Category Archives: Volume 9

Victoria Grace Walden – Animation: Textural Difference and the Materiality of Holocaust Memory




The notion of “Holocaust animation” may seem paradoxical; how can a medium which, in the popular eye, is usually associated with comedy, play and fantasy be used to remember one of the 20th century’s most traumatic events? By examining the … Continue reading

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Alison Loader – Re:Animating Moths




The Animatic, The Death Drive and The Forest Tent Caterpillar One mid-September morning, Virginia Woolf sat watching a hay-coloured moth flit back and forth across her window, trying to escape into the promise of the warm autumn day. Vibrant despite … Continue reading

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Animating, Ani-Morphing and Un-ani-morphing of the Evolutionary Process in Carl Sagan’s Cosmos




Produced and hosted by astronomer and astrophysicist Carl Sagan, the television documentary mini-series Cosmos (1980) aimed to renew scientific interest among the general public, in light of the growing popularity of pseudo-scientific ideas, such as astrology. Since its original broadcast, … Continue reading

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Daisuke Akimoto – A Pig, the State, and War: Porco Rosso (Kurenai no Buta)




Introduction Historically, animated cartoons and movies have been used as ‘propaganda’ in war (Roffat 2011). Some animated films, however, contribute to conveying an anti-war pacifist point of view (Takai 2011). As such, the film Porco Rosso (1992) can be categorized … Continue reading

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Steve Fore – Waliczky in Wonderland




The Adventures of Tom Tomiczky in the Realm of Machinic Vision and Bodily Engagement Over the course of a distinguished career in experimental animation and digital art installations, Hungarian artist and animator Tamas Waliczky has earned an international reputation for … Continue reading

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Chris Carter – Digital Beings: An Opportunity for Australian Visual Effects




Ongoing innovation in digital animation and visual effects technologies has provided new opportunities for stories to be visually rendered in ways never before possible. Films featuring animation and visual effects continue to perform well at the box office, proving to … Continue reading

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Kirsten Thompson – “Quick–Like a Bunny!” The Ink and Paint Machine, Female Labor and Color Production




From the 1920s through the 1960s, the animation industry was a labor force segregated by gender, in which women were almost entirely restricted to the Inking and Paint department. Indeed, despite notable exceptions like Mary Blair and LaVerne Harding, Disney … Continue reading

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