Author Archives: Amy Ratelle

Tariq Rimawi – Uses of Arabic Calligraphy in Religious Animated Films

The aim of this paper is to examine and understand the uses of Arabic calligraphy as a visual language tool in animated films. The results of this exploration will enable Arab animators to use religious stories adapted from the Qur’an … Continue reading

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Rose Bond – Poetics and Public Projection: Layered History, Redrawn Memory

In 2002, I stood in the street in Old Town Portland, my eyes trained on the second-story windows of the New Wah Mae building. We were running an alignment test for my first animated installation, Illumination No.1.  When the windows … Continue reading

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João Paulo Amaral Schlittler – Animation as a Transmedia Interface

What if you could peek into any building, office, home and follow stories? What if you could collaborate building these stories? Attempting to answer these questions through the creation of virtual worlds may help understand transmedia experiences. These worlds constitute … Continue reading

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Lienors Torre – Persona, Celebrity, and the Animated Object

The Voice Persona of Animation When we think of persona and animation, one of the first things that come to mind is the voice-actor, particularly if they are a celebrity. The character Po in, Kung Fu Panda (Osborne & Stevenson, … Continue reading

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Jacqueline Ristola – Realist Film Theory and Flowers of Evil: Exploring the Philosophical Possibilities of Rotoscoped Animation (winner)

Film theorization, particularly classical film theory, has been obsessed with the concept of indexi-cality, the idea that cinema can capture the real world. From this concept has emerged theories that position realism as the essence of cinema. Film scholar Noël … Continue reading

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Cátia Peres – Out of Gravity: Physics in animation and in the films of Hayao Miyazaki

Historical context on physics, physicality and behaviour From an historical point of view, physics played a role in animation when defying the laws of physics and physicality since its inception. When Émile Cohl brought Fantasmagorie (1908) to the screen, the … Continue reading

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Peter Moyes & Louise Harvey – She’s Not There: When New Illusions Meet Ol’ Time RealTtime; Mo-cap, Virtuality and Live Music Performance

(Animation) began as something other than drama. It was not a story in three acts; it was a singular event, like an implausible trapeze act … (Norman Klein, 1993) “There  is  no  interest  in  achieving  the  possible,  but  it  is … Continue reading

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Ellen Rocha – Beyond Materiality in Animation: Sensuous Perception and Touch in the Tactile Existence of “Would a Heart Die?”

Originating at the end of the nineteenth century, three-dimensional stop-motion animation has been an exclusively manual animation practice, in which the direct manipulation of handmade puppets and models allows a more tactile approach of the physical act of animating and … Continue reading

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Jacqueline Ristola – Recreating Reality: Waltz With Bashir, Persepolis, and the Documentary Genre

Is a digital image consisting of dots and lines and digital information, is it more real? Is a drawn image, talking with real sound, less true? Who can say? Who is to judge? (Ari Folman, 2008) We are practically drowning … Continue reading

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Dirk de Bruyn – Re-processing The Mystical Rose

All our senses have their own space area of reference, and normally when we perceive we combine them all, what we see, hear, touch and smell all into the one area of space where we live. (Lee, 1971 p. 17) … Continue reading

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