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Thematische Bibliographien / Humanities -> performing arts -> animation

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Zeitschriftenartikel

Auswahl der wissenschaftlichen Literatur zum Thema „Humanities -> performing arts -> animation“

Autor: Grafiati

Veröffentlicht am 25. Juli 2024

Zuletzt aktualisiert am 31. Juli 2024

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Zeitschriftenartikel zum Thema "Humanities -> performing arts -> animation"

1

Hautopp, Heidi. "Combining graphic facilitation and animation-based sketching in higher education." Drawing: Research, Theory, Practice 8, no. 2 (2023): 179–99. http://dx.doi.org/10.1386/drtp_00114_1.

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This paper explores how non-design students can benefit from using visual methods as part of collaborative group processes in higher education. Based on an exploratory study, the paper analyses how analogue hand drawing in graphic facilitation combined with animation-based sketching can support humanities students in higher education to take on the role of designer. The empirical data is based on a course in a bachelor’s degree in communication and digital media in which students were tasked with designing an event for a museum. The students were not especially trained in using graphic facilitation or animation-based sketching methods as academic tools prior to this course. Thus, the educational approach incorporated two workshops in which the students were introduced to these visual methods and design approaches. Through visual examples, the students’ experiences are analysed in relation to their view on how these methods benefited or challenged their ways of working throughout the course. The paper ends by summarizing how visual methods can be considered relevant to academic practices beyond design courses.

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2

Mrozewicz, Anna Estera. "Cinema as a safe vessel: Jonas Poher Rasmussen’s Flee." Journal of Scandinavian Cinema 13, no. 3 (2023): 301–23. http://dx.doi.org/10.1386/jsca_00099_1.

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The article discusses strategies adopted in Jonas Poher Rasmussen’s feature-length animated documentary Flee (2021) for crossing the cultural and emotional distance between audiences and the refugee protagonist Amin. Focus is on a central scene in which a group of Afghans sailing across the Baltic Sea in the early 1990s encounters a cruise ship from Norway, the crew of which reports the refugees to the authorities. Juxtaposing the scene with a historical cornerstone of non-fiction animation, The Sinking of the Lusitania (1918), and drawing on theories developed within the blue humanities, I argue that Flee attempts to remind today’s White western audiences that their position as ‘dry’ subjects – safely elevated above sea level, socially privileged and seemingly self-sufficient – is not a given. While destabilizing the targeted audiences’ assumptions of safety and encouraging (a politics of) listening, Flee seeks to serve as a ‘safe vessel’ for Amin. It does so through the dialogic treatment of its documentary subject and its drifting storytelling, and by offering an audio-visual alternative to the dominant contemporary media depictions of people fleeing across the Mediterranean.

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3

Lagarde, Patricia. "Sculpting with the Sun." Latin American and Latinx Visual Culture 5, no. 3 (2023): 32–49. http://dx.doi.org/10.1525/lavc.2023.5.3.32.

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In the ancient Peruvian highlands, architecture and sculpture were inextricably linked to the mountainous Andean landscape. The character of light in this environment and how it illuminates architectural sculpture can fundamentally alter the way we perceive these objects. The dimensionality and placement of the tenon heads and cornice stones at Chavín de Huántar offer a unique opportunity to understand the role of the natural environment within architectural programs. Through a discussion of the sun’s role in casting dramatic shadows in the stones at Chavín, this article shifts our focus from object to shadow and demonstrates the powerful visual effects intended for individuals approaching the site. Utilizing the strong highland sun, sculptors leveraged the shadow-producing effects of these three-dimensional pieces to create spectacularly ornamented buildings. Although these vistas are lost today, archival photographs provide glimpses of the original perspectives. The sun generated movement of otherwise static sculptures, animating the heads mounted within the walls. Utilizing phenomenology of light, this paper positions the sculptures at Chavín within a cross-cultural dialogue on the role of natural light in the built environment. Together, the sculptures with their shadows animated the structure and focused the viewer’s attention on the monument from afar.

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4

Griffin, George. "Concrete Animation." Animation 2, no. 3 (2007): 259–74. http://dx.doi.org/10.1177/1746847707083421.

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5

Fleisch, Thorsten. "Borderline Animation." Animation 4, no. 2 (2009): 191–202. http://dx.doi.org/10.1177/1746847709104648.

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6

Hosea, Birgitta. "Drawing Animation." Animation 5, no. 3 (2010): 353–67. http://dx.doi.org/10.1177/1746847710386429.

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7

Wolfe, Graham. "Biopolitical Animation." Performance Research 27, no. 1 (2022): 122–30. http://dx.doi.org/10.1080/13528165.2022.2092304.

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8

Zhuang, Muyang. "Animation of Experiment: The Science Education Film and Useful Animation in China." Animation 18, no. 2 (2023): 152–66. http://dx.doi.org/10.1177/17468477231182914.

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From the early 1950s to the mid-1990s, the People’s Republic of China (PRC) produced numerous science education films. Many utilized animated effects, such as illustrations, maps and cartoons, to promote the reception of scientific knowledge and ideological messages by audiences. Current scholarship on Chinese animation history stresses films made by the Shanghai Animation Film Studio, neglecting animation created by filmmakers in science education film studios. In this article, the author argues that the history of useful animation in science education films provides a different approach to understanding Chinese animation as the animation of experiment. Animation functioned as scenes of experiment that enabled science education films to deliver messages of knowledge; they also inspired amateur experiment with animated filmmaking and experimental animation practices in the post-socialist era. This article analyses animation for science education films, amateur animation practices and experimental works inspired by, or that benefited from, science education filmmaking. It will enrich the scholarship on Chinese animation and shed new light on the history of Chinese animation and film culture in the PRC.

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9

Gaudreault, André, and Philippe Gauthier. "Special issue: Could Kinematography be Animation and Animation Kinematography?" Animation 6, no. 2 (2011): 85–91. http://dx.doi.org/10.1177/1746847711408232.

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10

Herhuth, Eric. "The Politics of Animation and the Animation of Politics." Animation 11, no. 1 (2016): 4–22. http://dx.doi.org/10.1177/1746847715624581.

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