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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>Sun, 14 Feb 2010 17:12:05 +0000</pubDate>
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	<language>en</language>
			<item>
		<title>Adam de Beer - Kinesic constructions:  An aesthetic analysis of movement and performance in 3D animation</title>
		<link>http://journal.animationstudies.org/2010/02/14/adam-de-beer-kinesic-constructions-an-aesthetic-analysis-of-movement-and-performance-in-3d-animation/</link>
		<comments>http://journal.animationstudies.org/2010/02/14/adam-de-beer-kinesic-constructions-an-aesthetic-analysis-of-movement-and-performance-in-3d-animation/#comments</comments>
		<pubDate>Sun, 14 Feb 2010 16:08:14 +0000</pubDate>
		<dc:creator>tim</dc:creator>
		
		<category><![CDATA[Adam de Beer - Kinesic constructions:  An aesthetic ana]]></category>

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

		<category><![CDATA[movement in animation]]></category>

		<category><![CDATA[multimodal analysis]]></category>

		<category><![CDATA[primary motion]]></category>

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=81</guid>
		<description><![CDATA[In animation the issue of movement is central to any discussion of its nature, irrespective of its form, style or process of creation.  As an animator, Norman McLaren believed &#8220;the most important thing in film is motion, movement&#8221; (in Bendazzi, 1994:117), whilst Wells describes animated films as &#8220;the artificial creation of the illusion of [...]]]></description>
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		</item>
		<item>
		<title>Sheuo Hui Gan - To Be or Not to Be - Anime: The Controversy in Japan over the “Anime” Label</title>
		<link>http://journal.animationstudies.org/2010/02/14/sheuo-hui-gan-to-be-or-not-to-be-anime-the-controversy-in-japan-over-the-%e2%80%9canime%e2%80%9d-label/</link>
		<comments>http://journal.animationstudies.org/2010/02/14/sheuo-hui-gan-to-be-or-not-to-be-anime-the-controversy-in-japan-over-the-%e2%80%9canime%e2%80%9d-label/#comments</comments>
		<pubDate>Sun, 14 Feb 2010 15:55:59 +0000</pubDate>
		<dc:creator>tim</dc:creator>
		
		<category><![CDATA[Sheuo Hui Gan - To Be or Not to Be - Anime: The Controv]]></category>

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

		<category><![CDATA[definition of anime]]></category>

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

		<category><![CDATA[Japanese cinema]]></category>

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=82</guid>
		<description><![CDATA[Outside Japan, anime is mainly used as a term referring to animation made in Japan. Inside Japan though, the word &#8220;anime,&#8221; an abbreviated pronunciation of animation in Japanese has been used widely as an abbreviation for all animation. However, despite the escalating popularity and attention in the worldwide media, the meaning and usage of the [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2010/02/14/sheuo-hui-gan-to-be-or-not-to-be-anime-the-controversy-in-japan-over-the-%e2%80%9canime%e2%80%9d-label/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Max Bannah - Revolutionary cels: The Sydney waterfront, Harry Reade and Cuban animation</title>
		<link>http://journal.animationstudies.org/2009/12/29/max-bannah-revolutionary-cels-the-sydney-waterfront-harry-reade-and-cuban-animation/</link>
		<comments>http://journal.animationstudies.org/2009/12/29/max-bannah-revolutionary-cels-the-sydney-waterfront-harry-reade-and-cuban-animation/#comments</comments>
		<pubDate>Tue, 29 Dec 2009 17:20:27 +0000</pubDate>
		<dc:creator>tim</dc:creator>
		
		<category><![CDATA[Max Bannah - Revolutionary cels: The Sydney waterfront,]]></category>

		<category><![CDATA[Volume 4]]></category>

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

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

		<category><![CDATA[Australian social history 1930s – 1950s]]></category>

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

		<category><![CDATA[Harry Reade]]></category>

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

		<category><![CDATA[Waterside Workers’ Federation Film Unit]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=80</guid>
		<description><![CDATA[In 2008, the noted Cuban journalist and art critic, Pedro de la Hoz, contended that, &#8220;What&#8217;s most important is that with animation and other graphic media&#8230; we have an extraordinary weapon for the formation and transmission of revolutionary, patriotic and human values, and for cultivating the sensitivity, love and intelligence needed to help us conquer [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/12/29/max-bannah-revolutionary-cels-the-sydney-waterfront-harry-reade-and-cuban-animation/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Paul St. George - Using chronophotography to replace Persistence of Vision as a theory for explaining how animation and cinema produce the illusion of continuous motion</title>
		<link>http://journal.animationstudies.org/2009/11/10/paul-st-george-using-chronophotography-to-replace-persistence-of-vision-as-a-theory-for-explaining-how-animation-and-cinema-produce-the-illusion-of-continuous-motion/</link>
		<comments>http://journal.animationstudies.org/2009/11/10/paul-st-george-using-chronophotography-to-replace-persistence-of-vision-as-a-theory-for-explaining-how-animation-and-cinema-produce-the-illusion-of-continuous-motion/#comments</comments>
		<pubDate>Tue, 10 Nov 2009 21:02:41 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Paul St. George - Using chronophotography to replace Pe]]></category>

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

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

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

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

		<category><![CDATA[Persistence of Vision]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=79</guid>
		<description><![CDATA[Chronophotography was developed, at the end of the nineteenth century by Marey, Demenÿ and later Gilbreth and used as a tool for investigating movement. At the beginning of the twentieth century chronophotography&#8217;s potential as a research tool was ignored as aspects of chronophotography were developed into cinema. Now, in what many call the post-cinematic era1, [...]]]></description>
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		</item>
		<item>
		<title>Dan &#038; Lienors Torre - Recording Australian Animation History</title>
		<link>http://journal.animationstudies.org/2009/07/26/dan-lienors-torre-recording-australian-animation-history/</link>
		<comments>http://journal.animationstudies.org/2009/07/26/dan-lienors-torre-recording-australian-animation-history/#comments</comments>
		<pubDate>Sun, 26 Jul 2009 15:25:41 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Dan &amp; Lienors Torre - Recording Australian Animatio]]></category>

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

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

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=77</guid>
		<description><![CDATA[Critical Significance of Historical Research 
Animation has been practised in Australia from a relatively early stage in the worldwide history of cinematic animation, as evidenced by quite mature examples of cutout animation by cartoonist Harry Julius beginning in 1912. It may therefore seem odd that there is comparatively little written of its history. In America [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/26/dan-lienors-torre-recording-australian-animation-history/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Zhi-Ming Su - Reaching Out to Touch</title>
		<link>http://journal.animationstudies.org/2009/07/20/zhi-ming-su-reaching-out-to-touch/</link>
		<comments>http://journal.animationstudies.org/2009/07/20/zhi-ming-su-reaching-out-to-touch/#comments</comments>
		<pubDate>Mon, 20 Jul 2009 19:09:22 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Zhi-Ming Su - Reaching Out to Touch]]></category>

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

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

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=76</guid>
		<description><![CDATA[Animation and Aboriginal Children in Taiwan
Introduction
Taiwan aboriginal means the residents who have been living in Taiwan before the immigration from Mainland China in the seventeenth century. The Council of Indigenous People, Executive Yuan in 2006 recognized thirteen aboriginal tribes in Taiwan. They are Tayal, Saysiat, Bunun, Tsou, Rukai, Paiwan, Puyuma, Amis, Yami, Thao, Kavalan, Taroko [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/20/zhi-ming-su-reaching-out-to-touch/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Miriam Harris - How Michaela Pavlatova both incorporates and rebels against the Czech animation tradition</title>
		<link>http://journal.animationstudies.org/2009/07/19/miriam-harris-how-michaela-pavlatova-both-incorporates-and-rebels-against-the-czech-animation-tradition/</link>
		<comments>http://journal.animationstudies.org/2009/07/19/miriam-harris-how-michaela-pavlatova-both-incorporates-and-rebels-against-the-czech-animation-tradition/#comments</comments>
		<pubDate>Sun, 19 Jul 2009 15:39:21 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Miriam Harris - How Michaela Pavlatova both incorporate]]></category>

		<category><![CDATA[Czech Animation]]></category>

		<category><![CDATA[Jan Svankmajer]]></category>

		<category><![CDATA[Michaela Pavlatova]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=75</guid>
		<description><![CDATA[Introduction
The Internet&#8217;s potential for global shrinkage, electronic travel, and animated transmission is a technological development that would have left citizens of previous centuries stupefied by such wondrous demonstrations of magic. Typing in the address for the Czech animator Michaela Pavlatova&#8217;s website transports one as if by sorcery to Prague, and a realm of moving words [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/19/miriam-harris-how-michaela-pavlatova-both-incorporates-and-rebels-against-the-czech-animation-tradition/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Cathryn Vasseleu - The Svankmajer Touch</title>
		<link>http://journal.animationstudies.org/2009/07/19/cathryn-vasseleu-the-svankmajer-touch/</link>
		<comments>http://journal.animationstudies.org/2009/07/19/cathryn-vasseleu-the-svankmajer-touch/#comments</comments>
		<pubDate>Sun, 19 Jul 2009 15:10:00 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Cathryn Vasseleu - The Svankmajer Touch]]></category>

		<category><![CDATA[Jan Svankmajer]]></category>

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

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

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=74</guid>
		<description><![CDATA[I am a hand with six fingers with webs in between. Instead of fingernails I have petite, sharp, sweet-toothed little tongues with which I lick the world.
Jan Švankmajer, Self-portrait, 1999 (2002, 6)
Jan Švankmajer&#8217;s animated films are renowned for their tactile dimensions. Heads devour one another in devastating conversations, objects collide painfully with mismatched intentions, lovers&#8217; [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/19/cathryn-vasseleu-the-svankmajer-touch/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Peter Moyes - Behind the Flash Exterior</title>
		<link>http://journal.animationstudies.org/2009/07/19/peter-moyes-behind-the-flash-exterior/</link>
		<comments>http://journal.animationstudies.org/2009/07/19/peter-moyes-behind-the-flash-exterior/#comments</comments>
		<pubDate>Sun, 19 Jul 2009 11:25:49 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Peter Moyes - Behind the Flash Exterior]]></category>

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

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

		<category><![CDATA[Zagreb school]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=73</guid>
		<description><![CDATA[Scratching the Surface of Online Animated Narratives
Introduction
The flat simplified graphics and limited animation of Flash online creations recall 1950 and 1960s cartoons for TV and stand in stark contrast to the photo-realistic forms and naturalistic movement of high-end 3D computer realisations. Celebrated for its ease of use, its affordability, and its enhanced dissemination, Flash has [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/19/peter-moyes-behind-the-flash-exterior/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Andrew Buchanan - Facial Expressions for Empathic Communication of Emotion in Animated Characters</title>
		<link>http://journal.animationstudies.org/2009/07/19/andrew-buchanan-facial-expressions-for-empathic-communication-of-emotion-in-animated-characters/</link>
		<comments>http://journal.animationstudies.org/2009/07/19/andrew-buchanan-facial-expressions-for-empathic-communication-of-emotion-in-animated-characters/#comments</comments>
		<pubDate>Sun, 19 Jul 2009 11:05:26 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Andrew Buchanan - Facial Expressions for Empathic Commu]]></category>

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

		<category><![CDATA[facial expressions]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=72</guid>
		<description><![CDATA[Introduction
The challenge of communicating emotional content to an audience via animated characters has existed since the art form first appeared. As animation techniques and technology have advanced, animators and character designers find themselves with a multitude of resources and tools for the creation of facial expressions so as to effectively communicate the emotions of their [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/19/andrew-buchanan-facial-expressions-for-empathic-communication-of-emotion-in-animated-characters/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Cordelia Brown - Flowerpot Men</title>
		<link>http://journal.animationstudies.org/2009/07/18/cordelia-brown-flowerpot-men/</link>
		<comments>http://journal.animationstudies.org/2009/07/18/cordelia-brown-flowerpot-men/#comments</comments>
		<pubDate>Sat, 18 Jul 2009 09:00:30 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Cordelia Brown - Flowerpot Men]]></category>

		<category><![CDATA[Brian Cosgrove]]></category>

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

		<category><![CDATA[Richard Hall]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=71</guid>
		<description><![CDATA[The Haptic Image in Brian Cosgrove and Richard Hall’s Animations
I. The Haptic Image
Haptic is a term used to describe the experience of touch. In most fields it refers to a generalised tactile sensibility. For example in Child Psychology, haptic is defined as ‘the perceptual experience that results from active exploration of objects by touch&#8217; (Vasta [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/18/cordelia-brown-flowerpot-men/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Matthew Butler &#038; Lucie Joschko - Final Fantasy or The Incredibles</title>
		<link>http://journal.animationstudies.org/2009/07/16/matthew-butler-lucie-joschko-final-fantasy-or-the-incredibles/</link>
		<comments>http://journal.animationstudies.org/2009/07/16/matthew-butler-lucie-joschko-final-fantasy-or-the-incredibles/#comments</comments>
		<pubDate>Thu, 16 Jul 2009 18:42:12 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Matthew Butler &amp; Lucie Joschko - Final Fantasy or T]]></category>

		<category><![CDATA[Final Fantasy]]></category>

		<category><![CDATA[The Incredibles]]></category>

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=70</guid>
		<description><![CDATA[Ultra-realistic animation, aesthetic engagement and the uncanny valley
Introduction
This paper examines the aesthetic qualities of two animated feature films, Final Fantasy: The Spirits Within and The Incredibles, as a precursor to considering what issues are associated with the shift toward ‘ultra-realistic&#8217; animation. The concept of realistic depiction of animated characters will be analysed within the context [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/16/matthew-butler-lucie-joschko-final-fantasy-or-the-incredibles/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Katharine Buljan - The Uncanny and the Robot in the Astro Boy Episode “Franken”</title>
		<link>http://journal.animationstudies.org/2009/07/13/katharine-buljan-the-uncanny-and-the-robot-in-the-astro-boy-episode-%e2%80%9cfranken%e2%80%9d/</link>
		<comments>http://journal.animationstudies.org/2009/07/13/katharine-buljan-the-uncanny-and-the-robot-in-the-astro-boy-episode-%e2%80%9cfranken%e2%80%9d/#comments</comments>
		<pubDate>Mon, 13 Jul 2009 18:08:33 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Katharine Buljan - The Uncanny and the Robot in the Ast]]></category>

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

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

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=69</guid>
		<description><![CDATA[Introduction
 In the story of ‘Franken&#8217;, by Osamu Tezuka, humans flee in horror at the sight of a robot named Franken,1 unaware that he is actually on a search for his lost friend, as well as for mechanical pieces to repair himself. Directed by Kazuya Konaka, ‘Franken&#8217; is an episode of the Japanese animation series [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/13/katharine-buljan-the-uncanny-and-the-robot-in-the-astro-boy-episode-%e2%80%9cfranken%e2%80%9d/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Michael Broderick - Superflat Eschatology</title>
		<link>http://journal.animationstudies.org/2009/07/12/michael-broderick-superflat-eschatology/</link>
		<comments>http://journal.animationstudies.org/2009/07/12/michael-broderick-superflat-eschatology/#comments</comments>
		<pubDate>Sun, 12 Jul 2009 14:21:59 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Michael Broderick - Superflat Eschatology]]></category>

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

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

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=68</guid>
		<description><![CDATA[Renewal and Religion in anime

&#8220;For at least some of the Superflat people [...] there is a kind of traumatic solipsism, even an apocalyptic one, that underlies the contemporary art world as they see it.&#8221; Thomas Looser, 2006
&#8220;Perhaps one of the most striking features of anime is its fascination with the theme of apocalypse.&#8221; Susan Napier, [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/12/michael-broderick-superflat-eschatology/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Dirk de Bruyn - Performing a Traumatic Effect</title>
		<link>http://journal.animationstudies.org/2009/07/12/dirk-de-bruyn-performing-a-traumatic-effect/</link>
		<comments>http://journal.animationstudies.org/2009/07/12/dirk-de-bruyn-performing-a-traumatic-effect/#comments</comments>
		<pubDate>Sun, 12 Jul 2009 09:23:44 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Dirk de Bruyn - Performing a Traumatic Effect]]></category>

		<category><![CDATA[Maurice Merleau-Ponty]]></category>

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

		<category><![CDATA[Robert Breer]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=67</guid>
		<description><![CDATA[The Films of Robert Breer
&#8220;We must go back to the working actual body - not the body as a chunk of space or a bundle of functions but that body which is an intertwining of vision and movement.&#8221; Merleau-Ponty (1964b: 162)
&#8220;I used to take lessons in a biplane and do stunts and things.&#8221; Robert Breer [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/12/dirk-de-bruyn-performing-a-traumatic-effect/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Alan Cholodenko - (The) Death (of) the Animator, or: the Felicity of Felix, Part I</title>
		<link>http://journal.animationstudies.org/2009/07/11/the-death-of-the-animator-or-the-felicity-of-felix-part-i/</link>
		<comments>http://journal.animationstudies.org/2009/07/11/the-death-of-the-animator-or-the-felicity-of-felix-part-i/#comments</comments>
		<pubDate>Sat, 11 Jul 2009 16:30:26 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Alan Cholodenko - (The) Death (of) the Animator, or: th]]></category>

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

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

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=66</guid>
		<description><![CDATA[The Kingdom of Shadows1
The night of the 4th of July 1896 was a special night for cinema. It was the night that Maxim Gorky attended the screening of the Lumière brothers projections at the Nizhny-Novgorod fair in Russia and wrote the first significant review of cinema, a review that for me as for Tom Gunning [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/11/the-death-of-the-animator-or-the-felicity-of-felix-part-i/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Adrian Martin - In the Sand a Line is Drawn</title>
		<link>http://journal.animationstudies.org/2009/07/11/adrian-martin-in-the-sand-a-line-is-drawn/</link>
		<comments>http://journal.animationstudies.org/2009/07/11/adrian-martin-in-the-sand-a-line-is-drawn/#comments</comments>
		<pubDate>Sat, 11 Jul 2009 15:53:23 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Adrian Martin - In the Sand a Line is Drawn]]></category>

		<category><![CDATA[academic cultures]]></category>

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

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=65</guid>
		<description><![CDATA[A Reflection on Animation Studies
There are at least three problems that arise when any topic of interest (heterogeneous and globally dispersed as it must necessarily be at the outset) transforms itself, in an (equally necessary) institutional/territorial gesture, into a defined field of study - and I have seen all these problems materialise at least once [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/11/adrian-martin-in-the-sand-a-line-is-drawn/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Paul Wells - Battlefields for the Undead</title>
		<link>http://journal.animationstudies.org/2009/07/07/paul-wells-battlefields-for-the-undead/</link>
		<comments>http://journal.animationstudies.org/2009/07/07/paul-wells-battlefields-for-the-undead/#comments</comments>
		<pubDate>Tue, 07 Jul 2009 18:46:05 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Paul Wells - Battlefields for the Undead]]></category>

		<category><![CDATA[academic cultures]]></category>

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

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=64</guid>
		<description><![CDATA[Stepping Out of the Graveyard
I will be forever grateful to be asked to deliver the keynote address at the ‘Animated Dialogues&#8217; Conference in Melbourne in June 2007. My survey of the field of Animation Studies in the current period - ‘Battlefields for the Undead : Re-assessing Animation Studies and other Romantic Interludes&#8217; - inevitably enabled [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/07/paul-wells-battlefields-for-the-undead/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Amanda Third &#038; Dirk de Bruyn - An Animated Dialogue: Moving Into the Local</title>
		<link>http://journal.animationstudies.org/2009/07/01/amanda-third-dirk-de-bruyn-an-animated-dialogue-moving-into-the-local/</link>
		<comments>http://journal.animationstudies.org/2009/07/01/amanda-third-dirk-de-bruyn-an-animated-dialogue-moving-into-the-local/#comments</comments>
		<pubDate>Wed, 01 Jul 2009 19:37:17 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Amanda Third &amp; Dirk de Bruyn - An Animated Dialogue]]></category>

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

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

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=63</guid>
		<description><![CDATA[The Animated Dialogues 2007 conference was first conceptualised as an event that would bring together scholars working in the field of animation studies in the Australasian region. This first Animated Dialogues conference focused on the areas of texts, industries and audiences as a way of bringing people together who frequently work in quite disparate geographical [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/07/01/amanda-third-dirk-de-bruyn-an-animated-dialogue-moving-into-the-local/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Animated Dialogues, 2007</title>
		<link>http://journal.animationstudies.org/2009/06/30/animated-dialogues/</link>
		<comments>http://journal.animationstudies.org/2009/06/30/animated-dialogues/#comments</comments>
		<pubDate>Tue, 30 Jun 2009 18:34:54 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Animated Dialogues]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=62</guid>
		<description><![CDATA[Contents
Introduction
by Amanda Third and Dirk de Bruyn
 Download this article as PDF.
 View this article in HTML.
Battlefields for the Undead : Stepping Out of the Graveyard
by Pauls Wells
 Download this article as PDF.
 View this article in HTML.
In the Sand a Line is Drawn: A Reflection on Animation Studies
by Adrian Martin
 Download this article as [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/06/30/animated-dialogues/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Alan Cholodenko: Animation (Theory) as the Poematic</title>
		<link>http://journal.animationstudies.org/2009/02/16/alan-cholodenko-animation-theory-as-the-poematic/</link>
		<comments>http://journal.animationstudies.org/2009/02/16/alan-cholodenko-animation-theory-as-the-poematic/#comments</comments>
		<pubDate>Mon, 16 Feb 2009 20:14:06 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Alan Cholodenko - Animation (Theory) as the Poematic]]></category>

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

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

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

		<category><![CDATA[Grand Theory]]></category>

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=60</guid>
		<description><![CDATA[A Reply to the Cognitivists
This essay has two projects.
The first is intrinsic to the very question of what constitutes legitimate scholarly inquiry in the study of film and of animation, marking out something ostensibly especially contentious in and for the study of the latter: theory. Proceeding from two related queries-Why theory? And why animation theory?-the [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/02/16/alan-cholodenko-animation-theory-as-the-poematic/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Volume 4, 2009</title>
		<link>http://journal.animationstudies.org/2009/02/16/volume-4-2009/</link>
		<comments>http://journal.animationstudies.org/2009/02/16/volume-4-2009/#comments</comments>
		<pubDate>Mon, 16 Feb 2009 19:50:42 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Volume 4]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=61</guid>
		<description><![CDATA[Contents
Animation (Theory) as the Poematic: A Reply to the Cognitivists
by Alan Cholodenko
 Download this article as PDF.
 View this article in HTML.
Using chronophotography to replace Persistence of Vision as a theory for explaining how animation and cinema produce the illusion of continuous motion
by Paul St. George
 Download this article as PDF.
 View this article in [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2009/02/16/volume-4-2009/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Van Norris - Taking an Appropriate Line</title>
		<link>http://journal.animationstudies.org/2008/12/21/van-norris-taking-an-appropriate-line/</link>
		<comments>http://journal.animationstudies.org/2008/12/21/van-norris-taking-an-appropriate-line/#comments</comments>
		<pubDate>Sun, 21 Dec 2008 07:27:41 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Van Norris - Taking an Appropriate Line]]></category>

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

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

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

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

		<category><![CDATA[stop motion]]></category>

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=59</guid>
		<description><![CDATA[Exploring Representations of Disability within British Mainstream Animation

This article discusses how representations of disability operate within the mainstream animation narratives of the British Creature Discomfort series (2007-8). These images are constructed as a response to concerns about broader social perceptions of the physically disabled and once scrutinized it is apparent that they are managed through [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/12/21/van-norris-taking-an-appropriate-line/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Laura Ivins-Hulley - The Ontology of Performance in Stop Animation</title>
		<link>http://journal.animationstudies.org/2008/12/21/laura-ivins-hulley-the-ontology-of-performance-in-stop-animation/</link>
		<comments>http://journal.animationstudies.org/2008/12/21/laura-ivins-hulley-the-ontology-of-performance-in-stop-animation/#comments</comments>
		<pubDate>Sun, 21 Dec 2008 07:07:50 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Laura Ivins-Hulley - The Ontology of Performance in Sto]]></category>

		<category><![CDATA[Jan Svankmajer]]></category>

		<category><![CDATA[Kihachiro Kawamoto]]></category>

		<category><![CDATA[stop motion]]></category>

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=58</guid>
		<description><![CDATA[Kawamoto&#8217;s House of Flame and Švankmajer&#8217;s The Fall of the House of Usher
Judy clubs Punch with a mallet.  Jack the Pumpkin King decides to take Santa&#8217;s place one Christmas.  Gumby foils the Blockheads&#8217; plans, yet again.  In each of these cases, we as the audience focus our attention on the moving figures, [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/12/21/laura-ivins-hulley-the-ontology-of-performance-in-stop-animation/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Timo Linsenmaier - Why animation historiography?</title>
		<link>http://journal.animationstudies.org/2008/11/10/timo-linsenmaier-why-animation-historiography/</link>
		<comments>http://journal.animationstudies.org/2008/11/10/timo-linsenmaier-why-animation-historiography/#comments</comments>
		<pubDate>Mon, 10 Nov 2008 08:00:03 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Timo Linsenmaier - Why animation historiography?]]></category>

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

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

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

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

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

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

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=57</guid>
		<description><![CDATA[Or: Why the commissar shouldn&#8217;t vanish
&#8220;Truth is strange, stranger than fiction.&#8221;
William Makepeace Thackeray, The tremendous adventures of Major Gahagan
(Thackeray 1921, 1)
In spring 2008, a vociferous discussion erupted on the Society for Animation Studies&#8217; mailing list on the subject of an extensive definition of animation. More technically-oriented explanations clashed with highly theoretical ones, scarcely finding a [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/11/10/timo-linsenmaier-why-animation-historiography/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Alan Cholodenko - The Spectre in the Screen</title>
		<link>http://journal.animationstudies.org/2008/10/15/alan-cholodenko-the-spectre-in-the-screen/</link>
		<comments>http://journal.animationstudies.org/2008/10/15/alan-cholodenko-the-spectre-in-the-screen/#comments</comments>
		<pubDate>Wed, 15 Oct 2008 12:59:33 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[Alan Cholodenko - The Spectre in the Screen]]></category>

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

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

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

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

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

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

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=56</guid>
		<description><![CDATA[Theories of spectatorship and cinema are nothing new. In fact, they abound. On the other hand, theories of spectatorship and animation are still rare. Rarer still are theories that implicate animation and cinema, including in the area of spectatorship.
For us, beyond as well as between theories of cinema spectatorship that attribute a pure passivity to [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/10/15/alan-cholodenko-the-spectre-in-the-screen/feed/</wfw:commentRss>
		</item>
		<item>
		<title>María Lorenzo Hernández - Visions of a Future Past</title>
		<link>http://journal.animationstudies.org/2008/09/22/visions-of-a-future-pas/</link>
		<comments>http://journal.animationstudies.org/2008/09/22/visions-of-a-future-pas/#comments</comments>
		<pubDate>Mon, 22 Sep 2008 11:44:25 +0000</pubDate>
		<dc:creator>Timo Linsenmaier</dc:creator>
		
		<category><![CDATA[María Lorenzo Hernández - Visions of a Future Past]]></category>

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

		<category><![CDATA[science-fiction]]></category>

		<category><![CDATA[The Odyssey]]></category>

		<category><![CDATA[TV series]]></category>

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

		<guid isPermaLink="false">http://journal.animationstudies.org/?p=54</guid>
		<description><![CDATA[Ulysses 31, a Televised Re-interpretation of Homer&#8217;s Classic Myth
 
This paper gives an overview of the animated series Ulysses 31 (1981), a French-Japanese co-production based on the epic poem The Odyssey, which introduced children and young audiences to Greek myths, relocating the original narratives into futuristic contexts such as the 31st century.
Twenty-five years later Ulysses [...]]]></description>
		<wfw:commentRss>http://journal.animationstudies.org/2008/09/22/visions-of-a-future-pas/feed/</wfw:commentRss>
		</item>
		<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>
		<wfw:commentRss>http://journal.animationstudies.org/2008/07/28/birgitta-hosea-tv-20/feed/</wfw:commentRss>
		</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>
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		</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>
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		</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>
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		</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;

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]]></description>
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