Contents

Strategies for a Reduction to 2D Graphical Styles in 3D Computer Graphics with Hybrid Aesthetics
by Yen-Jung Chang

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Animated Documentaries as Masking: When Exposure and Disguise Converge
by Nea Ehrlich

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The Transformation of the Teenage Image in Oshii Mamoru’s The Sky Crawlers
by Sheuo Hui Gan

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Animating unique brain states: The animated documentary and ‘psychorealism’
by Samantha Moore

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Decoding the Real: A Multimodal Social Semiotic Analysis of Reality in Animated Documentary
by Javad Khajavi

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Masculinity Between Animation and Live Action, or, SpongeBob v. Hasselhoff
by Shannon Brownlee

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The Secret of Kells, a film for a post Celtic Tiger Ireland?
by Maria O’Brien

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“An Experiment in Pure Design:” The Minimalist Aesthetic in the Line Films of Norman Mclaren
by Aimee Mollaghan

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Tradigital Mythmaking: New Asian Design Ideas for Animation
by Hannes Rall

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Woody’s Roundup and Wall-E’s Wunderkammer: Technophilia and Nostalgia in Pixar Animation
by Colleen Montgomery

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Actors in Sin City’s Animated Fantasy: Avatars, Aliens, or Cinematic Dead-ends?
by Pierre Floquet

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Complete Volume

The complete volume will become available for download as PDF by the end of the year.

The ontological existence of animated-film characters depends on the whim and inspiration of their creators, which entails two major components. Firstly, the animator will explicitly appear in the cartoon and interfere within the animation, such as Emile Cohl’s or the Fleischer Brothers’ hands. Or else, in Tex Avery cartoons, references to the script are repeatedly intruding into the film, as meant interruptions or narrative punctuations in the drama. Secondly, the relation animator / character (who could then be spelt: char – actor) can be staged with distance, or even denied: so cartoon characters “pretend” to own their existences, self, will power, free will. For example, still in Avery cartoons, the repetitive asides to the public have a double impact: they first focus upon the pragmatic distance that is usually and implicitly established between the actors and their audience. Second: the same distance, together with the awareness to play a part, underlines a prefilmic existence of the character: Averian creatures give the illusion they are actors, both questioning and enhancing the essence of cinema, that is to say: “the illusion of life”.

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