Pub Date : 2022-03-01DOI: 10.1177/17468477221085411
M. Peters
Before 1940, the influence of foreign films, filmmakers and film networks on film culture in the Netherlands was substantial. This article investigates how various Dutch professionals within the fields of film production, distribution, exhibition and reception referred to animation film, in a period when this term was not part of the Dutch language. From early on, animation film was recognized as being ‘intrinsically different’ from live-action film and, along with the gradual emergence of this new artistic form, a corresponding language to support it evolved, influenced by language contacts in various contexts in the multilingual landscape in Europe. From the first singular appearances in 1913, a more form-specific terminology had gradually developed by 1940. During the same time, animation film steadily proceeded to occupy its permanent place in Dutch film culture.
{"title":"From ‘Trucfilm’ to ‘Animatiefilm’: How the Emergence of Animation as a New Artistic Form Is Reflected in Dutch Terminology","authors":"M. Peters","doi":"10.1177/17468477221085411","DOIUrl":"https://doi.org/10.1177/17468477221085411","url":null,"abstract":"Before 1940, the influence of foreign films, filmmakers and film networks on film culture in the Netherlands was substantial. This article investigates how various Dutch professionals within the fields of film production, distribution, exhibition and reception referred to animation film, in a period when this term was not part of the Dutch language. From early on, animation film was recognized as being ‘intrinsically different’ from live-action film and, along with the gradual emergence of this new artistic form, a corresponding language to support it evolved, influenced by language contacts in various contexts in the multilingual landscape in Europe. From the first singular appearances in 1913, a more form-specific terminology had gradually developed by 1940. During the same time, animation film steadily proceeded to occupy its permanent place in Dutch film culture.","PeriodicalId":43271,"journal":{"name":"Animation-An Interdisciplinary Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46119427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-01DOI: 10.1177/17468477221085619
Rada Bieberstein, Erwin Feyersinger
Animation is strongly metamorphic. Not only in the sense of the omnipresent audiovisual and narrative changes we encounter in animated images, but it is animation itself that constantly transforms, shifts and expands (Wells and Hardstaff, 2008: 16). Therefore, our artistic and theoretical conceptions of animation constantly morph as well. These paradigmatic changes are further fuelled by the rapid emergence of new media technologies and their cultural implications (see, for example, Leslie and McKim, 2017). To account for this metamorphic nature of the field, it is helpful to conceive animation not as one single phenomenon but rather as a multitude of phenomena that are connected, in Ludwig Wittgenstein’s sense, by Familienähnlichkeit (which is usually translated as family resemblance), i.e. by overlapping features that are not necessarily shared by all phenomena (Wittgenstein, 1999: 31–32). In relation to historiography, a recognition of animation’s heterogeneity offers a fresh look at what we call animation history and paves the way for writing the histories of new and overlooked forms, contexts and uses of animation both according to their own unique features and in relation to other forms, contexts and uses. For writing the histories of animation, an ever-expanding and changing understanding of the field poses many challenges and offers as many opportunities as this Special Issue aims at exploring. The Special Issue is framed by our own contribution, which discusses various historiographical approaches to account for a continuously transforming understanding of animation. We survey discourses on historiography in animation studies, trace the impact of new film history and media archaeology on rethinking animation historiography, and point out a few lessons we can learn from ongoing debates in art history and media art history. Conceiving historiography as an interdisciplinary endeavour, we look at how history is written in performance studies and the history of science, two exemplary fields of visual culture where animation plays an important role but is usually only mentioned in passing. Finally, we show what can be gained from studying the histories of what has been perceived as marginal forms of animation, exemplified by motion graphics and animation in
{"title":"Introduction to the Special Issue: New Perspectives on Animation Historiography","authors":"Rada Bieberstein, Erwin Feyersinger","doi":"10.1177/17468477221085619","DOIUrl":"https://doi.org/10.1177/17468477221085619","url":null,"abstract":"Animation is strongly metamorphic. Not only in the sense of the omnipresent audiovisual and narrative changes we encounter in animated images, but it is animation itself that constantly transforms, shifts and expands (Wells and Hardstaff, 2008: 16). Therefore, our artistic and theoretical conceptions of animation constantly morph as well. These paradigmatic changes are further fuelled by the rapid emergence of new media technologies and their cultural implications (see, for example, Leslie and McKim, 2017). To account for this metamorphic nature of the field, it is helpful to conceive animation not as one single phenomenon but rather as a multitude of phenomena that are connected, in Ludwig Wittgenstein’s sense, by Familienähnlichkeit (which is usually translated as family resemblance), i.e. by overlapping features that are not necessarily shared by all phenomena (Wittgenstein, 1999: 31–32). In relation to historiography, a recognition of animation’s heterogeneity offers a fresh look at what we call animation history and paves the way for writing the histories of new and overlooked forms, contexts and uses of animation both according to their own unique features and in relation to other forms, contexts and uses. For writing the histories of animation, an ever-expanding and changing understanding of the field poses many challenges and offers as many opportunities as this Special Issue aims at exploring. The Special Issue is framed by our own contribution, which discusses various historiographical approaches to account for a continuously transforming understanding of animation. We survey discourses on historiography in animation studies, trace the impact of new film history and media archaeology on rethinking animation historiography, and point out a few lessons we can learn from ongoing debates in art history and media art history. Conceiving historiography as an interdisciplinary endeavour, we look at how history is written in performance studies and the history of science, two exemplary fields of visual culture where animation plays an important role but is usually only mentioned in passing. Finally, we show what can be gained from studying the histories of what has been perceived as marginal forms of animation, exemplified by motion graphics and animation in","PeriodicalId":43271,"journal":{"name":"Animation-An Interdisciplinary Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43759684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-01DOI: 10.1177/17468477221080108
Rada Bieberstein, Erwin Feyersinger
Accounting for animation’s pervasiveness, heterogeneity and intermediality, this article reflects conceptions of animation historiography. It brings together contemporary perspectives and methods in the research of animation history/historiography, and considers tangible approaches outside animation studies. Particular attention is paid to materials and aspects that are overlooked and non-canonical. The authors conceptualize animation historiography in the shape of a rhizome, enabling a better understanding of the relations between canonical aspects and fringes, and enriching the dialogue between the various disciplines, actors and institutions writing the histories of animation. Following a look at the current state of debate about animation history/histories and historiography in animation studies, the article surveys pertinent debates in film studies, art history and media art history. It then discusses historical research in performance studies and in the history of science, both concerned with fields where animation is often marginalized, as well as animation-related research on motion graphics and useful cinema, themselves under-researched topics, for perspectives to reconceptualize animation history. Media archaeology, its approaches and methodology, will be addressed repeatedly from the perspectives of the different disciplines and areas. The article is conceived as an ‘open paper’, understood as an invitation to further discuss animation historiography on a metalevel.
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Pub Date : 2022-03-01DOI: 10.1177/17468477221087164
Tashi Petter
This article reflects on the complexities of doing animation history in relation to Lotte Reiniger, perhaps the most famous and prolific woman in animation but a figure who has been mythologized, marginalized and excluded from traditional film historical accounts. Beginning with a survey of existing scholarship, this article introduces the possibility of reading Reiniger as an ‘anachronist’ – one out of harmony with her own time – by drawing on the emerging field of media archaeology. The idea of Reiniger ‘out of time’ prompted a series of film society reconstructions, re-imagined from surviving archival materials (programmes, newspaper cuttings, letters) and presented to contemporary audiences on 16 mm and 35 mm prints. This article will reflect on the research, development and delivery of the re-enactments, bringing these experiments into dialogue with writings on media archaeology, reconstruction and performance theory. Film reconstructions are presented as a form of feminist media archaeology, which can offer an alternative to traditional chronological history.
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Pub Date : 2022-03-01DOI: 10.1177/17468477221085511
M. Soares
The leading Portuguese modernist José de Almada Negreiros (1893–1970) often interacted with cinema and was particularly captivated by animation. While Almada’s stay in Madrid – from 1927 to 1932 – was marked by a magic lantern show and echoes of cut-out animation in his visual works, his presentation on Disney at the premiere of Snow White and the Seven Dwarfs in Lisbon is a milestone of the reception of animation in Portugal. Drawing upon current art historiographical debates, this article addresses the case of Almada as a way to reconstruct the history of the reception of animation in peripheral countries. Simultaneously, it highlights the importance of interdisciplinarity, the intertwinement between history and theory, as well as the support of archival research.
{"title":"Modernism and Discourses on Animation in 1930s Portugal: The Case of José de Almada Negreiros","authors":"M. Soares","doi":"10.1177/17468477221085511","DOIUrl":"https://doi.org/10.1177/17468477221085511","url":null,"abstract":"The leading Portuguese modernist José de Almada Negreiros (1893–1970) often interacted with cinema and was particularly captivated by animation. While Almada’s stay in Madrid – from 1927 to 1932 – was marked by a magic lantern show and echoes of cut-out animation in his visual works, his presentation on Disney at the premiere of Snow White and the Seven Dwarfs in Lisbon is a milestone of the reception of animation in Portugal. Drawing upon current art historiographical debates, this article addresses the case of Almada as a way to reconstruct the history of the reception of animation in peripheral countries. Simultaneously, it highlights the importance of interdisciplinarity, the intertwinement between history and theory, as well as the support of archival research.","PeriodicalId":43271,"journal":{"name":"Animation-An Interdisciplinary Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49090049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.1177/17468477211049354
T. W. Whyke, Joaquin Lopez Mugica, M. Brown
In this article, the authors explore the popular animation Nezha (2019), examining the idea that it typifies the ‘national style’. Expanding the work of other scholars who have demonstrated the changeability of the ‘national style’, here they examine this notion in regard to the way in which Nezha (2019) represents ‘Chineseness’ at this particular socio-political moment. Methodologically, they focus their analysis largely upon the film’s narrative and aesthetics, drawing on a number of reviews as counterpoints for the way in which it was interpreted to situate it in popular discourses. The authors argue that Nezha (2019) presents a national image in which traditions and modernity are interwoven, and the focus upon the ‘technological’ – its digitality – constitutes a refiguring of animation in China as symbolic of modernity. Narratively and aesthetically mediating between the past and the present, Nezha (2019) embodies a ‘national style’ which is on one hand hybrid in its inter/nationality, but also culturally delimited in terms of which cultural heritages are held up as emblematic of the nation.
{"title":"Contemporizing the National Style in Chinese Animation: The Case of Nezha (2019)","authors":"T. W. Whyke, Joaquin Lopez Mugica, M. Brown","doi":"10.1177/17468477211049354","DOIUrl":"https://doi.org/10.1177/17468477211049354","url":null,"abstract":"In this article, the authors explore the popular animation Nezha (2019), examining the idea that it typifies the ‘national style’. Expanding the work of other scholars who have demonstrated the changeability of the ‘national style’, here they examine this notion in regard to the way in which Nezha (2019) represents ‘Chineseness’ at this particular socio-political moment. Methodologically, they focus their analysis largely upon the film’s narrative and aesthetics, drawing on a number of reviews as counterpoints for the way in which it was interpreted to situate it in popular discourses. The authors argue that Nezha (2019) presents a national image in which traditions and modernity are interwoven, and the focus upon the ‘technological’ – its digitality – constitutes a refiguring of animation in China as symbolic of modernity. Narratively and aesthetically mediating between the past and the present, Nezha (2019) embodies a ‘national style’ which is on one hand hybrid in its inter/nationality, but also culturally delimited in terms of which cultural heritages are held up as emblematic of the nation.","PeriodicalId":43271,"journal":{"name":"Animation-An Interdisciplinary Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44987966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.1177/17468477211050974
Terrie Man-chi Cheung
Independent animation is a marginal media form in China, and studies describe how both Chinese artists and scholars of film studies have only started to practice or construct this genre and popular cinema since the 1990s, especially after the Shanke (Chinese Flash animators, 閃客) phenomenon. In this article, the existing discourse of independent animation in contemporary China is critically analyzed by studying mainly what is said and written by the local practitioners and scholars in China. The author’s analysis is based on the assumption that animation should be taken ‘as an art form’, which should be able to express itself freely without any external constraints or intervention by others. Hence, the focus should be placed on the ultimate purpose and meaning of art along with the form. Among the various types of discourses constructed by practitioners, the author argues that the discourse constructed by the contemporary Chinese art scene should be encouraged to keep the nature of independent works so as to give voice to true, personal and inner values, and expressions that are outside the institutionalized and dominating discourse or framework.
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Pub Date : 2021-11-01DOI: 10.1177/17468477211056402
Suzanne H. Buchan
In the articles in this issue, we have two main foci: sound in animation, and national cinemas and styles. Sound is a formal element of animation (and other types of filmmaking) that, considering its emotional impact and affective power on audiences, has been underrepresented in scholarly research, although this has changed positively in the past decade. The first three articles pursue a shared interest in sound, albeit from very different approaches and positions (two include the often discussed method of ‘mickey-mousing’). In ‘Grains of Sound: Visual and Sonic Textures in Sand or Peter and the Wolf’, Amy Skjerseth begins by pointing out that animation studies needs new and up-to-date models for sound, and should pay similar attention to sound tracks as we do to the image track. Her attention is directed at one film and the director’s collaboration with her composer, to explore how and why the materiality of sound – specifically, sonic materials – enhances the vitality of films’ sand-formed figures and objects. Skjerseth’s proposal is that, rather than the mimicry of mickey-mousing, the film’s sound track emphasizes Eisenstein’s concept of plasmaticness, enhanced by her notion of granularity, through the artist and composer’s improvisations in their symbiotic creative processes. Her discussion has a valuable concentration on the actual manual and material workings of Leaf’s various under-the-camera techniques and the inherent performativity of the straight-ahead method it entails, in particular the fluid granularity of sand. After an explanation of the nuances of timbre, she then turns to an examination of the composer’s work and what she calls ‘grains of sound’ that are experienced multimodally; this is as comparably detailed in method, materiality (analogue and digital) and process as the analysis of Caroline Leaf. Considering the enduring and historical prevalence of tactile and fluid, crispy or crunchy artistic media used in animation, Skjerseth’s microanalysis of the audio and image tracks – and their creation – of single film is to be congratulated: it is detailed and comprehensive, and her notion of ‘granular modulation’ offers a valuable model for others. Indeed, she also suggests a number of experimental animators’ works that could be examined through a similar method. Her suggestion to view the work (and indeed any film) without the sound is one that teachers of animation should be encouraged to follow. An added delight in this article are the multiple word plays, metaphors and turns of phrase employing the lexeme ‘grain’. A Joseph Dial’s ‘“The Blackest Disney Movie of all Time!” A Goofy Movie and the Production of “Film Blackness”’ is less an investigation of Black representation, and more a proposition for how a Black reading of a film that does not work with visible representation of Blackness is possible. Dial does this through a set of approaches to and propositions on the 1995 film that include troubled stereotypes, the coding of
在本期的文章中，我们有两个主要关注点：动画中的声音，以及国家影院和风格。声音是动画（和其他类型的电影制作）的一个正式元素，考虑到它对观众的情感影响和情感力量，在学术研究中的代表性不足，尽管这在过去十年中发生了积极的变化。前三篇文章追求对声音的共同兴趣，尽管方法和立场非常不同（其中两篇包括经常讨论的“mickey mousing”方法）。Amy Skjerseth在《声音的颗粒：沙子或彼得与狼中的视觉和声音纹理》一书中首先指出，动画研究需要新的、最新的声音模型，应该像关注图像音轨一样关注音轨。她的注意力集中在一部电影上，以及导演与作曲家的合作，探索声音的物质性——特别是声音材料——如何以及为什么会增强电影中沙子形成的人物和物体的活力。Skjerseth的建议是，这部电影的音轨强调了爱森斯坦的等离子体性概念，而不是模仿米奇老鼠，通过艺术家和作曲家在共生的创作过程中的即兴创作，她的粒度概念增强了等离子体性。她的讨论非常集中于Leaf各种镜头下技术的实际手动和材料工作，以及它所带来的直接方法的固有性能，特别是沙子的流体粒度。在解释了音色的细微差别后，她转而审视作曲家的作品，以及她所说的多模态体验的“声音颗粒”；这在方法、实质性（模拟和数字）和过程上与Caroline Leaf的分析一样详细。考虑到动画中使用的触觉和流畅、清脆或松脆的艺术媒介的持久和历史流行，Skjerseth对单部电影的音频和图像轨迹及其创作的微观分析值得祝贺：它是详细和全面的，她的“颗粒调制”概念为其他人提供了一个有价值的模型。事实上，她还提出了一些实验动画师的作品，可以通过类似的方法进行检查。她建议在没有声音的情况下观看作品（甚至任何电影），这是应该鼓励动画老师遵循的建议。这篇文章中的一个额外的乐趣是使用词位“grain”的多词游戏、隐喻和短语转折。约瑟夫·戴尔（Joseph Dial）的《有史以来最黑的迪士尼电影！》（The Blackest Disney Movie of all Time。戴尔通过对1995年这部电影的一系列方法和主张做到了这一点，其中包括令人困扰的刻板印象、现实和迪士尼超现实风格的编码、将电影中的动画师视为技术表演者，以及他所描述的美国动画片中“吟游诗人的隐藏历史”。重点是电影对黑人音乐的使用，通过电影中唯一可读的黑人角色Powerline的音乐家角色来解读，强调了充满活力的真实性。在一系列作者的讨论基础上，Dial挑战并澄清了概念、术语和术语，例如区分电影中黑人的整体表现与丰富复杂的种族表达。Dial融合了他的1056402 ANM0010.1177/1768477211056402动画编辑编辑2021
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Pub Date : 2021-11-01DOI: 10.1177/17468477211049364
Victor Navarro-Remesal
Optical toys have long been relegated to being museum pieces in the prehistory of cinema, whether they are live action or animated. In their time, they were, however, not only things to be seen, to be looked at, but playthings – things to be played with. More importantly, they were radically new. Meeting them, just as precursors to cinema now, it may be hard to imagine them as challenges to the media ecology of their time, full of promises, fears and reception debates. Helping us to imagine that is precisely what Meredith A Bak’s very exciting and thought-provoking Playful Visions: Optical Toys and the Emergence of Children’s Media Culture sets out to do. Published under the dual categories of ‘education and media’, the book’s interdisciplinary approach to optical toys in their original 19thand early 20th-century contexts makes it relevant for scholars outside of childhood studies as well, such as game and play studies or, more importantly, animation studies. Although it is not framed within film and animation studies, its archival and media-archaeological treatment of optical toys challenges us to rethink these early predecessors of animation under a new, more nuanced light. Bak’s interest in archival and phenomenological foci brings her study closer to a history of the ideas of (educational) toys and of vision in the century before the advent of screen media. In this, optical toys were the cultural space that paved the way for the coming media, their spectators, their industries and their public discussion. Given the complex way that Bak tackles an already complex subject, the best way to understand the book is by going through its contents. The chapters are structured in a more or less linear order, although the book is not constructed merely as a catalogue of inventions. Chapter 1, ‘Templates, Toys, and Text: Optical Toys in Nineteenth-Century Children’s Culture’, explores the ways that optical toys were introduced and distributed through venues like the juvenile print market. The next three chapters give us a more in-depth look at specific toys. Chapter 2, ‘Language in Motion: The Thaumatrope Establishes a Multimedia Convention’, investigates the thaumatrope, while Chapter 3, ‘Seeing Things: Optical Play at Home’, focuses on domestic uses of toys such as the zoetrope or the phenakistoscope. Chapter 4, ‘Moveable Toy Books and the Culture of Independent Play’, deals with a media format that is rather under-researched: the moveable toy book. This shows the breadth of Bak’s ‘ludic archive’, and highlights general historical trends such as the conquest of domestic space and the conception of leisure time for children apart from adults. The following chapters deal more directly with the application of optical toys in pedagogic projects. Chapter 5, ‘Color Education: From the Chaotic Kaleidoscope to the Orderly Spectrum’, shows the industry and theories built around the pedagogy of colour, in part as a response to 1049364 ANM0010.1177/17468477211049
光学玩具在电影史上一直被归为博物馆藏品，无论是真人版还是动画版。然而，在他们的时代，它们不仅是可以被看到、被观看的东西，也是可以玩耍的东西。更重要的是，它们是全新的。与他们会面，就像现在电影的先驱一样，很难想象他们是对他们那个时代媒体生态的挑战，充满了承诺、恐惧和接受辩论。帮助我们想象这正是Meredith A Bak的《有趣的愿景：光学玩具和儿童媒体文化的兴起》所要做的。该书以“教育和媒体”的双重类别出版，这本书在19世纪和20世纪初对光学玩具的跨学科研究使其与儿童研究之外的学者也很相关，比如游戏和游戏研究，或者更重要的是，动画研究。尽管它没有被纳入电影和动画研究，但它对光学玩具的档案和媒体考古处理，让我们在一个新的、更微妙的视角下重新思考这些早期的动画前辈。Bak对档案和现象学焦点的兴趣使她的研究更接近于屏幕媒体出现之前的一个世纪的（教育）玩具和视觉思想的历史。在这方面，光学玩具是为即将到来的媒体、观众、行业和公众讨论铺平道路的文化空间。考虑到Bak处理一个已经很复杂的主题的复杂方式，理解这本书的最好方法是仔细阅读它的内容。章节的结构或多或少是线性的，尽管这本书不仅仅是一个发明目录。第一章“模板、玩具和文本：19世纪儿童文化中的光学玩具”探讨了光学玩具通过青少年印刷市场等场所引入和分销的方式。接下来的三章让我们更深入地了解具体的玩具。第2章“运动中的语言：Thaumatrope建立多媒体公约”研究了Thaumatrope，而第3章“看东西：在家里玩光学游戏”则关注了zoetrope或phenakistoscope等玩具在国内的使用。第4章，“可移动玩具书和独立游戏文化”，涉及一种研究不足的媒体形式：可移动玩具书籍。这显示了Bak“荒唐档案”的广度，并突出了一般的历史趋势，如对家庭空间的征服以及儿童与成年人以外的休闲时间的概念。以下章节更直接地讨论了光学玩具在教学项目中的应用。第5章“色彩教育：从混乱的万花筒到有序的光谱”展示了围绕色彩教育学构建的行业和理论，部分是对1049364 ANM0010.1177/1768477211049364动画书评2021的回应
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