My central idea in constructing the world of the film was to prove that something totally artificial and unreal could still communicate emotion and hold cinematic truth. The film makes no effort to cover up the fact that it is a computer animation, it holds an array of artefacts which distance it from reality, which tie it closer to the software it came from. This idea is in direct opposition to all current trends in animation, which take the route of desperately trying to look real, usually by realistic lighting and rendering, or by forcing a hand-made or naive appearance. At the time of writing, this trend shows no apparent signs of ceasing.
There is a model for examining animation proposed here which I found relevant to my interests. [via The White Review]