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My emblem of exactitude is The Nightmare Before Christmas, a 1993 claymation film by Tim Burton. To produce a claymation film, the filmmakers have to create movable characters out of clay, then film each small adjustment of the character’s body to create the illusion of continuous motion. This ties in perfectly with my examination of the relationship between literature and animation in the E-Lit Example and Graphic posts.

A claymation film depends a lot on precision, skilled craftsmen, and quality storytelling. The individual frames all add up to one continuous piece which flows smoothly and entertains. Just as Calvino says that literature is the fulfillment of language, so too is film the fulfillment of the static image.

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I related Calvino’s exactitude to time and motion in graphic design. This may seem like a bit of a stretch, but I see a connection between exactitude and animation in Soundpoems. Lupton and Phillips say that “Film is a visual art. Designers of motion graphics must think both like painters and typographers and like animators and filmmakers.”

Furthermore, they state that “animation uses sequences of still images to create the optical illusion of movement. The brain retains images for a split-second longer than the images are actually before us, resulting in the illusion of movement when numerous images appear in rapid succession. This phenomenon is called persistence of vision.”

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This relates to exactitude because a work of literature, like a book or a film, is composed of smaller elements, like letters or frames, carefully arranged to produce exactly the right kind of effect. Creating such a work of art takes a great deal of finesse and attention to detail, which Calvino would call exactitude.

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