With animation’s unique ability to penetrate the internal world of a range of living organisms, it can make the invisible visible (Wells 1998, 122). It is undeniable that animation stands out as a powerful medium for exploring human complex emotions and psychological states, and as an animator myself, the most commonly employed and explored framework that I experience throughout my studies and creative practice is the use of metaphor to abstractly depicted the mind. However, unlike metaphors that have been extensively researched and discussed throughout the history of animation studies (see Wells 1998; Uhrig 2018), the concept of metonymy within animated representation, a similar literary device to metaphor, has yet to be extensively talked about.
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