The Peer-reviewed Open Access Online Journal for Animation History and Theory – ISSN 1930-1928
Many global media corporations aspire towards a 24-hour production line for animated content. As the US West Coast sleeps, media files can be sent to another low-cost territory in a preceding time zone to continue the work, maybe multiple times, chasing the sun. Technicolor-owned MPC (originally the Moving Picture Company) is one of the world’s […]
The images described in this article of Dalí’s animatics for Destino are available via Ron Barbagallo’s Animation and Art Conservation, as part of his “Lost and Found Series.” Figure 1: The theme of rejection and that of being cast aside till you figure it out is a theme that repeats throughout Salvador Dalí’s Destino. […]
What about knowledge of embodiment? What about the possibilities afforded to us as bodily beings? …Embodied technique remains a vital area of ongoing exploration, in which the potential for valuable new discoveries has in no way been exhausted. (Spatz, 2015, pp.4-5) My methods of inquiry were grounded in research on embodiment relatable to my practices […]
There will be a time when people gaze at paintings, and ask why the objects remain rigid and stiff. They will demand action. – Winsor McCay (qtd. in Wells 1998). Digital tools have brought about a “tectonic shift” throughout the world of art and design practice, redefining the economic viability and utility of previously […]
Though critics and scholars continue to split hairs over which films best exemplify Japan’s “New Wave” of cinema from the late 1950s through the 1960s, the vast majority of works highlighted within such debates share one overarching commonality: they are works of live-action cinema. Situating animated media within a sea of scholarship celebrating handheld cameras, […]
Made with Love: Mediating the use of Animation when tackling Bereavement In 2006 at St Benedict’s hospice, Sunderland (UK), a pilot project was undertaken to investigate the effectiveness of using animation practice (creating films and working through the preproduction process; creating the necessary artwork leading to a film) to tackle issues surrounding and relating to […]
Painting is a mode of pictorial expression that has spanned centuries. One can speak of the Impressionist or Baroque as recognizable styles in painting. In stark contrast, 3D Computer Graphics (CG) was only introduced in the 1970s by engineers from Pixar (Bendazzi, 2016, p. 17). When speaking about recognizable styles in 3D CG, one may […]
The aim of this paper is to study the trajectory of a self-produced animated short film wherein the director herself takes on all the tasks of communication, administration, financing of production, and distribution. This is a handcrafted and alternative model of production in response to the post-Fordist theory. This system was born during the 1970s […]
Making sense of the real world and creating a fictional world I like the expression “lost possibilities.” To be born means being compelled to choose an era, a place, and a life. To exist here, now means to lose the possibility of being countless other potential selves. (Miyazaki 1996, p. 306) From a cognitive […]
Not much has been written a great deal about Estonian animation, likely due to severe censorship on film production during the Soviet occupation of Estonia in the post-war era. As Andreas Trossek writes, censorship on this scale subsequently delayed the wider distribution of Estonian animated film outside the country (2008, pp. 33-36), possibly also withholding […]