The Peer-reviewed Open Access Online Journal for Animation History and Theory – ISSN 1930-1928
Volume 2, 2007
Music videos have been being made since the mid 1960s and had their breakthrough in the mid 1970s. Since then it has been the main marketing tool for breaking new pop and rock artists in the international market. When MTV opened on August 1st 1981 by showing the video Video Killed the Radio Star (Russel […]
Making a “film” today rarely involves a journey to the lab as images are more often recorded digitally and not on celluloid. Even video’s electromagnetic record is transformed to bits and bytes. There is no frame to splice. The visual material exists as a virtual reference only. As McLuhan points out, new media doesn’t replace […]
“The cartoon is a playful art. […] A false devotion to the cinematic approach inexorably stifles the draftman’s imagination.” Lindvall & Melton (1997, p. 204) “Once upon a time, or maybe twice…” George Dunning, Yellow Submarine, 1968 Introduction Representation in the visual arts, such as cinematography – and in particular animation – contains a degree […]
Introduction “Cartoon style” in animation broadly refers to animation design and movement that adheres to the 12 Principles of Animation, defined and developed at the Disney Studios. The Principles evolved through trial and error, by observing motion on-screen and noting what aspects of animated movement served the believability of the characters. To this day, the […]
This article addresses the representation of unstable identity in examples of anime. Split identities in the cinema generally (live action and animation) are often indicative of specific cultural concerns or perhaps mediate contemporary attitudes towards issues of identity in society; the dichotomy that is often apparent in the animation discussed in this paper is that […]
A Difficulty in the Path of Animation Studies2 Before I set out on the work of this paper (Part II) I will briefly reprise Part I to orient the reader. Subtitled ‘Kingdom of Shadows’, Part I argues the singular importance of animation to cinema and to film, and the singular importance of death to animation, […]
Introduction The graphical style of children’s software has often strongly resembled that of traditional cel animation, yet the requirements for implementing graphics into computer games necessitated changes in the working practices of animators. In some of the earliest videogames for the home market, the means of creating sequential moving images was far removed from traditional […]