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Animation Studies

The Peer-reviewed Open Access Online Journal for Animation History and Theory – ISSN 1930-1928

Category: Melanie Hani, Roberta Bernabei & Antonia Liguori – The Good Hearts Model (GHM): an investigation into the extension of animation therapy; the GHM method with Digital Storytelling and Jewellery

  • Volume 14
  • Melanie Hani, Roberta Bernabei & Antonia Liguori – The Good Hearts Model (GHM): an investigation into the extension of animation therapy; the GHM method with Digital Storytelling and Jewellery

Melanie Hani, Roberta Bernabei & Antonia Liguori – The Good Hearts Model (GHM): an investigation into the extension of animation therapy; the GHM method with Digital Storytelling and Jewellery

Posted on May 28, 2019May 28, 2019 by Amy Ratelle, Editor

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 […]

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Posted in Melanie Hani, Roberta Bernabei & Antonia Liguori - The Good Hearts Model (GHM): an investigation into the extension of animation therapy; the GHM method with Digital Storytelling and Jewellery, Volume 14Tagged animation, art, Bereavement, Digital Storytelling, film, Jewellery, TherapyLeave a Comment on Melanie Hani, Roberta Bernabei & Antonia Liguori – The Good Hearts Model (GHM): an investigation into the extension of animation therapy; the GHM method with Digital Storytelling and Jewellery
Articles
  • Transnational Animation
    • Francis M. Agnoli & Rayna Denison – Introducing Transnational Animation: A Special Issue of Animation Studies
    • Dean Bowman – Playing Around with Studio Ghibli: Understanding the Remediated Meaning of Ni no Kuni: Wrath of the White Witch (2013) through its Transcultural Marketing Paratexts
    • Ian Friend – How does a Transnational Audience Factor in Character Design for Professional Broadcast Animation
    • James Mclean – Transmutation and Recolonization in Japanese Animation: Battle of the Planets and Anime’s Growth in the West
    • Helen McCarthy – Re-creating Anime History: The Development of British Anime Fandom and the Developing Comprehension of Anime History as a Transnational Phenomenon
    • Anna Martonfi & Julia Havas – Bedrock Behind the Iron Curtain: Transcultural Shifts in the Hungarian Dubbed Version of The Flintstones (1960-66)
    • Francis M. Agnoli – Building the Transcultural Fantasy World of Avatar
    • Ian Murphy & Saint John Walker – “Make it more invisible”: Hollywood VFX Training Crosstalk on the Transatlantic Fiber Optic
  • Volume 14
    • Ron Barbagallo – The Destino Animatic, and the Fate of Assembling Artistic Truths into a Greater Whole
    • Qing Sheng Ang – A painting-inspired approach to develop exploration in 3D animation visual style
    • Adriana Navarro-Álvarez – Kijé: The Long Path of a Co-Produced Animated Short Film
    • Qing Sheng Ang – The Introspective Merlion: Transculturalism in Singaporean Animation
    • Eli Boonin-Vail – Queer Proteus: Towards a Theory of the Animated Child
    • Eric Herhuth – The Animated Will: Intelligent Movement and Embodied Intentionality in Character Animation
    • Elke Reinhuber, Hannes Rall & Sebastian Pelz – Layered Images
    • Steve Weymouth – Good Robot, Bad Robot: Design for Social Robots Based on the Animation Principle of 'Appeal'
    • Carmen Hannibal – Metamorphic Identity Over Time: interpreting Priit Pärn’s Some Exercises in Preparation for Independent Life
    • Melanie Hani, Roberta Bernabei & Antonia Liguori – The Good Hearts Model (GHM): an investigation into the extension of animation therapy; the GHM method with Digital Storytelling and Jewellery
    • Cátia Peres – Liberated worlds: Construction of meaning in the universes of Hayao Miyazaki
  • Maureen Furniss Award 2018
    • Jason Douglass – In Search of a “New Wind”: Experimental, Labour Intensive and Intermedial Animation in 1950s and 60s Japan (winner)
    • Iveta Karpathyova – Rotoscoping Design for Bodily Technique and Interdisciplinary Research on Animation as Embodied Practice (runner-up)
    • Gary Wilson – The Glass Canvas: Approaching Digital Direct Under Camera Animation (runner-up)
  • Volume 13
    • Pedro Serrazina – Narrative Space: From Ozu to Paul Driessen and Raimund Krumme
    • Paritosh Singh – Animating Indianness: A study of assimilating Indian images in a western narrative
    • Rachel Walls – Waterline: A documentation of process & interdisciplinary collaboration between tranSTURM and blackhole-factory
    • Leila Honari – Reflecting on Proto-Animation Techniques in the Mandalic Forms of Persian Traditional Arts
  • Volume 12
    • Tariq Alrimawi – Uses of Arabic Calligraphy in Religious Animated Films
    • Rose Bond – Poetics and Public Projection: Layered History, Redrawn Memory
    • João Paulo Amaral Schlittler – Animation as a Transmedia Interface
    • Lienors Torre – Persona, Celebrity, and the Animated Object
    • Cátia Peres – Out of Gravity: Physics in animation and in the films of Hayao Miyazaki
  • Maureen Furniss Award 2017
    • Jacqueline Ristola – Realist Film Theory and Flowers of Evil: Exploring the Philosophical Possibilities of Rotoscoped Animation (winner)
    • Jason Douglass – Artist, Author, and Pioneering Motion Picture Animator: The Career of Helena Smith Dayton (runner-up)
  • Volume 11
    • Peter Moyes & Louise Harvey – She’s Not There: When New Illusions Meet Ol’ Time RealTtime; Mo-cap, Virtuality and Live Music Performance
    • Ellen Rocha – Beyond Materiality in Animation: Sensuous Perception and Touch in the Tactile Existence of "Would a Heart Die?"
    • Jacqueline Ristola – Recreating Reality: Waltz With Bashir, Persepolis, and the Documentary Genre
    • Dirk de Bruyn – Re-processing The Mystical Rose
    • James Frost – Jan Švankmajer: Film as Puppet Theatre
    • Andi Spark – Pursuing the Animatrix: Musings on Defining a Term to Describe Woman-Centered Animation
    • Karen Kriss – Tactility and the Changing Close-up
    • Timothy Jones – Rhythm to Reliance: The Globalized Discourse of Indian Animation
    • Sophie Mobbs – Intimate Scrutiny: Using Rotoscoping to Unravel the Auteur-Animator Beneath the Theory
    • Alan Cholodenko – The Expanding Universe of Animation (Studies)
    • Cinzia Bottini – The Orchestration of Emotions in Jerzy Kucia’s Animation
    • Rachel Walls – Abstract Inclusion
    • Pedro Serrazina – Spatial constructions: A practitioner’s view of animated space
    • Jane Batkin – Rethinking the Rabbit: Revolution, Identity and Connection in Looney Tunes
  • Volume 10
    • Alan Cholodenko – The Animator as Artist, The Artist as Animator
    • Kay Kane – Animation as Conservation: Classical Values in Contemporary Practice
    • João Paulo Amaral Schlittler – Motion Graphics and Animation
    • Beatriz Herráiz Zornoza – Dot: Animation in theatre for children
    • Samantha Haggart – Nature and Technological Innovation in the Films of Iurii Norshtein
    • Terence Dobson – Norman McLaren Beyond 100
    • Nichola Dobson – Dancing to rhythm of the music: Norman McLaren, the body and performance
  • Volume 9
    • Victoria Grace Walden – Animation: Textual Difference and the Materiality of Holocaust Memory
    • Alison Loader – Re:Animating Moths
    • Raz Greenberg – Animating, Ani-Morphing and Un-ani-morphing of the Evolutionary Process in Carl Sagan’s Cosmos
    • Daisuke Akimoto – A Pig, the State, and War: Porco Rosso
    • Steve Fore – Waliczky in Wonderland: The Adventures of Tom Tomiczky in the Realm of Machinic Vision and Bodily Engagement
    • Chris Carter – Digital Beings: An Opportunity for Australian Visual Effects
    • Kirsten Thompson – "Quick–Like a Bunny!" The Ink and Paint Machine, Female Labor and Color Production
  • Volume 8
    • Dietmar Meinel – "Space: The Final Fun‐tier” – Returning Home to the Frontier in Pixar’s WALL‐E
    • Brad Yarhouse – Animation in the street: The seductive silence of Blu
    • Heather L. Holian – Art, Animation and the Collaborative Process
    • Jane Shadbolt – Parallel Synchronised Randomness: Stop-motion Animation in Live Action Feature Films
  • Volume 7
    • Sara Álvarez Sarrat and María Lorenzo Hernández – How Computers Re-Animated Hand-Made Processes and Aesthetics for Artistic Animation
  • Volume 6
    • Yen-Jung Chang – Strategies for a Reduction to 2D Graphical Styles in 3D Computer Graphics with Hybrid Aesthetics
    • Aimee Mollaghan – "An Experiment in Pure Design:" The Minimalist Aesthetic in the Line Films of Norman McLaren
    • Colleen Montgomery – Woody's Roundup and Wall-E's Wunderkammer
    • Hannes Rall – Tradigital Mythmaking: New Asian Design Ideas for Animation
    • Javad Khajavi – Decoding the Real: A Multimodal Social Semiotic Analysis of Reality in Animated Documentary
    • Maria O’Brien – The Secret of Kells (2009), a film for a post Celtic Tiger Ireland?
    • Nea Ehrlich – Animated Documentaries as Masking
    • Pierre Floquet – Actors in Sin City’s Animated Fantasy
    • Samantha Moore – Animating unique brain states
    • Shannon Brownlee – Masculinity Between Animation and Live Action, or, SpongeBob v. Hasselhoff
    • Sheuo Hui Gan – The Transformation of the Teenage Image in Oshii Mamoru’s The Sky Crawlers
  • Volume 5
    • Alison Loader – We're Asian, More Expected of Us
    • María Lorenzo Hernández – Through the Looking-Glass
    • Meg Rickards – Uncanny breaches, flimsy borders
    • Michael S. Daubs – Subversive or Submissive?
    • Van Norris – Touching cloth
  • Volume 4
    • Adam de Beer – Kinesic constructions: An aesthetic ana
    • Alan Cholodenko – Animation (Theory) as the Poematic
    • Max Bannah – Revolutionary cels: The Sydney waterfront,
    • Paul St. George – Using chronophotography to replace Pe
    • Sheuo Hui Gan – To Be or Not to Be – Anime: The Controv
  • Volume 3
    • Alan Cholodenko – The Spectre in the Screen
    • Amy Ratelle – Half-breed Dog, Half-breed Film
    • Birgitta Hosea – TV 2.0
    • Laura Ivins-Hulley – The Ontology of Performance in Sto
    • Lynne Perras – Steadier, happier, and quicker at the wo
    • María Lorenzo Hernández – Visions of a Future Past
    • Sheuo Hui Gan – The Newly Developed Form of Ganime
    • Timo Linsenmaier – Why animation historiography?
    • Van Norris – Taking an Appropriate Line
  • Animated Dialogues
    • Cathryn Vasseleu – The Svankmajer Touch
    • Cordelia Brown – Flowerpot Men
    • Dan & Lienors Torre – Recording Australian Animatio
    • Dirk de Bruyn – Performing a Traumatic Effect
    • Katharine Buljan – The Uncanny and the Robot in the Ast
    • Matthew Butler & Lucie Joschko – Final Fantasy or T
    • Michael Broderick – Superflat Eschatology
    • Miriam Harris – How Michaela Pavlatova both incorporate
    • Paul Wells – Battlefields for the Undead
    • Peter Moyes – Behind the Flash Exterior
    • Zhi-Ming Su – Reaching Out to Touch
    • Adrian Martin – In the Sand a Line is Drawn
    • Alan Cholodenko – (The) Death (of) the Animator, or: th
    • Amanda Third & Dirk de Bruyn – An Animated Dialogue
    • Andrew Buchanan – Facial Expressions for Empathic Commu
  • Volume 2
    • Alan Cholodenko – (The) Death (of) the Animator, or: Th
    • Caroline Ruddell – Breaking Boundaries
    • Gunnar Strøm – The Two Golden Ages of Animated M
    • Leslie Bishko – The Uses and Abuses of Cartoon Style in
    • Maria Lorenzo Hernandez – The Double Sense of Animated
    • Pamela Turner – Early Connections Between Film and Emer
    • Tom Klein – Animated Appeal
  • Volume 1
    • Marina Estela Graça – Cinematic Motion by Hand
    • Pierre Floquet – What is (not) so French in Les Triplet
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