ABSTRACT
This chapter explores the physical set and tactility of stop motion characters, focusing on the world of Wallace and Gromit to reveal national identity, nostalgia, self and difference. Identity in Wallace and Gromit is cemented in the idea of connection of its heroes, just as it is realized through disconnection of its villains. In Gromit, Park managed to create a nostalgic character who finds other ways of communicating with both Wallace and the audience, due to his lack of a mouth. Merlin Crossingham, Creative Director of Wallace and Gromit, explained in an interview with the author that Park realized Gromit had a power of expression that was accentuated by his muteness. Hammer's British identity becomes synonymous with nostalgia for the 1950s and 1960s, as does Park's. Purves explains that 'Hammer Horror films used elements of stop motion, time lapse and frame-by-frame adjustments to disintegrate or resurrect various vampires, mummies and other beasties'.
