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Animation Studies

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

Category: Javad Khajavi – Decoding the Real: A Multimodal Social Semiotic Analysis of Reality in Animated Documentary

  • Volume 6
  • Javad Khajavi – Decoding the Real: A Multimodal Social Semiotic Analysis of Reality in Animated Documentary

Javad Khajavi – Decoding the Real: A Multimodal Social Semiotic Analysis of Reality in Animated Documentary

Posted on November 30, 2011August 10, 2012 by Timo Linsenmaier

Reality is what we take to be true. What we take true is what we believe. What we believe is based upon our perceptions. What we perceive depends upon what we look for. What we look for depends upon what we think. What we think depends upon what we perceive. What we perceive determines what […]

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Posted in Javad Khajavi - Decoding the Real: A Multimodal Social Semiotic Analysis of Reality in Animated DocumentaryTagged animated documentary, modality, multimodal analysis, reality, social semiotics, visual grammar
Articles
  • Volume 17
    • Giuseppe Gatti – Notes on Transnational Animation and the Pokémon Culture in South Park’s “Chinpokomon”
    • Sandeep Ashwath – Mythical Past, Animated Present
    • Emmett Redding – From Zeman to Gilliam: The Evolution of Mystimation
    • Rea Amit – The Legend of Prince Rama and the Emergence of an Indian Animé: A Japanese Mediation of the Sanskrit Epic
    • Elena Altheman – Adventure Time’s World-Building: Analyzing Its Opening Title Sequence and the Mobile Map
  • Maureen Furniss Award 2020
  • Volume 16
    • Sara Álvarez Sarrat – Innocent and Invisible: Women Behind Bars in Animated Documentaries
    • Ole Christoffer Haga – Film Style in Cinematic VR
    • Pedro Serrazina – Animation, Gentrification and Social Experience
    • Kristian Jared Robinson – Between a “Rock” and a Hard Place: The Hybridization of Analog and Digital in The Iron Giant
    • Elizaveta Shneyderman – Parameterization: On Animation and Future Corporealities
  • Volume 15
    • Alan Cholodenko – ‘Like Tears in Rain’: The Crypt, the Haunted House, of Animation and Memory in the Era of Hyperreality
    • Nea Ehrlich – Another Planet: Animation and Documentary Aesthetics in Mixed Realities
    • Debjani Mukherjee – Animated Documentary as a Social Tool
    • Dirk De Bruyn – Dancing into Acoustic Space
    • Yvonne Hennessy – Irish Women Modernists and Animation Practice as a Reclamation of Cultural and Artistic Space
    • Konstantinos Pappis – The Odd Ones Out: The Rise of YouTube Storytime Animation
    • Joan Ashworth – Animation is a refuge: ‘arrivants’ dwell in the stories of the mind
    • Jana Rogoff – Czech(oslovak) Animated Documentary on the Holocaust:The Visual Testimony of Helga Hošková-Weissová 1958/2011
    • María Lorenzo Hernández – Unanimated Voices: The Spanish Civil War as an emergent subject in Spanish animated short films
    • Lucy Baxter – The Mental Abuse Matters Project: Creative Practice in Animation and Live Action VR
    • Zilia Zara-Papp – Reinvention and Reimagination Brought to Life in Children’s Animation Adapted from Literature
    • Lisa Scoggin – Grief, Myth, and Music in Tomm Moore’s Song of the Sea
    • Henry Melki, Ian Montgomery & Greg Maguire – Beauty and The Beast: A Dynamic Relationship Between 3D animation and Adaption to Change
    • Jessica Rutherford – Challenges surrounding participatory practice research in Animation: The case of FASD affected participants
    • Vanessa Cambier – Slowing Down with Fast Films: The Animated Work of Sally Cruikshank
    • Marie-Josée Saint-Pierre – Quebec Animation Cinema and Women’s Agentivity
  • Maureen Furniss Award 2019
    • Grace Han – Back to Front: Animating Melodrama in Makoto Shinkai’s Garden of Words (winner)
    • Goolam Hassen – Race and Identity and the Celebration of Black Excellence (runner-up)
    • Robert Jones – ‘To become rich without limit’: Positioning the Miyazaki Antagonist within Technological Contexts of the Japanese Economic Miracle (runner-up)
  • 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
    • María Lorenzo Hernández – Through the Looking-Glass
    • Alison Loader – We're Asian, More Expected of Us
    • Van Norris – Touching cloth
    • Meg Rickards – Uncanny breaches, flimsy borders
    • Michael S. Daubs – Subversive or Submissive?
  • Volume 4
    • Alan Cholodenko – Animation (Theory) as the Poematic
    • Sheuo Hui Gan – To Be or Not to Be – Anime: The Controv
    • Max Bannah – Revolutionary cels: The Sydney waterfront,
    • Paul St. George – Using chronophotography to replace Pe
    • Adam de Beer – Kinesic constructions: An aesthetic ana
  • Volume 3
    • Laura Ivins-Hulley – The Ontology of Performance in Sto
    • Lynne Perras – Steadier, happier, and quicker at the wo
    • Sheuo Hui Gan – The Newly Developed Form of Ganime
    • María Lorenzo Hernández – Visions of a Future Past
    • Alan Cholodenko – The Spectre in the Screen
    • Timo Linsenmaier – Why animation historiography?
    • Van Norris – Taking an Appropriate Line
    • Amy Ratelle – Half-breed Dog, Half-breed Film
    • Birgitta Hosea – TV 2.0
  • Animated Dialogues
    • Dirk de Bruyn – Performing a Traumatic Effect
    • Adrian Martin – In the Sand a Line is Drawn
    • Katharine Buljan – The Uncanny and the Robot in the Ast
    • Matthew Butler & Lucie Joschko – Final Fantasy or T
    • Michael Broderick – Superflat Eschatology
    • Alan Cholodenko – (The) Death (of) the Animator, or: th
    • Miriam Harris – How Michaela Pavlatova both incorporate
    • Paul Wells – Battlefields for the Undead
    • Peter Moyes – Behind the Flash Exterior
    • Amanda Third & Dirk de Bruyn – An Animated Dialogue
    • Andrew Buchanan – Facial Expressions for Empathic Commu
    • Cathryn Vasseleu – The Svankmajer Touch
    • Cordelia Brown – Flowerpot Men
    • Zhi-Ming Su – Reaching Out to Touch
    • Dan & Lienors Torre – Recording Australian Animatio
  • Volume 2
    • Leslie Bishko – The Uses and Abuses of Cartoon Style in
    • Alan Cholodenko – (The) Death (of) the Animator, or: Th
    • Maria Lorenzo Hernandez – The Double Sense of Animated
    • Tom Klein – Animated Appeal
    • Caroline Ruddell – Breaking Boundaries
    • Pamela Turner – Early Connections Between Film and Emer
    • Gunnar Strøm – The Two Golden Ages of Animated M
  • Volume 1
    • Marina Estela Graça – Cinematic Motion by Hand
    • Pierre Floquet – What is (not) so French in Les Triplet
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