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	<title>Animation Studies</title>
	<link>http://journal.animationstudies.org</link>
	<description>Peer-reviewed Online Journal for Animation History and Theory</description>
	<lastBuildDate>Thu, 05 Jan 2012 15:16:11 +0000</lastBuildDate>
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	<language>en</language>
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		<title>Yen-Jung Chang &#8211; Strategies for a Reduction to 2D Graphical Styles in 3D Computer Graphics with Hybrid Aesthetics</title>
		<description><![CDATA[In this paper, I present the development of conceptual strategies and technical ideas to create images and an animation with 2D graphical styles by using 3D computer animation tools. With an initial idea of reduction, a hybrid aesthetic was created through directly referencing animations produced by traditional hand-drawn technique. UPA’s (United Production of America) animation style, Japanese anime and a contemporary French animated short are the primary inspirations to achieve the hybridization in the imagery of this project. My approach is related to the category of Non-photorealistic Rendering (NPR) to distinguish from realistic oriented computer image processes. A set of strategies were induced through the visual experiments and the production of an animated short, Sophie’s Secret (Chang 2008). 3D computer techniques associated with this animation project are described and still images of this project are also presented.]]></description>
		<link>http://journal.animationstudies.org/2011/12/22/yen-jung-chang-strategies-for-a-reduction-to-2d-graphical-styles-in-3d-computer-graphics-with-hybrid-aesthetics/</link>
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		<title>Nea Ehrlich &#8211; Animated Documentaries as Masking</title>
		<description><![CDATA[When Exposure and Disguise Converge Since the 1990s there has been a rise in the use of documentary materials in film and visual arts, most commonly referred to as “The Documentary Turn” (Nash, 2004). The complexity of what defines realities and the questioning of epistemological limits is part of the contemporary fascination with the documentary. [...]]]></description>
		<link>http://journal.animationstudies.org/2011/12/22/nea-ehrlich-animated-documentaries-as-masking/</link>
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		<title>Sheuo Hui Gan – The Transformation of the Teenage Image in Oshii Mamoru’s The Sky Crawlers</title>
		<description><![CDATA[The postwar emergence of manga and anime as mass media directed at children emphasized the importance of shōjo and shōnen (boys and girls) characters that encouraged its targeted audience to achieve easy identification. As teenagers gradually became the intended key audience, an increasing range of imagined lives were displayed in these visual narratives. From the [...]]]></description>
		<link>http://journal.animationstudies.org/2011/12/22/sheuo-hui-gan-%e2%80%93-the-transformation-of-the-teenage-image-in-oshii-mamoru%e2%80%99s-the-sky-crawlers/</link>
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		<title>Samantha Moore &#8211; Animating unique brain states</title>
		<description><![CDATA[This paper will look at the term which Chris Landreth has coined for the way in which animation can depict internal realities; psychorealism. The term will be re-interpreted by the author and applied to her recent work. The paper will look at the challenges of working with subjective brain states and the ways in which the information collected can be veriﬁed. The paper will show how by dislocating elements of realism and re-placing them into the realm of animation psychorealism allows the audience to engage with the material differently. ]]></description>
		<link>http://journal.animationstudies.org/2011/12/22/samantha-moore-animating-unique-brain-states/</link>
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		<title>Javad Khajavi &#8211; Decoding the Real: A Multimodal Social Semiotic Analysis of Reality in Animated Documentary</title>
		<description><![CDATA[Reality is what we take to be true. What we take true is what we believe. What we believe is based upon our perceptions. What we perceive depends upon what we look for. What we look for depends upon what we think. What we think depends upon what we perceive. What we perceive determines what [...]]]></description>
		<link>http://journal.animationstudies.org/2011/11/30/javad-khajavi-decoding-the-real-a-multimodal-social-semiotic-analysis-of-reality-in-animated-documentary/</link>
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		<title>Shannon Brownlee &#8211; Masculinity Between Animation and Live Action, or, SpongeBob v. Hasselhoff</title>
		<description><![CDATA[This article examines how distinctions between animation and live action correspond to distinctions between childish polymorphous perversity and adult masculinity in The SpongeBob SquarePants Movie (Stephen Hillenberg, 2004).]]></description>
		<link>http://journal.animationstudies.org/2011/09/16/shannon-brownlee-masculinity-between-animation-and-live-action-or-spongebob-v-hasselhoff/</link>
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		<title>Maria O’Brien &#8211; The Secret of Kells (2009), a film for a post Celtic Tiger Ireland?</title>
		<description><![CDATA[Maria O’Brien &#8211; The Secret of Kells (2009), a film for a post Celtic Tiger Ireland? The Secret of Kells (2009) (dir. Tomm Moore) is a feature length animated film that plays with myth, truth and fiction to propose an originating story for the Book of Kells, a highly decorated 8th century  insular book containing [...]]]></description>
		<link>http://journal.animationstudies.org/2011/09/12/maria-o%e2%80%99brien-the-secret-of-kells-2009-a-film-for-a-post-celtic-tiger-ireland/</link>
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		<title>Aimee Mollaghan &#8211; &#8220;An Experiment in Pure Design:&#8221; The Minimalist Aesthetic in the Line Films of Norman McLaren</title>
		<description><![CDATA[During the 1960s Scottish animator Norman McLaren undertook a series of inquiries into the nature of the line that culminated in three films, Lines Vertical (1960), Lines Horizontal (1962) and Mosaic (1965). Although McLaren has always been associated with innovation in animation technique and aesthetics, often times his more formal concerns have remained overlooked, underexplored, [...]]]></description>
		<link>http://journal.animationstudies.org/2011/09/12/aimee-mollaghan-an-experiment-in-pure-design-the-minimalist-aesthetic-in-the-line-films-of-norman-mclaren/</link>
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		<title>Hannes Rall &#8211; Tradigital Mythmaking: New Asian Design Ideas for Animation</title>
		<description><![CDATA[Introduction “Tradigital Mythmaking” might seem to be an unusual venture at first—a German animator and animation scholar working with young Asian artists to create new concepts for animation that are based on Asian mythologies and artistic traditions. An excursion into my own artistic and research background will establish the project in a wider context and [...]]]></description>
		<link>http://journal.animationstudies.org/2011/09/06/hannes-rall-tradigital-mythmaking-new-asian-design-ideas-for-animation/</link>
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		<title>Colleen Montgomery – Woody’s Roundup and Wall-E’s Wunderkammer: Technophilia and Nostalgia in Pixar Animation</title>
		<description><![CDATA[“Two words: ‘Sput-nik.’ Once the astronauts went up, children only wanted to play with space toys.” - Pete the Prospector, Toy Story 2 Although Pixar Animation’s corporate identity has long been tied to the studio’s advancement of digital animation technologies, many of Pixar’s films paradoxically seem to highlight, and even champion, disused, archaic and obsolete [...]]]></description>
		<link>http://journal.animationstudies.org/2011/09/02/colleen-montgomery-woodys-roundup-and-walles-wunderkammer/</link>
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		<title>Actors in Sin City’s Animated Fantasy: Avatars, Aliens, or Cinematic Dead-ends?</title>
		<description><![CDATA[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 [...]]]></description>
		<link>http://journal.animationstudies.org/2011/08/31/actors-in-sin-citys-animated-fantasy-avatars-aliens-or-cinematic-dead-ends/</link>
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		<title>Volume 6, 2011</title>
		<description><![CDATA[Contents Strategies for a Reduction to 2D Graphical Styles in 3D Computer Graphics with Hybrid Aesthetics by Yen-Jung Chang Download this article as PDF. View this article in HTML. Animated Documentaries as Masking: When Exposure and Disguise Converge by Nea Ehrlich Download this article as PDF. View this article in HTML. The Transformation of the [...]]]></description>
		<link>http://journal.animationstudies.org/2011/08/31/volume-6-2011/</link>
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		<title>Michael S. Daubs &#8211; Subversive or Submissive?</title>
		<description><![CDATA[User-Produced Flash Cartoons and Television Animation Introduction A number of prominent media scholars including Peter Lunenfeld (2000, p. 71) and Lev Manovich (2002, p. 4) have shown that advances in the technical capabilities of personal computers, combined with the increasing ubiquity of Internet access, have allowed the computer to become a single site for the [...]]]></description>
		<link>http://journal.animationstudies.org/2011/02/26/michael-daubs-subversive-or-submissive/</link>
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		<title>María Lorenzo Hernández &#8211; Through the Looking Glass</title>
		<description><![CDATA[The Self-Portrait of the Artist and the Re-Start of Animation Introduction Originally, the self-portrait was a pictorial subgenre of portrayal, in which the artists became the model for their own paintings. However, it is also present in mediums such as cinema, when directors appear in their films, from ephemeral manifestations, like the Hitchcockian cameo performance, [...]]]></description>
		<link>http://journal.animationstudies.org/2011/02/25/maria-lorenzo-hernandez-through-the-looking-glass/</link>
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		<title>Meg Rickards &#8211; Uncanny breaches, flimsy borders</title>
		<description><![CDATA[Jan Švankmajer’s conscious and unconscious worlds Introduction The portrayal of a character’s subjective, ‘inner’ experience onscreen is an enduring challenge for the filmmaker. Many techniques for conveying fantasies or dreams, such as blurring the frame’s edges, cross-dissolves and bleached colour, have been used – from soap operas to advertising – to such an extent that [...]]]></description>
		<link>http://journal.animationstudies.org/2011/02/04/meg-rickards-uncanny-breaches-flimsy-borders-jan-svankmajer%e2%80%99s-conscious-and-unconscious-worlds/</link>
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		<title>Alison Loader &#8211; We&#8217;re Asian, More Expected of Us</title>
		<description><![CDATA[Representation, The Model Minority &#38; Whiteness on King of the Hill During its thirteen-season run from 1997-2009, King of the Hill was the second longest running animated series in U.S. television history (after The Simpsons). Co-created by Mike Judge of MTV’s Beavis and Butthead and Simpson’s writer Greg Daniels, the now-syndicated Emmy Award-winning show features [...]]]></description>
		<link>http://journal.animationstudies.org/2011/01/30/alison-loader-were-asian-more-expected-of-us/</link>
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		<title>Van Norris &#8211; “Touching Cloth&#8230;”: Considering Satire and the Clergy in Popular Contemporary British Animation</title>
		<description><![CDATA[Assessing the failings of mechanisms of power through comedy has remained a constant throughout animation. Within the specific arena of ‘the popular&#8217;, always a potent area for consideration, adult British network television animation in the early part of the 21st century has maintained a unique relationship with modes of Satire that has enabled writers and [...]]]></description>
		<link>http://journal.animationstudies.org/2010/06/15/van-norris-%e2%80%9ctouching-cloth%e2%80%9d-considering-satire-and-the-clergy-in-popular-contemporary-british-animation/</link>
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		<title>Volume 5, 2010</title>
		<description><![CDATA[Contents “Touching Cloth&#8230;”: Considering Satire and the Clergy in Popular Contemporary British Animation by Van Norris Download this article as PDF. View this article in HTML. We’re Asian, More Expected of Us: Representation, The Model Minority &#38; Whiteness on King of the Hill by Alison Loader Download this article as PDF. View this article in [...]]]></description>
		<link>http://journal.animationstudies.org/2010/06/15/volume-5-2010/</link>
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		<title>Adam de Beer &#8211; Kinesic constructions:  An aesthetic analysis of movement and performance in 3D animation</title>
		<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 movement [...]]]></description>
		<link>http://journal.animationstudies.org/2010/02/14/adam-de-beer-kinesic-constructions-an-aesthetic-analysis-of-movement-and-performance-in-3d-animation/</link>
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		<title>Sheuo Hui Gan &#8211; To Be or Not to Be &#8211; Anime: The Controversy in Japan over the “Anime” Label</title>
		<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>
		<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>
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		<title>Max Bannah &#8211; Revolutionary cels: The Sydney waterfront, Harry Reade and Cuban animation</title>
		<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>
		<link>http://journal.animationstudies.org/2009/12/29/max-bannah-revolutionary-cels-the-sydney-waterfront-harry-reade-and-cuban-animation/</link>
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		<title>Paul St. George &#8211; Using chronophotography to replace Persistence of Vision as a theory for explaining how animation and cinema produce the illusion of continuous motion</title>
		<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>
		<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>
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		<title>Dan &amp; Lienors Torre &#8211; Recording Australian Animation History</title>
		<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>
		<link>http://journal.animationstudies.org/2009/07/26/dan-lienors-torre-recording-australian-animation-history/</link>
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		<title>Zhi-Ming Su &#8211; Reaching Out to Touch</title>
		<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, [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/20/zhi-ming-su-reaching-out-to-touch/</link>
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		<title>Miriam Harris &#8211; How Michaela Pavlatova both incorporates and rebels against the Czech animation tradition</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/19/miriam-harris-how-michaela-pavlatova-both-incorporates-and-rebels-against-the-czech-animation-tradition/</link>
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		<title>Cathryn Vasseleu &#8211; The Svankmajer Touch</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/19/cathryn-vasseleu-the-svankmajer-touch/</link>
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		<title>Peter Moyes &#8211; Behind the Flash Exterior</title>
		<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, [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/19/peter-moyes-behind-the-flash-exterior/</link>
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		<title>Andrew Buchanan &#8211; Facial Expressions for Empathic Communication of Emotion in Animated Characters</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/19/andrew-buchanan-facial-expressions-for-empathic-communication-of-emotion-in-animated-characters/</link>
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		<title>Cordelia Brown &#8211; Flowerpot Men</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/18/cordelia-brown-flowerpot-men/</link>
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		<title>Matthew Butler &amp; Lucie Joschko &#8211; Final Fantasy or The Incredibles</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/16/matthew-butler-lucie-joschko-final-fantasy-or-the-incredibles/</link>
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		<title>Katharine Buljan &#8211; The Uncanny and the Robot in the Astro Boy Episode “Franken”</title>
		<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>
		<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>
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		<title>Michael Broderick &#8211; Superflat Eschatology</title>
		<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; [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/12/michael-broderick-superflat-eschatology/</link>
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		<title>Dirk de Bruyn &#8211; Performing a Traumatic Effect</title>
		<description><![CDATA[The Films of Robert Breer &#8220;We must go back to the working actual body &#8211; 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; [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/12/dirk-de-bruyn-performing-a-traumatic-effect/</link>
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		<title>Alan Cholodenko &#8211; (The) Death (of) the Animator, or: the Felicity of Felix, Part I</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/11/the-death-of-the-animator-or-the-felicity-of-felix-part-i/</link>
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		<title>Adrian Martin &#8211; In the Sand a Line is Drawn</title>
		<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 &#8211; and I have seen all these problems materialise at least [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/11/adrian-martin-in-the-sand-a-line-is-drawn/</link>
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		<title>Paul Wells &#8211; Battlefields for the Undead</title>
		<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 &#8211; ‘Battlefields for the Undead : Re-assessing Animation Studies and other Romantic Interludes&#8217; &#8211; inevitably [...]]]></description>
		<link>http://journal.animationstudies.org/2009/07/07/paul-wells-battlefields-for-the-undead/</link>
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		<title>Amanda Third &amp; Dirk de Bruyn &#8211; An Animated Dialogue: Moving Into the Local</title>
		<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>
		<link>http://journal.animationstudies.org/2009/07/01/amanda-third-dirk-de-bruyn-an-animated-dialogue-moving-into-the-local/</link>
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		<title>Animated Dialogues, 2007</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2009/06/30/animated-dialogues/</link>
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		<title>Alan Cholodenko: Animation (Theory) as the Poematic</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2009/02/16/alan-cholodenko-animation-theory-as-the-poematic/</link>
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		<title>Volume 4, 2009</title>
		<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. [...]]]></description>
		<link>http://journal.animationstudies.org/2009/02/16/volume-4-2009/</link>
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		<title>Van Norris &#8211; Taking an Appropriate Line</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2008/12/21/van-norris-taking-an-appropriate-line/</link>
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		<title>Laura Ivins-Hulley &#8211; The Ontology of Performance in Stop Animation</title>
		<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, finding pleasure [...]]]></description>
		<link>http://journal.animationstudies.org/2008/12/21/laura-ivins-hulley-the-ontology-of-performance-in-stop-animation/</link>
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		<title>Timo Linsenmaier &#8211; Why animation historiography?</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2008/11/10/timo-linsenmaier-why-animation-historiography/</link>
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		<title>Alan Cholodenko &#8211; The Spectre in the Screen</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2008/10/15/alan-cholodenko-the-spectre-in-the-screen/</link>
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		<title>María Lorenzo Hernández &#8211; Visions of a Future Past</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2008/09/22/visions-of-a-future-pas/</link>
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		<title>Birgitta Hosea &#8211; TV 2.0</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2008/07/28/birgitta-hosea-tv-20/</link>
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		<title>Lynne Perras &#8211; &#8220;Steadier, happier, and quicker at the work&#8221;? Women in Canadian Animation</title>
		<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>
		<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>
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		<title>Sheuo Hui Gan &#8211; The Newly Developed Form of Ganime and its Relation to Selective Animation1 for Adults in Japan</title>
		<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>
		<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>
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		<title>Amy Ratelle &#8211; Half-breed Dog, Half-breed Film: Balto as Animelodrama</title>
		<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>
		<link>http://journal.animationstudies.org/2008/02/06/amy-ratelle-half-breed-dog-half-breed-film-balto-as-animelodrama/</link>
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		<title>Volume 3, 2008</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2008/02/06/volume-3-2008/</link>
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		<title>Gunnar Str&#248;m &#8211; The Two Golden Ages of Animated Music Video</title>
		<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>
		<link>http://journal.animationstudies.org/2008/02/06/gunnar-strm-the-two-golden-ages-of-animated-music-video/</link>
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		<title>Pamela Turner &#8211; Early Connections Between Film and Emerging Media as Evidenced in the Animated Worlds of Adam Beckett</title>
		<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 replace [...]]]></description>
		<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>
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		<title>María Lorenzo Hernández &#8211; The Double Sense of Animated Images. A View on the Paradoxes of Animation as a Visual Language</title>
		<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 &#8211; and in particular animation &#8211; contains a degree [...]]]></description>
		<link>http://journal.animationstudies.org/2008/01/27/maria-lorenzo-hernandez-the-double-sense-of-animated-images/</link>
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		<title>Leslie Bishko &#8211; The Uses and Abuses of Cartoon Style in Animation</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2007/12/09/leslie-bishko-the-uses-and-abuses-of-cartoon-style-in-animation/</link>
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		<title>Caroline Ruddell &#8211; Breaking Boundaries: The Representation of Split Identity in Anime</title>
		<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>
		<link>http://journal.animationstudies.org/2007/12/09/caroline-ruddell-breaking-boundaries-the-representation-of-split-identity-in-anime/</link>
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		<title>Alan Cholodenko &#8211; (The) Death (of) the Animator, or: The Felicity of Felix1, Part II</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2007/12/09/the-death-of-the-animator-or-the-felicity-of-felix/</link>
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		<title>Tom Klein &#8211; Animated Appeal: A Survey of Production Methods in Children’s Software</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2007/10/30/tom-klein-animated-appeal/</link>
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		<title>Volume 2, 2007</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2007/10/30/31/</link>
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		<title>Pierre Floquet &#8211; What is (not) so French in Les Triplettes de Belleville</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2006/12/28/pierre-floquet-what-is-not-so-french-in-les-triplettes-de-belleville/</link>
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		<title>Marina Estela Graça &#8211; Cinematic Motion by Hand</title>
		<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 [...]]]></description>
		<link>http://journal.animationstudies.org/2006/06/26/marina-estela-graca-cinematic-motion-by-hand/</link>
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		<title>Volume 1, 2006</title>
		<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. [...]]]></description>
		<link>http://journal.animationstudies.org/2006/06/14/volume-1-2006/</link>
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