The use of techniques and strategies in animation is important because it greatly emphasizes the overall message of the film and, more importantly, it allows the audience to understand and identify the film in its own perspective. All techniques used in animated films have their own potential. Films such as “200,000 Phantoms/Nijuman No Borei” (2007), “Philips Broadcast of 1938” (1938), “Uncle” (1996), “The Sorcerer’s Apprentice” (1940), “Felix in Hollywood” ( 1923), "Billy's Balloon" (1998), "Mt. Head/Atama Yama' (2003) and 'Simonova Sand Performance' (2009) demonstrate a variety of techniques and strategies in the most effective way. In some films, Some techniques and strategies are similar and some very different, however each is unique in its own way. We will explore the techniques used in these films, including their historical or contemporary context depending on the production methods used and the. cultural environment from which they come We will also see how the films contrast with each other. Released in 2007, “200,000 Phantoms/Nijuman No Borei” is an 11-minute photo-collage of Hiroshima from 1914 to 2006. by French artist, writer and filmmaker Jean-Gabriel Periot On August 6, 1945, an atomic bomb exploded 150 meters from the Genbaku Dome building, killing 78,000 people. This film recalls the survival of the Genbaku Dome and even though it has gone through the horror of nuclear power, it is still standing. 600 historical and contemporary photographs illustrate the history of the 20th century in Hiroshima. The short film begins with several black and white construction photographs of the Genbaku Dome. Accompanied by a me...... middle of paper ......this, but without a doubt, it is the message of the film that is the most significant. Referencing the concept art, the model team began sculpting the beast. and gave it a skeleton and a muscular system. Smaug is centuries old, so the texture on him is scars, peeling skin, broken scales, and chipped horns. Since Smaug's eyes glow, the effect makes him more dramatic and each of his millions of scales is unique. David Clayton explains: “As animators, we had to translate elements of Benedict's performance that were essential to filming, such as head nuances and facial expressions. We then constructed the majority of his movement with keyframe animation. There were also some motion captures of Benedict Cumberbatch moving his body like the dragon, however these were not fully integrated into the film but were instead used as references for Smaug's body movements..