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<channel>
	<title>Animation Studies</title>
	<atom:link href="http://journal.animationstudies.org/feed/" rel="self" type="application/rss+xml" />
	<link>http://journal.animationstudies.org</link>
	<description>Peer-reviewed Online Journal for Animation History and Theory</description>
	<pubDate>Wed, 06 Aug 2008 09:06:00 +0000</pubDate>
	<generator>http://wordpress.org/</generator>
	<language>en</language>
			<item>
		<title>Birgitta Hosea - TV 2.0</title>
		<link>http://journal.animationstudies.org/2008/07/28/birgitta-hosea-tv-20/</link>
		<comments>http://journal.animationstudies.org/2008/07/28/birgitta-hosea-tv-20/#comments</comments>
		<pubDate>Mon, 28 Jul 2008 09:35:39 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Birgitta Hosea - TV 2.0]]></category>

		<category><![CDATA[citizen broadcaster]]></category>

		<category><![CDATA[internet]]></category>

		<category><![CDATA[mashup]]></category>

		<category><![CDATA[social networking]]></category>

		<category><![CDATA[television]]></category>

		<category><![CDATA[Web 2.0]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=53</guid>
		<description><![CDATA[Animation Readership/Authorship on the Internet
Introduction
Traditional platforms for animation, such as broadcast television or cinema, are rapidly becoming obsolete as a new type of spectator demands more choice, the ability to interact with animated content and access to global distribution for their own user-generated work. Audiences are no longer satisfied with receiving a top down distribution [...]]]></description>
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		</item>
		<item>
		<title>Lynne Perras - &#8220;Steadier, happier, and quicker at the work&#8221;? Women in Canadian Animation</title>
		<link>http://journal.animationstudies.org/2008/07/09/lynne-perras-%e2%80%9csteadier-happier-and-quicker-at-the-work%e2%80%9d-women-in-canadian-animation/</link>
		<comments>http://journal.animationstudies.org/2008/07/09/lynne-perras-%e2%80%9csteadier-happier-and-quicker-at-the-work%e2%80%9d-women-in-canadian-animation/#comments</comments>
		<pubDate>Wed, 09 Jul 2008 19:23:15 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Lynne Perras - Steadier, happier, and quicker at the wo]]></category>

		<category><![CDATA[Caroline Leaf]]></category>

		<category><![CDATA[Evelyn Lambart]]></category>

		<category><![CDATA[Norman McLaren]]></category>

		<category><![CDATA[women]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=51</guid>
		<description><![CDATA[In the film industry, historically it seems to be a truism that women have not occupied major positions. Although they have participated in the profession, there has been a relatively small number of female producers, directors, and head writers for many years. A similarly small number of women have held positions of influence in the [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/07/09/lynne-perras-%e2%80%9csteadier-happier-and-quicker-at-the-work%e2%80%9d-women-in-canadian-animation/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Sheuo Hui Gan - The Newly Developed Form of Ganime and its Relation to Selective Animation1 for Adults in Japan</title>
		<link>http://journal.animationstudies.org/2008/07/02/sheuo-hui-gan-the-newly-developed-form-of-ganime-and-its-relation-to-selective-animation1-for-adults-in-japan/</link>
		<comments>http://journal.animationstudies.org/2008/07/02/sheuo-hui-gan-the-newly-developed-form-of-ganime-and-its-relation-to-selective-animation1-for-adults-in-japan/#comments</comments>
		<pubDate>Wed, 02 Jul 2008 20:05:07 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Sheuo Hui Gan - The Newly Developed Form of Ganime]]></category>

		<category><![CDATA[Anime]]></category>

		<category><![CDATA[Ganime]]></category>

		<category><![CDATA[selective animation]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=50</guid>
		<description><![CDATA[Ganime is a new corporate project to develop the features of selective animation to provide a more flexible category of anime. Ganime was created jointly by Toei Animation and the publisher Gentosha. The overall project is to promote auteurism in animation by encouraging creators to have the freedom to exercise their imagination instead of conforming [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/07/02/sheuo-hui-gan-the-newly-developed-form-of-ganime-and-its-relation-to-selective-animation1-for-adults-in-japan/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Amy Ratelle - Half-breed Dog, Half-breed Film: Balto as Animelodrama</title>
		<link>http://journal.animationstudies.org/2008/02/06/amy-ratelle-half-breed-dog-half-breed-film-balto-as-animelodrama/</link>
		<comments>http://journal.animationstudies.org/2008/02/06/amy-ratelle-half-breed-dog-half-breed-film-balto-as-animelodrama/#comments</comments>
		<pubDate>Wed, 06 Feb 2008 16:09:40 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Amy Ratelle - Half-breed Dog, Half-breed Film]]></category>

		<category><![CDATA[Balto]]></category>

		<category><![CDATA[genre]]></category>

		<category><![CDATA[melodrama]]></category>

		<category><![CDATA[tale]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2008/02/06/amy-ratelle-half-breed-dog-half-breed-film-balto-as-animelodrama/</guid>
		<description><![CDATA[Linda Willams (1998) defines melodrama as &#8220;a peculiarly democratic and American form that seeks dramatic revelation of moral and emotional truths through a dialectic of pathos and action&#8221; (p. 42). This emphasis on moral and emotional truth, as opposed to cinematic realism or adherence to historical fact positions the figure of the &#8220;suffering innocent&#8221; (p. [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/02/06/amy-ratelle-half-breed-dog-half-breed-film-balto-as-animelodrama/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Volume 3, 2008</title>
		<link>http://journal.animationstudies.org/2008/02/06/volume-3-2008/</link>
		<comments>http://journal.animationstudies.org/2008/02/06/volume-3-2008/#comments</comments>
		<pubDate>Wed, 06 Feb 2008 16:08:38 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Volume 3]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2008/02/06/volume-3-2008/</guid>
		<description><![CDATA[Contents
Half-breed Dog, Half-breed Film: Balto as Animelodrama
by Amy Ratelle
 Download this article as PDF.
 View this article in HTML.
The Newly Developed Form of Ganime and its Relation to Selective Animation for Adults in Japan
by Sheuo Hui Gan
 Download this article as PDF.
 View this article in HTML.
“Steadier, happier, and quicker at the work”? Women in [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/02/06/volume-3-2008/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Gunnar Str&#248;m - The Two Golden Ages of Animated Music Video</title>
		<link>http://journal.animationstudies.org/2008/02/06/gunnar-strm-the-two-golden-ages-of-animated-music-video/</link>
		<comments>http://journal.animationstudies.org/2008/02/06/gunnar-strm-the-two-golden-ages-of-animated-music-video/#comments</comments>
		<pubDate>Wed, 06 Feb 2008 09:37:05 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Gunnar Str&oslash;m - The Two Golden Ages of Animated M]]></category>

		<category><![CDATA[music]]></category>

		<category><![CDATA[pop]]></category>

		<category><![CDATA[rock]]></category>

		<category><![CDATA[video]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2008/02/06/gunnar-strm-the-two-golden-ages-of-animated-music-video/</guid>
		<description><![CDATA[Music videos have been being made since the mid 1960s and had their breakthrough in the mid 1970s. Since then it has been the main marketing tool for breaking new pop and rock artists in the international market. When MTV opened on August 1st 1981 by showing the video Video Killed the Radio Star (Russel [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/02/06/gunnar-strm-the-two-golden-ages-of-animated-music-video/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Pamela Turner - Early Connections Between Film and Emerging Media as Evidenced in the Animated Worlds of Adam Beckett</title>
		<link>http://journal.animationstudies.org/2008/02/03/pamela-turner-early-connections-between-film-and-emerging-media-as-evidenced-in-the-animated-worlds-of-adam-beckett/</link>
		<comments>http://journal.animationstudies.org/2008/02/03/pamela-turner-early-connections-between-film-and-emerging-media-as-evidenced-in-the-animated-worlds-of-adam-beckett/#comments</comments>
		<pubDate>Sun, 03 Feb 2008 12:39:29 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Pamela Turner - Early Connections Between Film and Emer]]></category>

		<category><![CDATA[Beckett]]></category>

		<category><![CDATA[language]]></category>

		<category><![CDATA[optical printer effects]]></category>

		<category><![CDATA[video]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2008/02/03/pamela-turner-early-connections-between-film-and-emerging-media-as-evidenced-in-the-animated-worlds-of-adam-beckett/</guid>
		<description><![CDATA[Making a &#8220;film&#8221; today rarely involves a journey to the lab as images are more often recorded digitally and not on celluloid.  Even video&#8217;s electromagnetic record is transformed to bits and bytes. There is no frame to splice. The visual material exists as a virtual reference only. As McLuhan points out, new media doesn&#8217;t [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/02/03/pamela-turner-early-connections-between-film-and-emerging-media-as-evidenced-in-the-animated-worlds-of-adam-beckett/feed/</wfw:commentRss>
		</item>
		<item>
		<title>María Lorenzo Hernández - The Double Sense of Animated Images. A View on the Paradoxes of Animation as a Visual Language</title>
		<link>http://journal.animationstudies.org/2008/01/27/maria-lorenzo-hernandez-the-double-sense-of-animated-images/</link>
		<comments>http://journal.animationstudies.org/2008/01/27/maria-lorenzo-hernandez-the-double-sense-of-animated-images/#comments</comments>
		<pubDate>Sun, 27 Jan 2008 14:41:57 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Maria Lorenzo Hernandez - The Double Sense of Animated]]></category>

		<category><![CDATA[ambivalence]]></category>

		<category><![CDATA[image]]></category>

		<category><![CDATA[language]]></category>

		<category><![CDATA[optics]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2008/01/27/maria-lorenzo-hernandez-the-double-sense-of-animated-images/</guid>
		<description><![CDATA[
&#8220;The cartoon is a playful art. [...]
A false devotion to the cinematic approach
inexorably stifles the draftman&#8217;s imagination.&#8221;
Lindvall &#038; Melton (1997, p. 204)

&#8220;Once upon a time, or maybe twice&#8230;&#8221;
George Dunning, Yellow Submarine, 1968


Introduction
Representation in the visual arts, such as cinematography - and in particular animation - contains a degree of ambivalence because they reconstruct the continuity [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/01/27/maria-lorenzo-hernandez-the-double-sense-of-animated-images/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Leslie Bishko - The Uses and Abuses of Cartoon Style in Animation</title>
		<link>http://journal.animationstudies.org/2007/12/09/leslie-bishko-the-uses-and-abuses-of-cartoon-style-in-animation/</link>
		<comments>http://journal.animationstudies.org/2007/12/09/leslie-bishko-the-uses-and-abuses-of-cartoon-style-in-animation/#comments</comments>
		<pubDate>Sun, 09 Dec 2007 12:26:34 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Leslie Bishko - The Uses and Abuses of Cartoon Style in]]></category>

		<category><![CDATA[Laban]]></category>

		<category><![CDATA[language]]></category>

		<category><![CDATA[style]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2007/12/09/leslie-bishko-the-uses-and-abuses-of-cartoon-style-in-animation/</guid>
		<description><![CDATA[Introduction
“Cartoon style” in animation broadly refers to animation design and movement that adheres to the 12 Principles of Animation, defined and developed at the Disney Studios. The Principles evolved through trial and error, by observing motion on-screen and noting what aspects of animated movement served the believability of the characters. To this day, the 12 [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2007/12/09/leslie-bishko-the-uses-and-abuses-of-cartoon-style-in-animation/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Caroline Ruddell - Breaking Boundaries: The Representation of Split Identity in Anime</title>
		<link>http://journal.animationstudies.org/2007/12/09/caroline-ruddell-breaking-boundaries-the-representation-of-split-identity-in-anime/</link>
		<comments>http://journal.animationstudies.org/2007/12/09/caroline-ruddell-breaking-boundaries-the-representation-of-split-identity-in-anime/#comments</comments>
		<pubDate>Sun, 09 Dec 2007 12:03:46 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Caroline Ruddell - Breaking Boundaries]]></category>

		<category><![CDATA[Anime]]></category>

		<category><![CDATA[split identity]]></category>

		<category><![CDATA[time]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2007/12/09/caroline-ruddell-breaking-boundaries-the-representation-of-split-identity-in-anime/</guid>
		<description><![CDATA[This article addresses the representation of unstable identity in examples of anime. Split identities in the cinema generally (live action and animation) are often indicative of specific cultural concerns or perhaps mediate contemporary attitudes towards issues of identity in society; the dichotomy that is often apparent in the animation discussed in this paper is that [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2007/12/09/caroline-ruddell-breaking-boundaries-the-representation-of-split-identity-in-anime/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Alan Cholodenko - (The) Death (of) the Animator, or: The Felicity of Felix1, Part II</title>
		<link>http://journal.animationstudies.org/2007/12/09/the-death-of-the-animator-or-the-felicity-of-felix/</link>
		<comments>http://journal.animationstudies.org/2007/12/09/the-death-of-the-animator-or-the-felicity-of-felix/#comments</comments>
		<pubDate>Sun, 09 Dec 2007 09:37:56 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Alan Cholodenko - (The) Death (of) the Animator, or: Th]]></category>

		<category><![CDATA[death]]></category>

		<category><![CDATA[Felix]]></category>

		<category><![CDATA[theory]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2007/12/09/the-death-of-the-animator-or-the-felicity-of-felix/</guid>
		<description><![CDATA[&#160;
A Difficulty in the Path of Animation Studies2 
Before I set out on the work of this paper (Part II) I will briefly reprise Part I to orient the reader. Subtitled ‘Kingdom of Shadows’, Part I argues the singular importance of animation to cinema and to film, and the singular importance of death to animation, [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2007/12/09/the-death-of-the-animator-or-the-felicity-of-felix/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Tom Klein - Animated Appeal: A Survey of Production Methods in Children’s Software</title>
		<link>http://journal.animationstudies.org/2007/10/30/tom-klein-animated-appeal/</link>
		<comments>http://journal.animationstudies.org/2007/10/30/tom-klein-animated-appeal/#comments</comments>
		<pubDate>Tue, 30 Oct 2007 14:12:57 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Tom Klein - Animated Appeal]]></category>

		<category><![CDATA[children]]></category>

		<category><![CDATA[games]]></category>

		<category><![CDATA[quality]]></category>

		<category><![CDATA[software]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2007/10/30/tom-klein-animated-appeal-a-survey-of-production-methods-in-children%e2%80%99s-software/</guid>
		<description><![CDATA[&#160;
Introduction
The graphical style of children’s software has often strongly resembled that of traditional cel animation, yet the requirements for implementing graphics into computer games necessitated changes in the working practices of animators. In some of the earliest videogames for the home market, the means of creating sequential moving images was far removed from traditional methods [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2007/10/30/tom-klein-animated-appeal/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Volume 2, 2007</title>
		<link>http://journal.animationstudies.org/2007/10/30/31/</link>
		<comments>http://journal.animationstudies.org/2007/10/30/31/#comments</comments>
		<pubDate>Tue, 30 Oct 2007 14:08:17 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Volume 2]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2007/10/30/31/</guid>
		<description><![CDATA[Contents
Animated Appeal: A Survey of Production Methods in Children’s Software
by Tom Klein
 Download this article as PDF.
 View this article in HTML.
(The) Death (of) the Animator, or: The Felicity of Felix, Part II
by Alan Cholodenko
 Download this article as PDF.
 View this article in HTML.
Breaking Boundaries: The Representation of Split Identity in Anime
by Caroline Ruddell
 [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2007/10/30/31/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Pierre Floquet - What is (not) so French in Les Triplettes de Belleville</title>
		<link>http://journal.animationstudies.org/2006/12/28/pierre-floquet-what-is-not-so-french-in-les-triplettes-de-belleville/</link>
		<comments>http://journal.animationstudies.org/2006/12/28/pierre-floquet-what-is-not-so-french-in-les-triplettes-de-belleville/#comments</comments>
		<pubDate>Thu, 28 Dec 2006 07:04:25 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Pierre Floquet - What is (not) so French in Les Triplet]]></category>

		<category><![CDATA[Barthes]]></category>

		<category><![CDATA[culture]]></category>

		<category><![CDATA[France]]></category>

		<category><![CDATA[language]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2006/12/28/pierre-floquet-what-is-not-so-french-in-les-triplettes-de-belleville/</guid>
		<description><![CDATA[&#160;
In an article on text theory, Roland Barthes wrote: “Every text is intertext; it holds other texts within, at various levels, in irregularly recognizable shapes: those of the preceding culture as well as those of the surrounding culture; every text is new with interwoven past quotations”1. A text, a film, or an animated film is [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2006/12/28/pierre-floquet-what-is-not-so-french-in-les-triplettes-de-belleville/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Marina Estela Graça - Cinematic Motion by Hand</title>
		<link>http://journal.animationstudies.org/2006/06/26/marina-estela-graca-cinematic-motion-by-hand/</link>
		<comments>http://journal.animationstudies.org/2006/06/26/marina-estela-graca-cinematic-motion-by-hand/#comments</comments>
		<pubDate>Mon, 26 Jun 2006 06:01:57 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Marina Estela Graça - Cinematic Motion by Hand]]></category>

		<category><![CDATA[live-action]]></category>

		<category><![CDATA[relation of animation to live action]]></category>

		<category><![CDATA[technology]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2006/06/26/marina-estela-graca-cinematic-motion-by-hand/</guid>
		<description><![CDATA[&#160;
Within Cinema, animation has had an unclear relation with live-action recording since its very beginning. We learned – helped by ASIFA (International Animated Film Association) – that we should separate one from the other and we also realized that we (still) don’t have a general theory of cinema that embraces both. Yet, over the last [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2006/06/26/marina-estela-graca-cinematic-motion-by-hand/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Volume 1, 2006</title>
		<link>http://journal.animationstudies.org/2006/06/14/volume-1-2006/</link>
		<comments>http://journal.animationstudies.org/2006/06/14/volume-1-2006/#comments</comments>
		<pubDate>Wed, 14 Jun 2006 05:40:37 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Volume 1]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/2006/06/16/volume-1-2006/</guid>
		<description><![CDATA[Contents

Cinematic Motion by Hand
by Marina Estela Graça


 Download this article as PDF.
 View this article in HTML.


What is (not) so French in Les Triplettes de Belleville
by Pierre Floquet


 Download this article as PDF.
 View this article in HTML.

&#160;
Complete Volume

 The complete volume is available for download as PDF here.

&#160;

	Related posts
	
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