Workshop__MASTERCLASS ON THE FUNDAMENTALS OF VISUAL STORYTELLING
Date & Time: 10/29 (WED) 14:00～17:00
Location: NTUA Animation and New Media Building, Room A320
Keynote Speaker: Cécile Blondel
"Cécile Blondel is a veteran in animation education with 35 years of experience. She is currently the Director of the Master's in Storytelling and International Development at GOBELINS, Paris.
Starting in special effects, she shifted to storytelling, founding the International Master’s in Animation at GOBELINS in 2016. She has developed curricula for animation training worldwide and, as a script doctor, has helped student films win major awards. A frequent international speaker, she shares her expertise on education and narrative in animation."
Storytelling is one of humanity’s oldest tools for making sense of the world, shaping communities, and transmitting values across generations. This conference explores the foundations of narrative craft by bridging anthropological, psychological, and artistic perspectives with the practical frameworks used in contemporary film, literature, and media. From Aristotle’s catharsis to cognitive theories of development, storytelling
emerges as both a biological necessity and a cultural construction, inseparable from our social and political lives.
The talk highlights how stories work at the intersection of structure, character, and conviction. Participants will examine how dramatic form is rooted in human psychology and collective archetypes, drawing on thinkers such as Campbell, Jung, and Clarissa Pinkola-Estes. At the same time, key industry approaches such as Syd Field’s three-act paradigm, Vogler’s Hero’s Journey, McKee’s focus on conflict, Snyder’s beat sheet, and Truby’s moral storytelling, oƯer concrete methods to design narratives that resonate universally while reflecting the storyteller’s own vision and responsibility.
By comparing European and American traditions where story is valued alternately as texture, art, business, or social conscience, the presentation invites reflection on the role of the storyteller today: not only as entertainer, but also as moral agent, cultural architect, and weaver of collective imagination.
Writer: Yu-Chang, Chen
This workshop invited Cécile Blondel, International Development Director of GOBELINS Paris and Head of the Storytelling Master’s Program, to draw on her 35 years of animation education experience to guide creators in transforming personal ideas into stories and honing narrative skills through hands-on practice.
Cultivating Original Ideas and Diverse Storytelling
“We are, as a species, addicted to story.” — Jonathan Gottschall
“Animation is not just about visuals and technique; to move audiences, story and narrative ability are the core,” Blondel stated. Students must possess originality and value diversity and storytelling. Diversity encompasses not only cultural backgrounds and character design but also modes of expression, visual styles, and cross-media collaboration.
GOBELINS’ curriculum encourages students to start from personal experience, blending diverse cultural perspectives and narrative styles to explore many possibilities of storytelling.
The Essence of Story: Dialogue, Not Monologue
Blondel explained that a story involves interaction between two or more parties—it is a “dialogue” with the audience, not a creator’s one-sided narration. She urged creators to ask themselves key questions before beginning: “Why are you creating this story—for money, fame, or art?” “Who is your target audience? Do you want to entertain, inspire, or warn them?”
She further emphasized that every work should clearly convey the creator’s core message. She introduced the principle of “Shorter is better”: a story needs only one central theme, and creators must ensure the audience understands why certain choices were made—elements should not be added merely for visual flair. Audiences won’t invest time in cluttered or meaningless narratives. Especially in time-constrained short animated films, where too many messages dilute emotional engagement and leave creators feeling narratively trapped and confused.
Three Functions of Story: Form, Learning, and Community
Blondel categorized the functions of a story into three main elements: Form, Learn, and Socialize.
1. Form – Giving shape to complex reality can be chaotic, but stories impose form, enabling comprehension and emotional resonance.
2. Learn – Learning through emotion. Humans learn via suggestion and metaphor. The essential difference between information and stories lies in the fact that stories contain the creator’s subjective feelings. Emotion transforms information into relatable experiences, and experiences, in turn, give rise to stories. From infancy, people are exposed daily to vast amounts of information and go through a continuous cycle of encounter → analysis → reinterpretation → application.
3. Socialize – Building community and empathy. Stories foster empathy, helping us see the world from others’ perspectives and opening pathways to acceptance and understanding.
Stories are not mere entertainment—they are cognitive tools, emotional vessels, and social bridges. Blondel emphasized that great stories originate from the creator’s authenticity, and judging “good” or “bad” stories is dangerous. What truly moves people is honesty: Don’t try to be clever, be truthful.
Differences Between European and American Animation
Blondel highlighted stark contrasts in creative environments and narrative strategies between American and European animation. American animation is commercially driven, led by major studios prioritizing market returns and brand value. European animation leans toward auteur-driven works, with directors and writers as the creative core.
In France, institutions like the National Centre for Cinema (CNC) provide sustained support for independent creation, allowing auteurs to explore personal themes. Blondel sees no hierarchy between the two—only different ecosystems. Students should choose their narrative approach based on personal goals.
Story Structure: The Three-Act Framework
Blondel systematically introduced the three-act structure commonly used in short animated films:
• Act 1 – Setup: Introduce characters and setting; establish the protagonist’s flaw or weakness.
• Act 2 – Conflict: The character faces challenges; tension and audience emotion gradually escalate.
• Act 3 – Resolution: Tension peaks and resolves; the character grows.
The three-act structure helps students plan efficiently while masterfully pacing audience emotions, ensuring every scene advances the plot. Blondel reiterated: “Say only one thing.” A clear narrative goal amplifies impact.
Workshop Experience: From Theory to Practice, Concept to Story
The session concluded with group creation exercises. Students drew slips containing characters, settings, and plot elements, then improvised stories on the spot. Teams integrated ideas, structured them into three acts, and presented them in class. This hands-on practice transformed theory into experience, training narrative logic and collaborative creativity—embodying GOBELINS’ teaching philosophy: “We learn by doing.”
This workshop not only imparted narrative techniques but also guided creators in articulating ideas clearly and experiencing the story-concept development process firsthand.
Participants unanimously reported enjoying the process, gaining not just theoretical knowledge but also recognizing that great ideas often emerge from team brainstorming and spontaneous dialogue.