Category Archives: Volume 3

Volume 3, 2008

Van Norris – Taking an Appropriate Line




Exploring Representations of Disability within British Mainstream Animation   This article discusses how representations of disability operate within the mainstream animation narratives of the British Creature Discomfort series (2007-8). These images are constructed as a response to concerns about broader … Continue reading

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Laura Ivins-Hulley – The Ontology of Performance in Stop Animation




Kawamoto’s House of Flame and Švankmajer’s The Fall of the House of Usher Judy clubs Punch with a mallet. Jack the Pumpkin King decides to take Santa’s place one Christmas. Gumby foils the Blockheads’ plans, yet again. In each of … Continue reading

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Timo Linsenmaier – Why animation historiography?




Or: Why the commissar shouldn’t vanish “Truth is strange, stranger than fiction.” William Makepeace Thackeray, The tremendous adventures of Major Gahagan (Thackeray 1921, 1) In spring 2008, a vociferous discussion erupted on the Society for Animation Studies’ mailing list on … Continue reading

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Alan Cholodenko – The Spectre in the Screen




Theories of spectatorship and cinema are nothing new. In fact, they abound. On the other hand, theories of spectatorship and animation are still rare. Rarer still are theories that implicate animation and cinema, including in the area of spectatorship. For … Continue reading

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María Lorenzo Hernández – Visions of a Future Past




Ulysses 31, a Televised Re-interpretation of Homer’s Classic Myth This paper gives an overview of the animated series Ulysses 31 (1981), a French-Japanese co-production based on the epic poem The Odyssey, which introduced children and young audiences to Greek myths, … Continue reading

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Birgitta Hosea – TV 2.0




Animation Readership/Authorship on the Internet Introduction Traditional platforms for animation, such as broadcast television or cinema, are rapidly becoming obsolete as a new type of spectator demands more choice, the ability to interact with animated content and access to global … Continue reading

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Lynne Perras – “Steadier, happier, and quicker at the work”? Women in Canadian Animation




In the film industry, historically it seems to be a truism that women have not occupied major positions. Although they have participated in the profession, there has been a relatively small number of female producers, directors, and head writers for … Continue reading

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Sheuo Hui Gan – The Newly Developed Form of Ganime and its Relation to Selective Animation1 for Adults in Japan




Ganime is a new corporate project to develop the features of selective animation to provide a more flexible category of anime. Ganime was created jointly by Toei Animation and the publisher Gentosha. The overall project is to promote auteurism in … Continue reading

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Amy Ratelle – Half-breed Dog, Half-breed Film: Balto as Animelodrama




Linda Willams (1998) defines melodrama as “a peculiarly democratic and American form that seeks dramatic revelation of moral and emotional truths through a dialectic of pathos and action” (p. 42). This emphasis on moral and emotional truth, as opposed to … Continue reading

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