The Peer-reviewed Open Access Online Journal for Animation History and Theory – ISSN 1930-1928
Film theorization, particularly classical film theory, has been obsessed with the concept of indexi-cality, the idea that cinema can capture the real world. From this concept has emerged theories that position realism as the essence of cinema. Film scholar Noël Carroll sees these arguments as based around a “medium specificity thesis,” in that classic film […]
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 […]
The ontological existence of animated-film characters depends on the whim and inspiration of their creators, which entails two major components. Firstly, the animator will explicitly appear in the cartoon and interfere within the animation, such as Emile Cohl’s or the Fleischer Brothers’ hands. Or else, in Tex Avery cartoons, references to the script are repeatedly […]