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Artigos de revistas sobre o tema "Humanities -> performing arts -> animation"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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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 facilit

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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 ar

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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

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

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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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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 u

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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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Thesen, Thomas P. "Reviewing and Updating the 12 Principles of Animation." Animation 15, no. 3 (2020): 276–96. http://dx.doi.org/10.1177/1746847720969919.

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This article suggests a discussion on the reconfiguration of the 12 principles of animation and their necessary refinement for contemporary animation to address the growing complexity and expansion of the animation industry. The expansion of the 12 principles of animation into the various animation techniques requires a consideration of their development, which, in the 1930s and 1940s was sufficient for animation’s hand-drawn animation needs; since then, the principles have proven themselves accurate and incredibly helpful for subsequent decades. Nevertheless, this article indicates that a ref

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Limano, Ferric. "Barong Bali Performing Arts: A Study Case of Dance Motion Pattern." Humaniora 13, no. 1 (2022): 1–7. http://dx.doi.org/10.21512/humaniora.v13i1.7344.

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The research aimed to save the traditional Balinese Barong dance motion patterns and convert them into digital animation. Using the mask was a uniqueness and as one of the characteristics of the traditional dance. Some problems arose in today's global situation: the challenge of eroding local society cultures to be replaced by global cultures. Another factor was the new generation, who loved technology and digitization. The research showed how to make traditional art that had recommendations in new digital media 3D animation. This was necessary to increase interest for the new generation about

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13

Beckman, Karen. "Animation on Trial." Animation 6, no. 3 (2011): 259–75. http://dx.doi.org/10.1177/1746847711416568.

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This article first considers Kota Ezawa’s video installation, The Simpson Verdict within the broader context of the rising interest in animation on the contemporary art landscape. After exploring three trends within this proliferation of artists’ animation – works that animate moments from film history, works that animate ‘reality’, and works that use popular media such as cartoons, television and video games as source material, this article examines the difference between Ezawa’s work, which re-draws already overexposed live footage, and those documentaries that use animation as a supplementa

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14

Pagès, Maria. "The Golden Age of Spanish Animation (1939–1951)." Animation 15, no. 1 (2020): 37–60. http://dx.doi.org/10.1177/1746847719898851.

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During the 1940s, the Spanish animation industry based in Barcelona reached a high technical level. Despite the Franco dictatorship and austerity following the Spanish Civil War, the Catalan animation industry produced feature-length films that bore comparison with those made elsewhere in Europe. This article looks at the reasons for and the nature of Barcelona’s Golden Age of Animation, and follows the steps on the industry’s path to technical mastery. The author revisits the history of the Spanish Golden Age of Animation (which lasted from 1939 to 1951) in the context of the international an

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15

Sabiston, Bob. "Bob Sabiston in Conversation with Paul Ward." Animation 7, no. 1 (2011): 73–82. http://dx.doi.org/10.1177/1746847711429630.

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Bob Sabiston has been working in animation since the 1980s, when he studied at the Media Lab at Massachusetts Institute of Technology. In this conversation with Paul Ward, he talks about his development of the software with which he is most associated, the digital rotoscoping program Rotoshop, as well as the artists and animators who have influenced him. Central to Sabiston’s work is an interest in the everyday and how animation can capture and creatively treat it. Any discussion of animation and realism, or animation and documentary, arguably has to engage with his work. Rotoshop’s often misu

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Blackledge, Olga. "Lev Kuleshov on Animation: Montaging the Image." Animation 12, no. 2 (2017): 110–22. http://dx.doi.org/10.1177/1746847717708971.

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The Soviet film director Lev Kuleshov has not been historically associated with animation, and yet his legacy includes: an article on animation published in the Soviet central specialized newspaper Kino Gazeta; a film, a substantial part of which is animated; as well as a text of four lectures preserved in the Russian State Archive of Literature and Art (RGALI). In the lectures that he delivered to animators at the Soviet central animation studio Soiuzmul’tfil’m, he repurposes his theories of montage and acting for the needs of the medium of animation. Analyzing these materials, with the prima

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17

Ehrlich, Nea. "The Animated Document: Animation’s Dual Indexicality in Mixed Realities." Animation 15, no. 3 (2020): 260–75. http://dx.doi.org/10.1177/1746847720974971.

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Animation has become ubiquitous within digital visual culture and fundamental to knowledge production. As such, its status as potentially reliable imagery should be clarified. This article examines how animation’s indexicality (both as trace and deixis) changes in mixed realities where the physical and the virtual converge, and how this contributes to the research of animation as documentary and/or non-fiction imagery. In digital culture, animation is used widely to depict both physical and virtual events, and actions. As a result, animation is no longer an interpretive visual language. Instea

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Hattler, Max. "The Abstracted Real: Speculations on Experimental Animated Documentary." International Journal of Film and Media Arts 6, no. 3 (2021): 37–54. http://dx.doi.org/10.24140/ijfma.v6.n3.03.

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Max Hattler is an artist, researcher, curator and educator who works with abstract and experimental animation, video installation, and audio-visual performance. After studying in London at Goldsmiths and the Royal College of Art, he completed a doctorate in fine art at the University of East London. He is an assistant professor at the School of Creative Media, City University of Hong Kong. Hattler’s work has been shown worldwide, receiving prizes from Annecy Animation Festival, Prix Ars Electronica, Montreal Festival du Nouveau Cinéma, Punto y Raya Festival, Cannes Lions and London Internati

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Fong, Byron. "Animating for Interactivity: The Walk Cycles of Prince of Persia (1989) and Ninja Gaiden (1988)." Animation 18, no. 2 (2023): 117–33. http://dx.doi.org/10.1177/17468477231182910.

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This article uses the walk cycle to simultaneously place movement in video games within the history of animation, and to show how the walk cycle has been adapted for the video game medium. Dating back to the pre-cinematic toys of the 19th century, the walk cycle is an animation technique that depicts a character’s walking animation as a self-contained, reusable loop. Video games import this technique into a new context with different affordances. A comparative analysis of the video games Prince of Persia (1989) and Ninja Gaiden (1988) explores different methods of implementing the walk cycle a

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Cubitt, Sean. "Rango, Ethics and Animation." Animation 12, no. 3 (2017): 306–17. http://dx.doi.org/10.1177/1746847717729605.

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Buchanan, Andrew. "Book review: Pervasive Animation." Animation 15, no. 1 (2020): 108–10. http://dx.doi.org/10.1177/1746847719900456.

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22

Torre, Dan. "Cognitive Animation Theory: A Process-Based Reading of Animation and Human Cognition." Animation 9, no. 1 (2014): 47–64. http://dx.doi.org/10.1177/1746847713519390.

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Mortimer, Jonathan, Nick Pilcher, and Kendall Richards. "Scotland’s History of Animation: An Exploratory Account of the Key Figures and Influential Events." Animation 16, no. 3 (2021): 190–206. http://dx.doi.org/10.1177/17468477211052598.

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Scotland’s history of animation is a forgotten past accomplishment in the animation/VFX sector, with key influential animation professionals having had an impact both at home and abroad. Yet, to date, this history has not been meaningfully documented and such documentation can help inform policy initiatives to help nurture and develop the industry. These developments could help ensure that the importance and accomplishments of its achievements will not be forgotten or remain undeveloped. Indeed, it is argued here that Scotland suffers from historical amnesia with regard to the country’s past a

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24

Miner, Joshua D. "Experiments in Hybrid Documentary and Indigenous Model Animation." Animation 16, no. 1-2 (2021): 6–20. http://dx.doi.org/10.1177/17468477211025664.

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Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model animation across techniques and styles, namely digitally-supplemented stop-motion and game-based machinima. It begins by examining three principal characteristics of Indigenous animated documentaries: (1) they engage with the politics of documentary in the context of Indigenous and settler-colonial

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25

Wu, Jun, Jiede Wu, Chien-Wen Cheng, Chang-Chieh Shih, and Po-Hsien Lin. "A Study of the Influence of Music on Audiences’ Cognition of Animation." Animation 16, no. 3 (2021): 141–56. http://dx.doi.org/10.1177/17468477211052599.

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How do animation directors and music composers integrate personal creativity and expression into their work, and how do audiences understand and appreciate it as being important and worthy of discussion? This study explores the influence of music on audiences’ cognition of animation by using both quantitative and qualitative methods. Scholars specializing in aesthetics and music have conducted much research on music aesthetics and music itself. In recent years, further studies on music and film have also been carried out. However, there is a lack of research regarding audiences’ cognition of m

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26

Cook, Malcolm, Michael Cowan, and Scott Curtis. "Useful Animation: Iconography, Infrastructure and Impact." Animation 18, no. 3 (2023): 196–226. http://dx.doi.org/10.1177/17468477231207613.

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This article defines and explores the history of ‘useful animation’. Animation has found frequent application as a powerful practical and conceptual tool in professional fields requiring a versatile instrument for a variety of representational needs, from science and medicine to education and advertising. Today, forms of useful animation populate our television news, social media and urban environments in ways that are no less consequential for their having become second nature. But how did we get here? This tradition is distinct from entertainment or art and its investigation requires a revis

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27

Kim, Minhyoung. "Dong for Movements, Hua for Paintings: A Transdisciplinary Approach to Investigating Chinese Donghua." Animation 13, no. 3 (2018): 207–20. http://dx.doi.org/10.1177/1746847718809671.

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This article questions a longstanding definition of animation that lacks aspects of cultural diversity in part; it reexamines the socio-cultural formation of modern animation from less known regions of China and investigates Chinese animation known as donghua (动画). The goal is to demonstrate the transdisciplinary nature of donghua acquired through dynamic interactions in this heterogeneous site of production of visual culture in modern China. The author suggests a concept-based framework to more accurately describe animation in China composed of three specific dimensions of donghua: translingu

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28

Telotte, JP. "Letting Go: Representation, Presentation, and Disney’s Art of Animation." Animation 14, no. 2 (2019): 132–48. http://dx.doi.org/10.1177/1746847719858159.

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This article considers two linked developments in Disney animation at a major point of change for the studio. One is the effort to craft a new ‘logistics of perception’ or way of seeing and appreciating Disney’s work in this period. Prompting that effort is the other, a shift from the studio’s early emphasis on realistic representation, or an ‘illusion of life’, to what might be termed a presentational approach that repackaged Disney animation and re-framed its experience. These developments, observed in episodes of the Disneyland TV series of the 1950s–1960s dedicated to ‘the art of animation

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Christophini, Myria. "Into the Choppy Waters of Peace: An Inquiry into Peace- and Anti-Violence Animation." Animation 12, no. 2 (2017): 174–90. http://dx.doi.org/10.1177/1746847717708972.

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This article examines the use of animation for the purpose of peace-building. It does this by first examining key definitions of peace, and how these have been applied for matters of art. It appropriates these definitions for the specific context of animation, and uses case studies to illustrate how animation could be used in this context. The article concludes by supporting a participatory approach to animation for peace-building purposes. The values that drive the research derive from the paradigm of positive peace developed by Johan Galtung. These can be summarized as justice, equality, pro

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Huang, Jifeng. "A View of the Definition, Origination and Development of the Term ‘Chinese School of Animation’." Animation 17, no. 3 (2022): 318–33. http://dx.doi.org/10.1177/17468477221114366.

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This article clarifies the definition of ‘Chinese School of Animation’ and chronologically traces this term’s origination and development. The rise of the term ‘Chinese School’ was inspired by the Zagreb School of Animation. Chinese scholars generally define the Chinese School as a set of internationally award-winning films based on the collectivist discourse, which canonizes Chinese meishu films. The connotation of the Chinese School has kept changing in different times of China’s history, and the prevalence and decline of this term in Chinese animation studies are closely related to China’s

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Holmaas, Luke. "Implausible Possibility: Freedom and Realism in Live-Action/Animated Gag Comedies." Animation 18, no. 2 (2023): 102–16. http://dx.doi.org/10.1177/17468477231187029.

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While often unacknowledged, gags and gag comedy remain a vital part of Hollywood cinema. Following the runaway success of Who Framed Roger Rabbit (1988), an increase in the production of films combining live-action and animation has helped them become a central venue for gag comedy. However, while live-action/animation hybrids can be enormously successful, they are also extremely difficult and risky ventures, both in terms of their technical challenges and production costs. Given this, what is the rationale behind combining live-action and animation for comedy at all? As the author argues, bot

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Cho, Joon-Hui. "Future of Performing Arts Specialized Animation Characters Theme Park." Journal of the Korea Contents Association 12, no. 9 (2012): 146–55. http://dx.doi.org/10.5392/jkca.2012.12.09.146.

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Fitria, Tira Nur. "Culture-based Animation: Inserting Indonesian Local Culture in Animation Series ‘Si AA’." Journal of Language and Literature 22, no. 2 (2022): 362–74. http://dx.doi.org/10.24071/joll.v22i2.3942.

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Indonesia offers many opportunities to use local culture’s potential in producing Indonesian animation. The greatest idea is to make an animation that is based on the characteristics of traditional or local arts from each region. This research analyzes the Indonesian local cultures inserted in the animation series Si Aa’ created by RANS Animation Studio. This research uses descriptive qualitative research. The documents are taken from 9 videos of the animation series “Si Aa” released in 2020 and 2021. The result analysis shows that there are 12 examples of Indonesian local culture in ‘Si Aa” a

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Gowanlock, Jordan. "Animating Management: Nonlinear Simulation and Management Theory at Pixar." Animation 15, no. 1 (2020): 61–76. http://dx.doi.org/10.1177/1746847719898783.

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Existing scholarship finds that early industrialized animation studios sought to emphasize the unpredictable liveliness of creativity at their studios, while also demonstrating their ability to control and manage production through industrial management techniques that promoted regulation and efficiency. This article examines how this dynamic between unpredictability and control has been negotiated by digital animation studios since the early 1980s, with a focus on the way Pixar Animation Studios represents its management theory through popular books, business journal articles, DVD extras, and

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Wu, Weihua. "The Ambivalent Image Factory: The Genealogy and Visual History of Chinese Independent Animation." Animation 13, no. 3 (2018): 221–37. http://dx.doi.org/10.1177/1746847718807708.

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This article examines how the emergence, constitution and diversification of independent animation in mainland China was formed with minjian discourse and the rise of independent creativity over the past two decades. This was an era in which the animation mainstream was transformed from a primarily political discourse to a fully commercialized entity, while the aesthetic parodies and pastiches of an imaginary ‘Chineseness’ have undergone a renaissance within a power struggle between individuality and independency in animation practice.

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Lent, John A. "Animation in South Asia." Studies in South Asian Film & Media 1, no. 1 (2009): 101–17. http://dx.doi.org/10.1386/safm.1.1.101_1.

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Vidakovic, Lea. "Fragmented Narratives: Exploring Storytelling approaches for Animation in Spatial Context." International Journal of Film and Media Arts 6, no. 2 (2021): 7–27. http://dx.doi.org/10.24140/ijfma.v6.n2.01.

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Animation is considered a prevalent medium in contemporary moving image culture, which increasingly appears across non-conventional surfaces and spaces. And while storytelling in animation films has been extensively theorized, narrative forms that employ physical space as part of storytelling have been less explored. This paper will examine the narrative aspect of animation works which are screened outside the traditional cinematic venues. It will look at how these animation works tell stories differently - using the full potential of the space, as a narrative device, a tool, and a stage where

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Ward, Paul. "Independent Animation, Rotoshop and Communities of Practice: As Seen Through A Scanner Darkly." Animation 7, no. 1 (2011): 59–72. http://dx.doi.org/10.1177/1746847711428852.

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The article examines a particular instance of animation practice through a reading of how Bob Sabiston’s Rotoshop software was used in the 2006 film A Scanner Darkly. By discussing the notions of ‘communities of practice’ and ‘legitimate peripheral participation’, and contextualizing the film in relation to different modes of working, the author excavates the ways in which a range of people came to work on the project. Moreover, he outlines some of the production history of the film to argue that certain assumptions and expectations about accepted working practice point to wider perceptions of

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Marks, Laura U. "Calligraphic Animation: Documenting the Invisible." Animation 6, no. 3 (2011): 307–23. http://dx.doi.org/10.1177/1746847711417930.

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Calligraphic animation shifts the locus of documentation from representation to performance, from index to moving trace. Animation is an ideal playing field for the transformative and performative qualities that Arabic writing, especially in the context of Islamic art, has explored for centuries. In Islamic traditions, writing sometimes appears as a document or a manifestation of the invisible. Philosophical and theological implications of text and writing in various Islamic traditions, including mystic sciences of letters, the concept of latency associated with Shi‘a thought, and the performa

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Voci, Paola. "Para-animation in Practice and Theory: The Animateur, the Embodied Gesture and Enchantment." Animation 18, no. 1 (2023): 23–41. http://dx.doi.org/10.1177/17468477231155543.

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Animateurs are characterized by liminality or, possibly more accurately, intersectionality, vis-à-vis the mainstream and the avant-garde. Their vernacular creative work points to hybrid genealogies that include analogue handmade cinema and performing arts, such as the magic lantern show, puppetry and shadow play. The author proposes that animateurs develop a distinctive practice and theory of animation that can be best understood as ‘ para-animation’, i.e. a liminal, nearby, or off idea of animation that critically expands theories of the moving image and media archaeology. In para-animation,

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Saber, Zeke. "Animating Goethe." Animation 18, no. 1 (2023): 7–22. http://dx.doi.org/10.1177/17468477231155546.

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Metamorphosis is frequently cited as an inherent feature of animation, but scholars who make this claim have routinely disregarded the influence of Goethean morphology on animation practice and theory. Johann Wolfgang von Goethe’s initial conception of morphology, as outlined in the late 18th and early 19th centuries, has had a significant effect on our understanding of the transformative nature of animation. In this article, the author engages with the theory and practice of figures including Sergei Eisenstein, André Bazin, Alla Gadassik, Caroline Leaf and others in order to insist upon anima

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Betancourt, Manuel. "Animating History at a Cellular Level." Film Quarterly 75, no. 2 (2021): 76–79. http://dx.doi.org/10.1525/fq.2021.75.2.76.

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FQ columnist Manuel Betancourt, whose mother ran an animation studio in Colombia, reflects upon the diversity of contemporary Latin American animated production. Unlike in America, where animation has long been misunderstood as child’s play, an ever-growing network of Latin American creators refuse to see animation as beholden to family-friendly fare. Noting the didactic potential of this malleable medium, which is being used to educate children about everything from the Spanish conquest to modern-day environmental issues, Betancourt also calls attention to a growing animated canon bringing In

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Hagler, Juergen, and Remo Rauscher. "Chained Animation: Collaborative Forms of Filmmaking in Education." Animation 17, no. 2 (2022): 178–94. http://dx.doi.org/10.1177/17468477221092344.

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This article discusses experimental forms of collaborative filmmaking in education and introduces the pedagogical concept of Chained Animation. Animation filmmaking usually involves teamwork; production pipelines are traditionally linear and hierarchically structured, separated into direction (or artistic direction) and production teams. By contrast, Chained Animations are non-linear and based on a large group of animators working together at various levels. This concept is particularly well suited to education as it integrates all participants equally, from the idea phase all the way through

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Schmalzer, Madison. "Breaking The Stack: Understanding Videogame Animation through Tool-Assisted Speedruns." Animation 16, no. 1-2 (2021): 64–82. http://dx.doi.org/10.1177/17468477211025661.

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This article examines the ways videogames become animated by looking at gaming practices that subvert traditional notions of play: specifically tool-assisted speedruns (TAS). A TAS is a playthrough of a videogame that is preprogrammed by a human so that the inputs can be automatically played back in full without a human operator. This practice requires an intimate knowledge of the inner workings of gaming systems, often to the point of productively breaking the games through glitches and exploits. These extreme practices give a unique insight into the ways animation occurs within videogames an

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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.

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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oak

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Mc Hardy, Orla. "C: (Maintenance) Animation is a Drag: It takes all the f****** time*." International Journal of Film and Media Arts 6, no. 3 (2021): 85–95. http://dx.doi.org/10.24140/ijfma.v6.n3.06.

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Animation and motherhood are parallel acts. There are striking overlaps between animation practices and the maternal time of maintenance and caregiving: repetitive acts and gestures, interruption, incremental and elongated time, the embodied experience of slow mundane practices, the durational drag of staying alongside something or someone. The pooled time of caregiving and maintenance, and the pooled time of animation production have a lot in common. In this paper, I want to pull apart some of the ways that an expanded animation practice-as-research shows how animation’s formal self-reflexive

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Roe, Annabelle Honess. "Absence, Excess and Epistemological Expansion: Towards a Framework for the Study of Animated Documentary." Animation 6, no. 3 (2011): 215–30. http://dx.doi.org/10.1177/1746847711417954.

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This article gives an overview of the history of animated documentary, both in regard to the form itself and how it has been studied. It then goes on to present a new way of thinking about animated documentary, in terms of the way the animation functions in the texts by asking what the animation does that the live-action alternative could not. Three functions are suggested: mimetic substitution, non-mimetic substitution and evocation. The author suggests that, by thinking about animated documentary in this way, we can see how animation has broadened and deepened documentary’s epistemological p

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Van Opdenbosch, Paul M. "Towards a Conceptual Framework for Abstracted Animation Derived from Motion Captured Movements." Animation 17, no. 2 (2022): 244–61. http://dx.doi.org/10.1177/17468477221102499.

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Outside the realm of feature films, smaller creative collectives and individual animators are exploring the creative applications of motion capture data to develop compelling and unique abstract animated short films. However, despite an increasing number of examples, there has been little detailed documentation of this practice and the processes involved in this format of animation production. More specifically, there has been little analysis of the key considerations and issues that might confront practitioners when integrating motion capture movement data into their abstract animation practi

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Jifeng, Huang, and Li Baochuan. "The Reconstructed History of the Foundation of the Chinese School of Animation: A Textual Criticism on the ‘Crow Incident’." Animation 18, no. 3 (2023): 257–72. http://dx.doi.org/10.1177/17468477231214095.

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The screening of colour cel animation Why Is the Crow Black at the 1956 Venice Film Festival was seen as a pivotal moment in Chinese animation history. It is recorded that Why Is the Crow Black was misidentified as a Soviet animation by international judges, which made this film an epic failure. Frustrated Chinese animators, led by Te Wei, reflected on the imitation of the Soviet styles and commenced the exploration of a Chinese style. This ultimately led to the foundation of the Chinese School of Animation, marked by the release of Te Wei’s film The Conceited General in 1956. However, many of

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Geal, Robert. "Animated Images and Animated Objects in the Toy Story Franchise: Reflexively and Intertextually Transgressive Mimesis." Animation 13, no. 1 (2018): 69–84. http://dx.doi.org/10.1177/1746847717752588.

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This article explores how animation can manipulate a reflexive intertextual framework which relates to religious prohibitions on artistic mimesis that might replicate and threaten God’s creative act. Animated films are most intertextually reflexive, in these terms, when they narrativize the movement of diegetic objects from another medium which also transgresses God’s prohibition: sculpture. In the media of both sculpture and animation, the act of mimesis is transgressive in fundamentally ontological terms, staging the illusion of creation by either replicating the form of living creatures in

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