomy scale, where there is a glow in the scenes, snatching out and accentuating details; "memories" (Figure 7), solved in light sepia and "present tense" (Figure 3), represented by bright colors.

The light in the painting plays an important role in creating mood and atmosphere. It is used to highlight key plot points and focus on characters or events. The contrast between light and shadow helps to create dramatic effects that emphasize the emotional state of the characters. In the painting, light is a separate character who not only interacts with other images, but also works independently, as if allowing you to cross the line separating the space of reality from the space of imagination, dreams, and the other world. This technique with light is used in their works by the followers of the director – Valentin Olshvang and Dmitry Geller.

Figure 6. A frame from the animated film "The Tale of Fairy Tales" (1979) directed by Yu.B. Norstein. Screenshot from open sources: Norstein studio VKONTAKTE. URL: https://vk.com/video/@norstein_studio?z=video-216060936_456239320%2Fclub216060936 (accessed 11/19/2024).

The lighting solution in the film "embodies a certain order, the divine principle, illuminating the world of darkness and chaos. The light in the film is mobile, transformational, and the internal energy of the plot is connected with it. He is one of the actors in the film and is endowed with figurative, plastic, emotional, psychological and semantic functions" ^{[12, p. 40]}.

Figure 7. A frame from the animated film "The Tale of Fairy Tales" (1979) directed by Yu.B. Norstein. Screenshot from open sources: Norstein studio VKONTAKTE. URL: https://vk.com/video/@norstein_studio?z=video-216060936_456239320%2Fclub216060936 (accessed 11/19/2024).

The sound parameter of the art space. The music in the "Tale of Fairy Tales" plays an important role in creating rhythm. The sound themes correspond to various characters and events, emphasizing their emotional state. As Y.B. Norstein poetically wrote about one of the episodes of the painting in his book: "... And the music – it was part of the stroke, it crossed out the depth of the frame so that, having removed the rough texture at once, it maturely dissolved into the slow depth of the oboe.." ^{[19, p. 86]}.

The film includes fragments from the works of composers such as Johann Sebastian Bach and Wolfgang Amadeus Mozart, which gives it a poetic and sublime atmosphere. These musical elements not only set the rhythm, but also create a contrast between the real and the phantasmagoric, enhancing the feeling of fabulousness. The use of nostalgic melodies, such as the music from the tango "Tired Sun", creates an emotional connection with the past and emphasizes the themes of loss and expectation. This contrast between the joy of dancing and the sadness of separation enhances the phantasmagoric effect, making the viewer feel the depth of the characters' experiences.

Sound effects are also used to enhance the rhythm: the sounds of nature, the footsteps of characters or the whisper of the wind create an atmosphere and emphasize the action on the screen. The sounds of the surrounding nature, such as the rustle of leaves, the singing of birds and the rustle of the wind, create a feeling of immersion in the world of a fairy tale. The sounds of speeding trains and other industrial noises contrast with natural sounds, highlighting the gap between the world of childhood and harsh reality. The intonation and manner of speech of Alexander Kalyagin, who voiced the picture, help convey the emotional state of the characters and their inner feelings.

Thus, the artistic space in the painting by Y.B. Norstein is permeated with emotional and imaginative saturation. The author believes that the cartoon can speak to the viewer in the language of feelings and philosophical reflections. Space becomes not just a background for action, but an active participant in the narrative, able to convey the inner states of the characters ^[19].

"MAN MEETS WOMAN"

The animated film "Man meets Woman" (2014) directed by D.A. Geller is a picture exploring the complex relationship between a man and a woman.

Figure 8. A frame from the animated film "Man meets Woman" (2014), directed by D.A. Geller. Screenshot from free sources: The school-studio of animated cinema "SHAR" VKONTAKTE. URL: https://vk.com/video?q=Школа-студия%анимационного%20кино%20шар%20мужчина%20встречает%20женщину&z=video-2584993_456239250%2 Fpl_cat_trends (accessed 11/19/2024).

The semantic parameter of the film's artistic space is revealed through a love drama saturated with nostalgia and tragedy. As the art critic A.M. Orlov writes, "... Dm. Geller repeatedly puts on "Aristotelian cinema", because it was Aristotle who left us a description of the principles of cathartic art. The principles of its construction, as a rule, are veiled and not visible to the naked eye – in order to slip through the net of consciousness and influence the subconscious" ^[20]. The black and white palette emphasizes emotional depth and a dark look at a relationship where the past and present are intertwined. The image of black water in a bathtub can be interpreted as a symbol of hidden fears and suppressed emotions.

Figure 9. A frame from the animated film "Man meets Woman" (2014), directed by D.A. Geller. Screenshot from free sources: The school-studio of animated cinema "SHAR" VKONTAKTE. URL: https://vk.com/video?q=Школа-студия%анимационного%20кино%20шар%20мужчина%20встречает%20женщину&z=video-2584993_456239250%2 Fpl_cat_trends (accessed 11/19/2024).

Each viewer can interpret the story in their own way, creating a unique meaning based on personal experience, which makes the film multi-layered and open to analysis. The painting uses several basic symbols that help convey the key themes of the work. For example, a wooden leg with an airplane embodies childhood memories and a connection with the past, dreams of flying. The interactions of the characters embody the complexity of human relationships and emotional experiences, forming a multi-layered narrative. The director "involuntarily, on a whim, constructs artistic structures from oppositions that mutually negate each other, and does it so subtly that the viewer does not read it, so that all the cunning mechanics of catharsis remain in the subconscious and from there control the growth of psychic energies and lead to the final cleansing explosion" ^[20].

Figure 10. A shot from the animated film "Man meets Woman" (2014), directed by D.A. Geller. Screenshot from free sources: The school-studio of animated cinema "SHAR" VKONTAKTE. URL: https://vk.com/video?q=Школа-студия%анимационного%20кино%20шар%20мужчина%20встречает%20женщину&z=video-2584993_456239250%2 Fpl_cat_trends (accessed 11/19/2024).

The temporal parameter of the film's artistic space reflects the inner feelings of the characters. For example, moments of waiting or inaction can last longer than active actions, which focuses on the emotional state of the characters and their relationships. The time lines in the picture are not always linear. The plot includes flashbacks and associations with the characters' past, which enriches the narrative and adds depth to understanding their motivations and fears.

Figure 11. A frame from the animated film "Man meets Woman" (2014), directed by D.A. Geller. Screenshot from free sources: The school-studio of animated cinema "SHAR" VKONTAKTE. URL: https://vk.com/video?q=Школа-студия%анимационного%20кино%20шар%20мужчина%20встречает%20женщину&z=video-2584993_456239250%2 Fpl_cat_trends (accessed 11/19/2024).

"The director makes the main character a timid bespectacled man, who has been passionate about flying since childhood" ^[20].

The installation and rhythmic parameter of the artistic space. The film uses temporary gaps that highlight gaps in the characters' actions. For example, the director often breaks up the main action by introducing inserts such as tree crowns or environmental elements, which creates a sense of temporary distance and uncertainty: "the director, while editing, constantly cuts the main action taking place in the tram with seemingly optional inserts (tree crowns, pantograph), thereby intentionally introducing temporary gaps and bringing the actual actions of the characters into these gaps – beyond the frame – making them inaccessible to our observation" ^[20]. These inserts are used in order not to directly show the physical movement of the characters (animation) and to focus the viewer's attention on the figurative component of the episode.

Figure 12. A shot from the animated film "Man meets Woman" (2014), directed by D.A. Geller. Screenshot from free sources: The school-studio of animated cinema "SHAR" VKONTAKTE. URL: https://vk.com/video?q=Школа-студия%анимационного%20кино%20шар%20мужчина%20встречает%20женщину&z=video-2584993_456239250%2 Fpl_cat_trends (accessed 11/19/2024).

The color-light parameter of the art space. The film is made in black and white format, which creates a retro feeling and enhances the drama of what is happening. This choice allows you to focus on the emotions of the characters and their interactions, eliminating color-based distractions. The film's graphics include elements that create a sense of reality distortion (for example, the ugly faces of the characters, in which the noses are shifted sideways at any turn). This may be due to the internal state of the characters and their perception of the world around them, which is emphasized by the choice of textures and shapes (Dina Goder on the best films of the Suzdal Animation Festival. Kommersant. 11.04.2014). The use of sharp light contrasts emphasizes the inner feelings of the characters. For example, the moments when the light goes out and lights up again create an effect of tension and expectation, reflecting the emotional fluctuations of the characters ^[20]. The main action takes place at night, which symbolizes the secrets and uncertainty in the relationship. Nighttime urban landscapes with soft lantern light create an atmosphere of mystery and romance, but also hint at hidden dangers ^[21].

Figure 13. A shot from the animated film "Man meets Woman" (2014), directed by D.A. Geller. Screenshot from free sources: The school-studio of animated cinema "SHAR" VKONTAKTE. URL: https://vk.com/video?q=Школа-студия%анимационного%20кино%20шар%20мужчина%20встречает%20женщину&z=video-2584993_456239250%2 Fpl_cat_trends (accessed 11/19/2024).

"The real plane appears in the hero's life only at the end of the picture. His wife is literally tied to him by this moment: deprived of her husband's legs, she is tied to him with a piece of cloth" ^[21].

The sound parameter of the art space. The film features a song by Arkady Severny, which serves as the basis for the background sound in individual episodes and emphasizes the tone of the narrative. The sound effects in the film include realistic sounds of the tram and the surrounding urban environment, which helps to create an atmosphere of everyday life. These sounds enhance the viewer's sense of presence and involvement in what is happening. The film's sound palette ranges from light and playful to more serious and melancholic, reflecting the characters' experiences. This contrasting sound helps to convey complex emotions such as love, loneliness and hope. The painting uses noises such as footsteps on various surfaces, opening doors and other household sounds, which adds realism and depth to the scenes. Background noise, such as the sounds of the urban environment, helps to create a sense of the place of action and immerses the viewer in the atmosphere of the work.

Thus, the proposed classification of the parameters of the artistic space of an animated work made it possible to conduct a brief but comprehensive analysis of the above films and can claim the universal category.

For a deeper analysis of individual works, additional sub-parameters can be introduced to this classification, for example, the semantic parameter of the artistic space of an animated film can include the classification of spaces by E.V. Trapeznikova ^[11] (mythological-religious, fabulous, historical) and A.A. Sedlovsky ^[10] (actual, historical, spatial images).

We believe that the materials presented in this article can be useful both to art historians who study animation art, and to all those who are interested in animation creativity.