Alice Kelly
My project reimagines The Frog Prince, with an evil witch entombing the Frog in stone to stop the curse from being broken. The story unfolds through three sculptural frog props. The Stone Frog appears lifeless, hiding its silicone skin beneath the surface. In The Unveiling, glimpses of the silicone skin and a subtle ribbit movement hint at life. The Awakening of the frog reveals the silicone fully, with the same subtle ribbit movement, emphasizing a fragile awakening. Through physical metamorphosis and minimal motion, the sequence tells a tactile, visual story of life emerging from stasis.
The main goal of my project was to explore how physical models can tell a story through material, form, and minimal movement, rather than relying on animation or live action. By reimagining The Frog Prince, with a witch encasing the Frog in stone, I aimed to investigate transformation, stasis, and the emergence of life through subtle movement. The three sculptural frogs represent key stages: the inert stone form, the partially revealed frog hinting at life, and the fully revealed silicone frog, with minimal movement suggesting a fragile awakening. I wanted to experiment with materials, combining the weight and rigidity of stone with the flexibility and vitality of silicone, to communicate character and emotion. Another objective was to demonstrate how minimal motion can convey narrative and engage viewers, drawing attention to detail, texture, and the tactile qualities of the models. Ultimately, the project explores how careful design, physical metamorphosis, and restrained gestures can create a compelling, tactile narrative, showing that modelmaking can be a powerful storytelling tool in film design.
Through this project, I created a sequence of three sculptural frog props that tell a story of transformation entirely through physical form and subtle movement. The Stone Frog presents a lifeless, monumental cast, concealing silicone beneath the surface. The Unveiling reveals glimpses of silicone and a faint ribbit, suggesting hidden life, while The Awakening Frog shows the fully revealed silicone form, with the same subtle movement as the Unveiling to emphasize a fragile awakening. Throughout the process, I discovered how material choices combining the solidity of stone with the flexibility of silicone can communicate character and emotion. I also learned how minimal motion can effectively suggest life and narrative without relying on animation. Unexpectedly, I found that small details, like texture, scale, and subtle gestures, had a significant impact on how viewers perceive personality and transformation. The project reinforced the potential of tactile, physical storytelling, demonstrating that carefully crafted models can engage audiences and convey complex ideas through form, material, and restrained movement.
This thesis examines how media texts maintain cultural relevance long after their release, using the animated film Shrek as a case study of media longevity in the digital age. While many films lose relevance as cultural tastes change, Shrek has remained visible and emotionally resonant across generations. The thesis argues that its endurance is not due to inherent timelessness, but to a process shaped by visual iconography, nostalgia, and participatory audience engagement. Drawing on film and media theory, the study explores how recognisable imagery, emotional memory, and digital circulation sustain cultural relevance over time.
Using a qualitative case-study methodology, the research combines close textual analysis with frameworks developed by Roland Barthes, Linda Hutcheon, Svetlana Boym, Maurice Halbwachs, Henry Jenkins, and Fredric Jameson. The analysis focuses on Shrek’s parody and inversion of traditional fairy-tale imagery, particularly that associated with The Walt Disney Company. It argues that the film’s blend of irony and sincerity appeals to both children and adults.
The thesis also examines Shrek’s digital afterlife through memes, GIFs, remixes, and social media participation, showing how audiences reinterpret and recirculate the film.
https://iadt-my.sharepoint.com/:v:/g/personal/n00220832_iadt_ie/IQBNqDr…
Hi! My name is Alice, and I am a 4th year Design for Film student specialising in Modelmaking, based in Co. Leitrim. From a young age, I have always been interested in all things creative! During college, I was introduced to a wider range of design and making practices, which allowed me to combine practical skills with imaginative storytelling. For my final project, I produced a detailed frog model, focusing on character and craftsmanship. I am particularly drawn to the storytelling side of design, exploring how physical models can help bring ideas and worlds to life on screen.
