Books on the topic 'Thesis by animation'
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1
Ram, Shani. Female animation @ internet: M. A. Communication Design Thesis 2002. London: Central Saint Martins College of Art & Design, 2002.
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2
McCarthy, Helen. Hayao Miyazaki: Master of Japanese animation : films, themes, artistry. Berkeley, CA: Stone Bridge, 2002.
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3
Poitras, Gilles. The anime companion: What's Japanese in Japanese animation? Berkeley, Calif: Stone Bridge Press, 1999.
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4
Cavallaro, Dani. Anime and the visual novel: Narrative structure, design and play at the crossroads of animation and computer games. Jefferson, N.C: McFarland & Co., 2010.
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5
The art of Hanna-Barbera: Fifty years of creativity. New York, NY: Viking Studio Books, 1989.
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6
Kyōko, Kamiyama, and 神山京子, eds. Gendai Nihon no anime: "Akira" kara "Sen to Chihiro no kamikakushi" made. Tōkyō: Chūōkōron Shinsha, 2002.
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7
Vertiginous mirrors: The animation of the visual image and early modern travel. Marchester: Manchester University Press, 2011.
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8
editor, Narwekar Sanjit 1952, India Films Division, and Maharashtra (India), eds. The 12th Mumbai International Film Festival for Documentary, Short & Animation Films, 3-9 February, 2012. Mumbai: Films Division, 2012.
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9
Cavallaro, Dani. Anime and the visual novel: Narrative structure, design and play at the crossroads of animation and computer games. Jefferson, N.C: McFarland & Co., 2009.
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10
Cavallaro, Dani. Anime and the visual novel: Narrative structure, design and play at the crossroads of animation and computer games. Jefferson, N.C: McFarland & Co., 2010.
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11
Cavallaro, Dani. Anime and the visual novel: Narrative structure, design and play at the crossroads of animation and computer games. Jefferson, N.C: McFarland & Co., 2010.
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12
"Sekai seifuku" wa kanō ka? Tōkyō: Chikuma Shobō, 2007.
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13
Maltin, Leonard. The Disney films. 3rd ed. New York: Hyperion, 1995.
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14
Maltin, Leonard. The Disney films. 4th ed. New York: Disney Editions, 2000.
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15
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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Hayao Miyazaki: Master of Japanese Animation : Films, Themes, Artistry. Stone Bridge Press, 1999.
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17
(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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18
The Anime Companion 2: More What's Japanese In Japanese Animation? Stone Bridge Press, 2005.
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19
Telotte, J. P. Flights of Fantasy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190695262.003.0002.
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This chapter focuses on pre-war animation’s fascination with space travel and the various vehicles used in flights to the moon, Mars, and elsewhere. It offers background on several of the highly publicized developments in this area: in rocketry, ballon ascents, and airplane flight, as exemplified by the work of Robert Goddard, the ascents of Auguste Piccard, and the flights of Charles Lindbergh. These scientific developments provided the inspiration for a number of cartoons that sought both to capitalize on the excitement that attended such events and to satirize their accomplishments. The chapter’s primary focus, though, in on the rocket, which becomes a key image for most space-oriented cartoons of the period. Part of its impact, the chapter suggests, lies in the image’s ability to evoke the larger work of the cartoon, especially its function as an “animatic apparatus,” able to take viewers on various imagined extraordinary voyages.
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Miller, Giulia. Studying Waltz with Bashir. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325154.001.0001.
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On its release in 2008, Ari Folman's animated documentary Waltz with Bashir was heralded as a brilliant and original exploration of trauma, and trauma's impact on memory and the recording of history. But it is surprising that although the film is seen through the eyes of one particular soldier, a viewpoint portrayed using highly experimental forms of animation, this has not prevented Waltz with Bashir from being regarded as both an “autobiographical” and “honest” account of the director's own experiences in the 1982 Lebanon War. In fact, the film won several documentary awards, and even those critics focusing on the representation of trauma suggest that this trauma must be authentic. In this sense, it is the documentary form rather than the animation that has had the most influence upon critics. As this book shows, it is the tension between the two forms that makes the film so complex and interesting, allowing for multiple themes and discourses to coexist, including Israel's role during the Lebanon War and the impact of trauma upon narrative, but also the representation of Holocaust memory and its role in the formation of Israeli identity. In addition to these themes that coexist by virtue of the film's unusual animated documentary format, Waltz with Bashir can also be discussed in relation to a broad range of contexts; for example, the representation of war in film, the history of Israeli Holocaust cinema, and recent trends in experimental animation, such as Richard Linklater's Waking Life (2001) and A Scanner Darkly (2006), as well as Folman's most recent live action/animation work The Congress (2013).
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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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Ramalho, Felipe de Castro. A representação do diverso no cinema de animação. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-217-9.
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This book is the result of a doctoral research that sought to analyze the characters of the industrial animation cinema that present characterizations, mannerism, behavior and sexual stereotypes, which create an unknown idea about their sexualities. Animated films, often considered an exclusive product for children, do not directly address sexualities that differ from heteronormativity. For this reason, we call “diverse” those possible characters that are different from the norms of standard heterosexuality, in order to map, analyze, quantify and qualify the purpose of these representations. In the first moment, the concepts of the theoretical Stuart Hall on representational practices capable of producing ideologies, discourses and signs are applied in animation cinema and associated with anthropomorphism, which we believe to be a camouflaged way of representing such characters. Then, we characterize the “diverse” and the reasons for choosing the term, so that we can propose a debate about cinema as an instance capable of inscribing gender norms and how animation cinema acts as a media capable of proposing a cultural specific pedagogy. Then, based on the principle of similarity and difference, we mapped the “diverse” characters present in the history of animation cinema at the main North American studios: Disney, Pixar and DreamWorks. After this process, we analyze and qualify the intention of the representations of the “diverse” in the characters of animated films. Therefore, do not be alarmed when faced with classic characters such as Ursula, Genius, Scar, Timon, Pumbaa, Edna Mode, King Julien and many others who present different facets of sexuality.
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Telotte, J. P. Postscript. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190695262.003.0006.
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The postscript surveys a number of changes that can be found in the key SF memes and their treatment as animation moved into postwar film and television. It frames these alterations in terms of a question that is often asked about cartoons: whether they are simply harmless amusements or “instrumental” works that can motivate their audiences after the fashion that, many argue, the best SF literature does. The chapter chronicles a variety of postwar scientific and technological developments that would quickly appear in and become staples of both live-action and animated films, including rockets, robots, computers, and the space race. The popularity of these elements demonstrates the postwar persistence of the SF memes explored in the previous chapters and suggests how animation was working, much like SF literature, not only to familiarize audiences with the impact of science and technology, but also to make that impact less threatening and more acceptable to popular culture.
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Hu, Tze-yue G., Masao Yokota, and Gyongyi Horvath, eds. Animating the Spirited. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.001.0001.
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This volume of essays focuses on the meanings of the spirited and its navigation in the diverse, dynamic, and polarized creative environment of the 21st century. The animation medium and its related subjects including fine art, comics, children literature, folklore, religion, and philosophy lead inter-disciplinary discussions, ranging from theory to practice, within the framework of an ever-changing media landscape and social-cultural-political environment. Working on different continents and coming from varying cultural backgrounds, the contributors are like-minded scholars, artists, curators, and educators demonstrating the insights of the spirited and how the spirited-oriented sub-themes, journeys and transformations are exemplified, examined, and interpreted in the context of visual representations. The publication also aims to appeal to a broader reading public interested in the ever expanding dimensions of mental health, culture, and related expressions of human living and interactions. In 2017, the theme of World Health Day (April 7) was mental health, and the World Health Organization (WHO) designated the year-long campaign slogan as “let’s talk”. As humans, getting back in touch with our spirited and spiritual sides is a craving many are unable to express or voice. The essays discussed in this collection speak to, and provoke a desired connection with something more meaningful beyond our material world. While the book recognizes and acknowledges the particularities of the spirited across cultures, it also highlights its universality, demonstrating how it is being studied, researched, comprehended, expressed, and consumed in various parts of the world in both similar and at once unique ways.
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Century, Michael. Northern Sparks. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/10818.001.0001.
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An “episode of light” in Canada sparked by Expo 67 when new art forms, innovative technologies, and novel institutional and policy frameworks emerged together. Understanding how experimental art catalyzes technological innovation is often prized yet typically reduced to the magic formula of “creativity.” In Northern Sparks, Michael Century emphasizes the role of policy and institutions by showing how novel art forms and media technologies in Canada emerged during a period of political and social reinvention, starting in the 1960s with the energies unleashed by Expo 67. Debunking conventional wisdom, Century reclaims innovation from both its present-day devotees and detractors by revealing how experimental artists critically challenge as well as discover and extend the capacities of new technologies. Century offers a series of detailed cross-media case studies that illustrate the cross-fertilization of art, technology, and policy. These cases span animation, music, sound art and acoustic ecology, cybernetic cinema, interactive installation art, virtual reality, telecommunications art, software applications, and the emergent metadiscipline of human-computer interaction. They include Norman McLaren's “proto-computational” film animations; projects in which the computer itself became an agent, as in computer-aided musical composition and choreography; an ill-fated government foray into interactive networking, the videotext system Telidon; and the beginnings of virtual reality at the Banff Centre. Century shows how Canadian artists approached new media technologies as malleable creative materials, while Canada undertook a political reinvention alongside its centennial celebrations. Northern Sparks offers a uniquely nuanced account of innovation in art and technology illuminated by critical policy analysis.
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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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Telotte, J. P. Animating the Science Fiction Imagination. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190695262.001.0001.
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Before flying saucers, robot monsters, and alien menaces invaded the movies of the 1950s, there was already a significant body of animated science fiction, produced by such studios as Disney, the Fleischers, and Terrytoons. That work has largely been overlooked or forgotten, despite the fact that the same pre-World War II era that produced this group of short films also saw the more prominent development and flourishing of SF as a literary genre. This book surveys that neglected body of work to show how it helped contribute to the burgeoning SF imagination that was manifested in pulp literature, serials, feature films, and even World’s Fairs of the era. It argues that prewar cartoons helped to create a familiarity with the scientific and technological developments that were spurring that SF imagination and build an audience for this new genre. Demonstrating the same modernist spirit as SF literature and feature films, these cartoons adopted many of the genre’s most important motifs (rockets and space travel, robots, alien worlds and their inhabitants, and fantastic inventions and inventors), offered comic visions of the era’s growing fascination with science and technology, and framed that matter in a nonthreatening fashion. Popular animation thereby not only added another dimension to the SF imagination, but also helped prepare postwar audiences to embrace SF’s vision of the future and of inevitable change.
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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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Bohn, James, and Jeff Kurtti. Music in Disney's Animated Features. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812148.001.0001.
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Music in Disney’s Animated Features: Snow White and the Seven Dwarfs to The Jungle Book investigates how music functions in Disney Animated films. The book identifies several techniques used in a number of Disney animated movies. In addition it also presents a history of music in Disney animated films, as well as biographical information on several of the Studios’ seminal composers. The popularity and critical acclaim of Disney animated features is built as much on music as it is on animation. From Steamboat Willie through Bambi, music is the organizing element of Disney’s animation. Songs that establish character and aid in narrative form the backbone of the Studios’ animated features from Snow White and the Seven Dwarfs through The Jungle Book and beyond. In the course of their early animated features the Studios’ composers developed a number of techniques and models that have been used throughout their oeuvre. Instrumental instances of a given film’s songs are used to comment on various character’s thoughts, as well as on the plot and action. Songs featured in Disney films are often transitioned into or out of using rhymed, metered dialog, functioning in much the same way as recitative in opera. The book also explores the use of theme and variation technique, leitmotif, theatrical conventions, and song archetypes.
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Morgan, David. How Images Work. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190272111.003.0003.
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Rather than define images as coded forms of visual information, this chapter seeks to describe their capacity for action on human viewers, seeing them as agents, and exploring how best to study their animation. Reviewing recent directions in the study of images, the chapter frames the power of images to enchant within the history of images acting on viewers as visual devices or technologies. The work of Gell and Latour is most helpful. In this chapter, we come to see images as the product of culture and nature. They metamorphose from one to the other, and because they do, they exert power over us.
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Telotte, J. P. Disney Noir. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038594.003.0006.
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This chapter examines the impact of noir aesthetic in the work of the Walt Disney Studio, which produced some of the most pointedly noir-styled cartoons of the period. The most notable of these cartoons is a series of Donald Duck films: Donald's Crime (1945), Duck Pimples (1945), and The Trial of Donald Duck (1948). These cartoons show how deeply a noir aesthetic had penetrated American culture, for they repeatedly plunge Disney's top star of the period not into the world of oversaturated colors that Disney had pioneered in American animation, or musical-style narratives in which the studio had lately starred him, but into a consistently dark, strangely composed, and highly subjective realm.
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Troje, Nikolaus F. The Kayahara Silhouette Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0081.
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Since it was first published online by Japanese artist Nobuyuki Kayahara, the spinning silhouette of a young girl (the spinning dancer illusion) has been reposted on countless websites where it serves as an eye-catcher that lures users into clicking their way toward different forms of commercial advertisements. Spinning about a vertical axis, the perception of the figure is bistable: it can be seen as either spinning clockwise or counterclockwise, with the former interpretation apparently dominating the latter. This asymmetry generated a number of weird theories about brain laterality that further contributed to the popularity of the Kayahara silhouette on the Internet. These theories are obviously not backed by any serious research, but the animation is in fact a puzzling visual illusion. Primarily based on depth ambiguity, it employs the viewing-from-above bias and offers a number of sophisticated perceptual conflicts.
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Mather, George. Two-Stroke Apparent Motion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0073.
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“Two-stroke” apparent motion is a powerful illusion of directional motion generated by alternating just two animation frames, which occurs when a brief blank interframe interval is inserted at alternate frame transitions. This chapter discusses this illusion, which can be explained in terms of the receptive field properties of motion-sensing neurons in the human visual system. The temporal response of these neurons contains both an excitatory phase and an inhibitory phase; when the timing of the interframe interval just matches the switch in response sign, the illusion occurs. Concepts covered in this chapter include four-stroke as well as two-stroke apparent motion, motion aftereffect, and motion detection.
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Bell, Melanie. Movie Workers. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043871.001.0001.
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After the advent of sound, women in the British film industry formed an essential corps of below-the-line workers, laboring in positions from animation artist to negative cutter to costume designer. This book maps the work of these women decade by decade, examining their far-ranging economic and creative contributions against the backdrop of the discrimination that constrained their careers. The author's use of oral histories and trade union records presents a vivid counter-narrative to film history, one that focuses not only on women in a male-dominated business, but on the innumerable types of physical and emotional labor required to make a motion picture. The book's feminist analysis looks at women's jobs in film at important historical junctures while situating the work in the context of changing expectations around women and gender roles. Illuminating and astute, the book is a first-of-its-kind examination of the unsung women whose invisible work brought British filmmaking to the screen.
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Davé, Shilpa S. Apu’s Brown Voice. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037405.003.0003.
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This chapter discusses the character Apu, exploring how his appearance on the television show The Simpsons in the 1990s was a departure from previous Hollywood and television representations of South Asians in the United States. Whereas South Asians were previously depicted as brief visitors or exotic foreigners, Apu symbolizes a permanent Indian immigrant presence in the United States. Yet, his brown-voice performance racializes and differentiates him from other Americans. The chapter theorizes the use of brown voice and discusses how animated characters, in particular, become a significant subject to study vocal accents and voiceovers. Animated characters are unique because one of their most important defining features is their voice, and, thus, animation emphasizes the voice as a site of interest in thinking about racial performance.
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Telotte, J. P. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190695262.003.0001.
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This chapter surveys the body of science fiction cartoons that appeared in approximate parallel to a burgeoning SF literature during the first years of film and continuing to World War II. It situates this material within the production and exhibition practices of the film industry and links it to modernist aesthetics, emphasizing modernism’s primary concerns with revisioning both the world and the self. It then describes the key memes typically found in these films—space vehicles and space travel, robots and mechanical figures, aliens and alien worlds, and inventions and inventors—while also suggesting the broader impact of the cartoons. Through the comic treatment of these memes, it argues, animation helped to make the SF genre both more familiar and less threatening to a wide audience.
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Anime. Kamera Books, 2013.
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Tutino, Stefania. All That Live Must Die, Passing Through Nature to Eternity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190694098.003.0011.
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This chapter presents the third and final case study showing how relevant probabilism was in the development of modern Western culture. In early modern Europe, the emergence of new medical and philosophical theories on the nature and development of fetuses challenged the traditional doctrine, which was based on the Aristotelian notion of animation. In this situation, theologians, natural philosophers, and medical doctors were confronted with new and unprecedented doubts and dilemmas, which touched on the crucial medical, biological, philosophical, theological, and moral problem of how to establish what it means for humans to be alive. This chapter explains the role of probabilism in addressing one of these dilemmas, namely whether miscarried fetuses were in fact endowed with a soul, and consequently whether they should be baptized.
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White, Peter A. Visual Impressions of Causality. Edited by Michael R. Waldmann. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199399550.013.17.
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A simple animation in which a moving object contacts a stationary one and the latter then moves off gives rise to a visual impression in which the first object makes the second one move. There are several other kinds of visual causal impressions; they are perceptual interpretations that go beyond, and disambiguate, the information in the stimulus. It has been argued that visual causal impressions result from the activation of innate perceptual structures or mechanisms. It has also been argued that visual causal impressions result from the activation of memorial information based on past experience. These past experiences may be of actions on objects or of other things acting on a passive actor. Whichever of these hypotheses turns out to be correct, the visual world as experienced is already interpreted in terms of causality before causal reasoning processes begin to operate.
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Telotte, J. P. Inventions, Modern Marvels, and Mad Scientists. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190695262.003.0005.
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This chapter addresses animation’s fascination with strange inventions, modern marvels, and their inventors. It organizes these depictions by linking them to two pre-war developments: Hugo Gernsback’s efforts at promoting the serious and practical side of science and technology, and Rube Goldberg’s satiric and cautionary vision of a modern technological society, usually offered in newspaper cartoon form. The chapter gives special attention to the various World’s Fairs and other exhibitions that were popular in the period and that were the frequent subjects of cartoons, especially by the Fleischers’ studio. In these and other films, we find both marvelous creations, catering to SF’s usual sense of wonder, and overly complicated, even dangerous inventions that comically victimize their users. This dual pattern is repeated in depictions of the scientists and inventors behind these devices, as they range from benevolent figures to the stereotypical “mad scientist.”
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Hobden, Fiona, and Amanda Wrigley, eds. Ancient Greece on British Television. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412599.001.0001.
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Ancient Greece has inspired television producers and captivated viewing audiences in the United Kingdom for over half a century. By examining how and why political, social and cultural narratives of Greece have been constructed through television’s distinctive audiovisual languages, and also in relation to its influential sister-medium radio, this volume explores the nature and function of these public engagements with the written and material remains of the Hellenic past. Through ten case studies drawn from feature programmes, educational broadcasts, children’s animations, theatre play productions, dramatic fiction and documentaries broadcast across the decades, this collection offers wide-ranging insights into the significance of ancient Greece on British television.
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Bietti, Lucas M., and Michael J. Baker. Multimodal Processes of Joint Remembering in Complex Collaborative Activities. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198737865.003.0010.
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The aim of this chapter is to expand research on joint remembering into real-world complex collaborative activities at the workplace. The text illustrates how the interweaving of verbal, corporal, social, and material resources supports joint remembering of relevant aspects of work projects during group interactions. As joint remembering does not represent a ubiquitous joint action in complex collaborative activities in the workplace, but rather a localized and goal-oriented interactional mechanism, here we focus on those interactional sequences concerning past actions and events, in relation to work projects, that are triggered by questions acting as reminders. Such sequences are called “multimodal remembering sequences.” The group interactions that are presented as illustrative examples to support our theoretical standpoint were taken from a corpus collected on the basis of two naturalistic studies on joint remembering collaborative design conducted with architects and animation designers at their workplaces.
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Rosenmeyer, Patricia A. Talking with the Colossus. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626310.003.0003.
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Chapter 3 explores the personal relationship visitors thought they had with Memnon. In response to Memnon’s morning cry, visitors used inscriptions to communicate with the articulate yet inanimate statue. Following two main impulses of animation, inscribers either addressed the god as a listener through the rhetorical figure of apostrophe or imagined him as a speaker, calling out to his mother or to them, through prosopopeia. The latter impulse overlaps with the concept of epiphany, where the god makes himself manifest by some sign—usually visual, but in this case aural. This chapter discusses apostrophe, prosopopeia, and epiphany as evidence for visitors’ yearning to commemorate their interactions with Memnon. Inserting themselves into the collective practice of sacred tourism, they nevertheless seek to make the verbal exchange meaningful on a personal level. The inscriptions bear witness to this tension between the communality and the uniqueness of each instance of communication with Memnon.
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Warren, Mark E. Democracy and the State. Edited by John S. Dryzek, Bonnie Honig, and Anne Phillips. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199548439.003.0021.
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This article examines the logic that connects democracy to the state and argues that the functions of the state in enabling democracy are as important now and in the future as they have been in the past. It identifies the animating ideas and values of democracy and describes the ways in which these ideas are entwined with state power and the ways in which state institutions can become generative in ways that exceed the inherent limitations of the state's media of organization.
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Wellwood, Alexis, Susan J. Hespos, and Lance J. Rips. The Object : Substance :: Event : Process Analogy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815259.003.0009.
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Beginning at least with Bach (1986), semanticists have suggested that objects are formally parallel to events in the way substances are formally parallel to processes. This chapter investigates whether these parallels can be understood to reflect a shared representational format in cognition, which underlies aspects of the intuitive metaphysics of these categories. The authors of this chapter hypothesized that a way of counting (atomicity) is necessary for object and event representations, unlike for substance or process representations. Atomicity is strongly implied by plural but not mass language. The chapter investigates the language–perception interface across these domains using minimally different images and animations, designed either to encourage atomicity (‘natural’ breaks) or to discourage it (‘unnatural’ breaks). The experiments test preference for naming such stimuli with mass or count syntax. The results support Bach’s analogy in perception and highlight the formal role of atomicity in object and event representation.
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Roberts, Rosemary. The Making and Remaking of China’s “Red Classics". Edited by Li Li. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390892.001.0001.
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This book brings together research on China’s “red classics” across the entire Maoist period through to their re-emergence in the reform era. It critically investigates the changing nature and significance of China’s “red classics” at each point of their (re/)emergence in three key areas: their socio-political and ideological import, their aesthetic significance and their function as a mass cultural phenomenon. The book is organised in two parts in chronological order covering the Maoist period and post-Cultural Revolution respectively, and includes a representative range of genres including novels, short stories, films, TV series, picture books (lianhuanhua), animation and traditional style paintings (guohua). The book illuminates important questions such as: What determined what could and could not become a “red classic”? How was the real revolutionary experience of authors shaped by the regime to create “red classic” works? How were traditional forms incorporated or transformed? How did authors and artist negotiate the treacherous waters of changing political demands? And how did the “red classics adapt to a new political environment and a new readership in new millennium China? While most of the chapters focus primarily on one of the two periods under consideration many also follow the fate of their subject through both periods, creating overall a highly coherent overview of the changing phenomenon of the “red classics” over the seventy-five years since the Yan’an Forum and in the process simultaneously tracing the changing dynamic between the CCP and these classic narratives of the communist revolution.
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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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Meredith, Dennis. Explaining Research. 2nd ed. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197571316.001.0001.
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Explaining Research is the most comprehensive guide to research communication. It offers practical tools and techniques to effectively reach professional and lay audiences important to researchers’ success. These audiences include colleagues, potential collaborators, officers in funding agencies and foundations, donors, institutional leaders, corporate partners, students, legislators, family and friends, journalists, and the public. The book also includes strategies to guide research communication, as well as insights from leading science journalists and research communicators. The book shows how to develop a communication “strategy of synergy”; give compelling talks; build a professional website; create quality posters, images, animations, graphs, charts, videos, e-newsletters, blogs, podcasts, and webinars; write popular articles and books; persuade funding decision makers; produce news releases and other content that attract media coverage; give effective media interviews; serve as a public educator in schools and science centers; and protect against communication traps.
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Marshik, Celia. At the Mercy of Their Clothes. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231175043.001.0001.
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In much of modern fiction, it is the clothes that make the character. Garments embody personal and national histories. They convey wealth, status, aspiration, and morality (or a lack thereof). They suggest where characters have been and where they might be headed, as well as whether or not they are aware of their fate. This study explores the agency of fashion in modern literature. Celia Marshik’s study combines close readings of modernist and middlebrow works, a history of Britain in the early twentieth century, and the insights of thing theory. She focuses on four distinct categories of modern clothing: the evening gown, the mackintosh, the fancy dress costume, and secondhand attire. In their use of these clothes, we see authors negotiate shifting gender roles, weigh the value of individuality during national conflict, work through mortality, and depict changing class structures. Marshik’s dynamic comparisons put Ulysses in conversation with Rebecca, Punch cartoons, articles in Vogue, and letters from consumers, illuminating opinions about specific garments and a widespread anxiety that people were no more than what they wore. Throughout her readings, Marshik emphasizes the persistent animation of clothing—and objectification of individuals—in early-twentieth-century literature and society. She argues that while artists and intellectuals celebrated the ability of modern individuals to remake themselves, a range of literary works and popular publications points to a lingering anxiety about how political, social, and economic conditions continued to constrain the individual.
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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.