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  exceedingly interesting to perform the impossible.” “Astound me!” (Serge Diaghilev, 1909-1929; Director of The Ballets […]

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 a more sensuous perception of the tangible by the viewer, that is, the elicitation of […]

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 in the present; we are practically drowning in the past. (Nicholas Rombes 2009, p. 96) […]

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) This essay explores the animation practice of Australian filmmaker Michael Lee, whose career spans the […]

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. actually pulling strings) and animated using stop motion techniques. This paper will explore his relationship […]

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 Design, which included video, photography, graphic design and animation, along with extensive studies in art […]

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 narrative techniques within cinema. Contemporary films now contain a significant proportion of computer graphics; at […]

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 2010). This was an audacious move for the newly minted Crest Animation, a studio that […]

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 of the inner ends of the eyebrows, or both movements combined, and immediately afterwards a […]

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, such as a train as in Return (Powrót, 1972), a bicycle as in The Barrier […]