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Books on the topic 'Contemporary animation'

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Published: 4 June 2021
Last updated: 27 April 2022

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1

Halas, John. The contemporary animator. London: Focal Press, 1990.

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Halas, John. The contemporary animator. London: Focal, 1990.

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3

Animators unearthed: A guide to the best of contemporary animation. New York: Continuum, 2010.

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4

Anime from Akira to Princess Mononoke: Experiencing contemporary Japanese animation. New York: Palgrave, 2000.

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5

Anime from Akira to Howl's moving castle: Experiencing contemporary Japanese animation. New York, NY: Palgrave Macmillan, 2005.

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6

Mariotti, Marcella, Maria Roberta Novielli, Bonaventura Ruperti, and Silvia Vesco. Rethinking Nature in Post-Fukushima Japan. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-264-2.

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This volume brings together the papers presented at the international symposium Rethinking Nature in Contemporary Japan: Facing the Crisis held at Ca’ Foscari University of Venice in March 2015, as the last of a three-years research project on post-Fukushima Japan funded by the Japan Foundation. The book focuses on Religion and Thought, Fine Arts, Music, Cinema, Animation and Performing Arts (Theatre and Dance), from a multidisciplinary perspective.
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7

R, Lugo-Lugo Carmen, and Bloodsworth-Lugo Mary K, eds. Animating difference: Race, gender, and sexuality in contemporary films for children. Lanham, Md: Rowman & Littlefield, 2010.

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8

Richard, King C. Animating difference: Race, gender, and sexuality in contemporary films for children. Lanham, Md: Rowman & Littlefield Publishers, 2010.

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9

King, C. Richard. Animating difference: Race, gender, and sexuality in contemporary films for children. Lanham, Md: Rowman & Littlefield, 2010.

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10

The films of Tim Burton: Animating live action in contemporary Hollywood. New York: Continuum, 2005.

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11

française, France Documentation. Médiateurs pour l'art contemporain: Répertoire des compétences : animation, intervention, médiation culturelle, formation, profils, emplois, emplois jeunes, évaluation, publics, éducation artistique. Paris: Documentation française, 2000.

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12

Brown, Noel. Contemporary Hollywood Animation. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.001.0001.

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Until the 1990s, animation occupied a relatively marginal presence in Hollywood. Today, it is at the very heart of both the film industry and contemporary popular culture. Charting the major changes and continuities in Hollywood animation over the past thirty years, this groundbreaking book offers an authoritative history of Hollywood animation since the 1990s. Analysing dozens of key films, including The Lion King, Toy Story, Shrek, Despicable Me, Frozen and Moana, it examines the emergence of new genres and stylistic approaches, as well as the ongoing blurring of boundaries between animation and live-action. Identifying narrative and thematic patterns, and developments in industry and style, the book explores how animation in the United States both responds to and recapitulates the values, beliefs, hopes and fears of the nation.
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13

Brown, Noel. Contemporary Hollywood Animation. Edinburgh University Press, 2021. http://dx.doi.org/10.1515/9781474410571.

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14

BARAITSER. Theatre of Animation: Contemporary Adult Puppet Plays in Context (Contemporary Theatre Review). Routledge, 1999.

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15

Reimagining Animation Contemporary Moving Image Cultures. AVA Publishing, 2008.

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16

Spectacular Digital Effects Cgi And Contemporary Cinema. Duke University Press, 2014.

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17

Whissel, Kristen. Spectacular Digital Effects: CGI and Contemporary Cinema. Duke University Press, 2014.

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18

Spectacular Digital Effects Cgi And Contemporary Cinema. Duke University Press, 2014.

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19

Marion, Baraitser, ed. Theatre of animation: Contemporary adult puppet plays in context. Newark, NJ: Harwood Academic Publishers, 1999.

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20

Animation : a World History : Volume III: Contemporary Times. Taylor & Francis Group, 2016.

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21

Marion, Baraitser, ed. Theatre of animation: Contemporary adult puppet plays in context. [Netherlands]: Harwood Academic Publishers, 1999.

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22

Marion, Baraitser, ed. Theatre of animation: Contemporary adult puppet plays in context. [Netherlands]: Harwood Academic Publishers, 1999.

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23

BARATISER. Theatre of Animation: Contemporary Adult Puppet Plays in Context, Part 2 (Contemporary Theatre Review). Routledge, 1999.

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24

NAPIER, SUSAN J. Anime from Akira To Princess Mononoke: Experiencing Contemporary Japanese Animation. Palgrave Macmillan, 2001.

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25

Napier, Susan Jolliffe. Anime : From Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. Palgrave MacMillan, 2001.

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26

(Contributor), Susan Lubowsky Talbott, and Judith Richards (Editor), eds. My Reality: Contemporary Art and the Culture of Japanese Animation. Independent Curators International, New York, 2001.

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27

NAPIER, SUSAN J. Anime from Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. Palgrave Macmillan, 2001.

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28

Brown, Noel. Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology since The 1990s. Edinburgh University Press, 2021.

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29

Humor and Satire on Contemporary Television - Animation and the American Joke. Taylor & Francis Group, 2016.

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30

Perrott, Lisa. ZigZag. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.038.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Animators and visual music artists have long experimented with technological devices to explore the image–sound relationship, often innovating new ways of composing motion in time and space. For Len Lye this involved pioneering methods of animation and exploring the material qualities of organic materials such as film and metal, creating a substantial body of handmade animations that continue to affect audiences and inspire contemporary practitioners. Lye’s work provided the inspiration and raw materials for the development ofZig Zag, an homage to Lye, which integrated traditional musical instruments with digital media, remixed and projected visual imagery, and improvised theatrical performance. This complex process of remediation is discussed in relation to the extracinematic animation of both Lye’s sculptures and the theatrical performances. Extending the term “animation” is fundamental to understanding the wayZig Zagis a reanimation of the latent material life force embodied in Lye’s resting sculptures.
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31

Gallery, Collins, ed. Animation plus: Touring exhibition of original artwork, models and film by over 70 international contemporary animators. Glasgow: Collins Gallery, 1994.

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32

Telotte, J. P. Alien Visions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190695262.003.0004.

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This chapter surveys animation’s depictions of aliens and alien worlds throughout the pre-war era, with an emphasis on two common approaches: depicting the other in a conventionally exotic manner and trying to convey a sense of what H. P. Lovecraft termed strangeness. With this iconic element animation also demonstrates another dimension of its intersection with modernism, particularly that movement’s questioning of conventional representation, while also underscoring its emphasis on what has been termed a “new visuality.” In addition, the chapter argues that these comic alien figures and strange worlds, much as in SF literature, often defy efforts to categorize animation under the heading of a conservative modernism, because of the way they are used to address a number of contemporary cultural concerns, including political, economic, and social issues.
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33

HALAS. Contemporary Animator. Focal Press, 1993.

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34

Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
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35

Seargeant, Philip. Teaching the History of English OnlineOpen Education and Student Engagement. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190611040.003.0029.

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Within the context of a rapidly changing educational landscape, this chapter addresses issues around the teaching of the history of English to non-traditional students via online and multimedia platforms. It uses as a case study the video series “The History of English in Ten Minutes”—a ten-part animation series broadcast via YouTube and iTunesU—as a means of examining how pedagogical approaches which use new media resources can actively engage large, often non-traditional student audiences. The chapter reviews the design, production, and dissemination of these teaching materials and the implications of their reception and uptake for contemporary pedagogical approaches to the history of English.
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36

Goodrich, Peter. Pictures as Precedents. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190456368.003.0011.

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Contemporary expansion of the use of images, photographs, film, animation and other visual media in legal argument has given rise to a practice and subdiscipline of visual advocacy. Less studied and commented on, this scopic dimension to legal practice has also resulted in an increasing use of images in judicial decisions. Recent case law provides examples of an image of an ostrich with its head buried purportedly remonstrating against failure to cite binding precedent, a smiling emoji in a decision relating to child custody, numerous splash pages and online order icons in cases relating to consumer purchases over the net, and many further instances of pictures coming to play the law. This chapter directly addresses the role of the eye and the impact of the visual upon the reasoning of judgments, as also on the status and import of precedents that include pictures.
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37

Stone, Ken. Animating the Bible’s Animals. Edited by Danna Nolan Fewell. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199967728.013.38.

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This chapter discusses the potential relevance of interdisciplinary animal studies for biblical interpretation. The story of Jacob and his family in Genesis 25–32 is examined from the perspective of a “critical animal hermeneutics.” Three features of such a hermeneutics, characteristic of contemporary animal studies, are emphasized: (1) the constitutive importance of “companion species,” emphasized by Donna Haraway, including in Israel’s case goats and sheep; (2) the instability of the human/animal binary, emphasized by Jacques Derrida and other thinkers; and (3) ubiquitous associations between species difference and differences among humans, particularly, in the case of biblical literature, gender and ethnic differences. Each of these features is used to read the story of Jacob and several related biblical texts.
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38

Animating Difference Race Gender And Sexuality In Contemporary Films For Children. Rowman & Littlefield Publishers, Inc., 2011.

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39

Phillips, Amanda. Gamer Trouble. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479870103.001.0001.

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Gamers have been in trouble as long as games have existed, constantly mired in controversies about violence, diversity, and online harassment. As our popular understanding of “gamer” shifts beyond its historical construction as a white, straight, adolescent, cisgender male, the troubles that emerge both confirm and challenge our understanding of identity politics. This book excavates the turbulent relationships between surface and depth in contemporary gaming culture, taking readers under the hood of the mechanisms of video games in order to understand the ways that gender, race, and sexuality operate in their technological, ludic, ideological, and social systems. By centering the insights of queer and women of color feminisms in readings of online harassment campaigns, industry animation practices, and popular video games like Portal, Bayonetta, Tomb Raider, and Mass Effect, Phillips adds necessary analytical tools to our conversations about video games. In the context of a political landscape in which reinvigorated forms of racism, sexism, and homophobia thrive in games and gaming communities, Phillips follows the lead of those who have been making good trouble all along, agitating for a better world.
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40

Murray, Jonathan, and Nea Ehrlich, eds. Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.001.0001.

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Documentary cinema has always drawn from real life. However, an increasing number of contemporary filmmakers go further still, drawing onscreen images of reality through a range of animated filmmaking techniques and aesthetics. This book is the first of its kind, exploring the field of animated documentary film from a diverse range of scholarly and practice-based perspectives. The book’s chapters explore and propose answers to a range of questions that preoccupy twenty-first-century film artists and audiences alike: What are the historical roots of animated documentary? What kinds of reasons inspire practitioners to employ animation within documentary contexts? How do animated documentary images reflect and influence our understanding and experience of multiple forms of reality – public and private, psychological and political? From early cinema to present-day scientific research, military uses, digital art and gaming, this book casts new light on the capacity of the moving image to act as a record of the world around us, challenging many orthodox definitions of both animated and documentary cinema.
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41

Kaduri, Yael, ed. The Oxford Handbook of Sound and Image in Western Art. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841547.001.0001.

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This book examines different kinds of analogies, mutual influences, integrations, and collaborations of the audio and the visual in different art forms. The contributions, written by key theoreticians and practitioners, represent state-of-the-art case studies in contemporary art, integrating music, sound, and image with key figure of modern thinking constitute a foundation for the discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks. The book is organized around three core subjects, each of which constitutes one section of the book. The first concentrates on the interaction between seeing and hearing. Examples of classic and digital animation, video art, choreography, and music performance, which are motivated by the issue of eye versus ear perception are examined in this section. The second section explores experimental forms emanating from the expansion of the concepts of music and space to include environmental sounds, vibrating frequencies, language, human habitats, the human body, and more. The reader will find here an analysis of different manifestations of this aesthetic shift in sound art, fine art, contemporary dance, multimedia theatre, and cinema. The last section shows how the new light shed by modernism on the performative aspect of music has led it—together with sound, voice, and text—to become active in new ways in postmodern and contemporary art creation. In addition to examples of real-time performing arts such as music theatre, experimental theatre, and dance, it includes case studies that demonstrate performativity in visual poetry, short film, and cinema.
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42

Telotte, J. P. Of Robots and Artificial Beings. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190695262.003.0003.

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This chapter examines animation’s fascination with the robot, a figure that has obvious reflexive links to animation’s typical anthropomorphic characters—the various mice, cats, dogs, and ducks that were the usual stars of early cartoons. The robot is also a figure that had an especially popular resonance throughout the pre-war period, as is evidenced by its appearance in a variety of popular culture venues, including vaudeville acts, World’s Fairs, and feature films. What makes this figure particularly significant in its ability to embody the culture’s conflicted attitudes toward science and technology—attitudes that were also being worked out within literary SF. The animated films, the chapter suggests, typically juxtapose the culture’s faith in a technological utopia, within which robots play a key role, with contemporary concerns about the relationship between technology and labor, thereby qualifying the modernist embrace of the technology.
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43

Balboni, Michael J., and Tracy A. Balboni. A Spirituality of Immanence. Edited by Michael J. Balboni and Tracy A. Balboni. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780199325764.003.0012.

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This chapter argues that by secular medicine’s repudiation of religious partners, it ironically establishes itself as a religious-like phenomenon. Medicine is dangerously close to aligning itself with a spirituality of immanence centered on bodily cure and comfort as chief affection or ultimate concern. This realignment away from Western religions and toward a spirituality of immanence monopolizes the structures of medicine, marginalizing the Abrahamic religious traditions, and animating a rival spiritual power. Contemporary medicine is not freed from spirituality or religion. Medicine in its contemporary secular institutions and professions is both intrinsically spiritual in its ultimate concerns and loves and infused with a veiled, quasi-religious structure embedded in its systems. Clinicians are deeply socialized into immanence, leading them to unconsciously avoid or neglect their patients’ spiritual needs.
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44

Association Museologie Nouvelle et Experimentation Sociale. and Stage de Formation Supérieure (1985 : Saint-Etienne)., eds. L' art contemporain : diffusion, animation, formation: Actes du stage de formation supérieure Musée de Saint-Etienne 19-20-21 Septembre 1985. [Marseille: The Association, 1986.

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45

Napier, Susan. An Anorexic in Miyazaki’s Land of Cockaigne. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190240400.003.0016.

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This chapter discusses how copious excretion and vomit feature in popular animator Miyazaki Hayao's Academy-award winning feature Spirited Away (2001), arguing that these bodily eruptions are critiques of rampant consumer capitalism in contemporary Japan. Set in a carnivalesque world revolving around a luxurious bathhouse for gods of all shapes and sizes, the film repeatedly portrays scenes of food excess, denial, and expulsion, which can be interpreted as anorexia and bulimia. The chapter sees the eating frenzies depicted as Miyazaki's metaphor for materialistic overconsumption, and perceives the strong work ethic and self-denial that bring about the protagonist Sen's salvation as Miyazaki's call for a return to traditional values.
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46

White, Christine. ‘Humming the Sets’. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.17.

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This chapter discusses the impact of stage design on musical theatre, and the development of musical theatre as a product packaged for consumption across the world. Its focus is chiefly on British musicals of the late twentieth and early twenty-first centuries, during which ‘scenography’ has become recognized as the term for describing the whole theatre-designed space, encompassing, set, costume, sound, light, and more recently including film, animations, and a host of projection technologies and digital media. The chapter refers to contemporary reviews of productions, their success and failure, and the nature of the musical as a form in harmony with new scenic production aesthetics. What becomes apparent in this chapter is the interconnectedness of scenic practices and production aesthetics, which relates directly to the visual impact of musicals on the British stage and the interchange of production styles and modes of the UK and North America.
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47

Brill, Sara. Greek Philosophy in the Twenty-first Century. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935390.013.70.

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This article addresses contemporary efforts to understand how the earliest practitioners of philosophy conceived of the philosophic life. It argues that, for Plato, the concept of bios was a central, animating, and structuring object of philosophic inquiry. Concentration on the imagery Plato employed to draw bios into the purview of philosophic contemplation and choice points to interpretative avenues that further the aim of treating the dialogues as complex, integrated wholes, and offers a new approach to the question of the status of image-making in them. The article concludes with thoughts on how an exploration of bios might extend beyond Plato to Aristotle, via an examination of his treatment of the range of human and animal bioi, suggesting that such an examination clarifies the relationship between his analysis of the polis-dwelling animal and his broader investigation of living beings as such.
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48

Patterson, Robert J., ed. Black Cultural Production after Civil Rights. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042775.001.0001.

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Through its analysis of film, drama, fiction, visual culture, poetry, and other cultural -artifacts, Black Cultural Production after Civil Rights offers a fresh examination of how the historical paradox by which unprecedented civil rights gains coexist with novel impediments to collectivist black liberation projects. At the beginning of the 1970s, the ethos animating the juridical achievements of the civil rights movement began to wane, and the rise of neoliberalism, a powerful conservative backlash, the co-optation of “race-blind” rhetoric, and the pathologization and criminalization of poverty helped to retrench black inequality in the post-civil rights era. This book uncovers the intricate ways that black cultural production kept imagining how black people could achieve their dreams for freedom, despite abject social and political conditions. While black writers, artists, historians, and critics have taken renewed interest in the historical roots of black un-freedom, Black Cultural Production insists that the 1970s anchors the philosophical, aesthetic, and political debates that animate contemporary debates in African American studies. Black cultural production and producers help us think about how black people might achieve freedom by centralizing the roles black art and artists have had in expanding notions of freedom, democracy, equity, and gender equality. Black cultural production continues to engage in social critique and transformation and remains an important site for the (re)making of black politics.
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49

Brunstetter, Daniel R. Just and Unjust Uses of Limited Force. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192897008.001.0001.

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Limited force—no-fly zones, limited strikes, Special Forces raids, and drones strikes outside “hot” battlefields—has been at the nexus of the moral and strategic debates about just war since the fall of the Berlin Wall but has remained largely under-theorized. The main premise of the book is that limited force is different than war in scope, strategic purpose, and ethical permissions and restraints. By revisiting the major wars animating contemporary just war scholarship (Kosovo, Afghanistan, Iraq, the drone “wars,” and Libya) and drawing insights from the just war tradition, this book teases out an ethical account of force-short-of-war. It covers the deliberation about whether to use limited force (jus ad vim), restraints that govern its use (jus in vi), when to stop (jus ex vi), and the after-use context (jus post vim). While these moral categories parallel to some extent their just war counterparts of jus ad bellum, jus in bello, jus post bellum, and jus ex bello, the book illustrates how they can be reimagined and recalibrated in a limited force context, while also introducing new specific to the dilemmas associated with escalation and risk. As the argument unfolds, the reader will be presented with a view of limited force as a moral alternative to war, exposed to a series of dilemmas that raise challenges regarding when and how limited force is used, and provided with a more precise and morally enriched vocabulary to talk about limited force and the responsibilities its use entails.
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