Category Archives: Volume 11

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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James Frost – Jan Švankmajer: Film as Puppet Theatre




This paper considers the films of the Czech Surrealist Jan Švankmajer (b.1934) from the perspective of puppetry[1]. The majority of his films involve stop-motion animation[2], usually combined with live action. He often uses puppets, as both live action effects (e.g. … Continue reading

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Andi Spark – Pursuing the Animatrix: Musings on Defining a Term to Describe Woman-Centered Animation




Anima: soul or vital force (feminine form) + Matrix: point from where something originates Factory Girls I started my professional life in a factory—an animation factory. Despite having completed a bachelor degree in the then brand new field of Media … Continue reading

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Karen Kriss – Tactility and the Changing Close-up




The continued evolution of film in the digital realm, and the increased reliance on CGI and VFX elements in Hollywood film, have made it imperative to analyse not just the effect of these on image production, but also on the … Continue reading

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Timothy Jones – Rhythm to Reliance: The Globalized Discourse of Indian Animation




In 2000 the Mumbai-based commercial graphics firm Crest Communications acquired the struggling Hollywood studio Rich Animation. Five years later, the combined companies signed a three-picture deal with Lions Gate starting with the 2010 feature Alpha and Omega (Bell and Gluck … Continue reading

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Sophie Mobbs – Intimate Scrutiny: Using Rotoscoping to Unravel the Auteur-Animator Beneath the Theory




Through steps such as these we can understand how it is, that as soon as some melancholy thought passes through the brain, there occurs a just perceptible drawing down of the corners of the mouth, or a slight raising up … Continue reading

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Cinzia Bottini – The Orchestration of Emotions in Jerzy Kucia’s Animation




“A film is about feeling.” Jerzy Kucia A lifelong “emotional animated documentary” on the Polish landscape Polish animator Jerzy Kucia’s films are about journeys – ordinary men and women travel from one place to another by different means of transport, … Continue reading

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