Pub Date : 2020-07-01DOI: 10.1177/1746847720937445
Myria Christophini
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Pub Date : 2020-03-01DOI: 10.1177/1746847719898784
Antonio Loriguillo-López, J. A. Palao-Errando, J. Marzal-Felici
Although identified as a feature of the film by both critics and researchers, the narrative complexity of Perfect Blue (Satoshi Kon, Madhouse, 1997) has been ambiguously defined. In this article, the authors examine the complex narration in Kon’s first feature film, equivocal and obscure in its more confusing points, through a narratological analysis of the film’s most ambiguous scenes. Using cognitive film theory as introduced by David Bordwell and Edward Branigan, they link its approach in terms of the modulation of information flow throughout the film – high knowledgeability, high self-consciousness and (occasionally) low communicativeness – with the conventions of the slasher genre. Their analysis of the more perplexing scenes in Perfect Blue is reinforced by monitoring the veiled changes of focalization between the film’s three focalizers: Mima, Uchida (aka Me-Mania) and Rumi. In order to do this, they explore how the narration – in the tradition of contemporary puzzle films – makes use of judgements, preconceptions and cognitive illusions in the spectators’ activity to conceal Rumi’s involvement in the persecution of Mima and the murders committed. In the conclusion, they associate the film’s complex narration with its critical commentary on the representation of Japanese pop idols (and former idols) and the state of audiovisual entertainment in Japan.
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Pub Date : 2020-03-01DOI: 10.1177/1746847719898851
Maria Pagès
During the 1940s, the Spanish animation industry based in Barcelona reached a high technical level. Despite the Franco dictatorship and austerity following the Spanish Civil War, the Catalan animation industry produced feature-length films that bore comparison with those made elsewhere in Europe. This article looks at the reasons for and the nature of Barcelona’s Golden Age of Animation, and follows the steps on the industry’s path to technical mastery. The author revisits the history of the Spanish Golden Age of Animation (which lasted from 1939 to 1951) in the context of the international animation scene at the time.
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Pub Date : 2020-03-01DOI: 10.1177/1746847719900456
Andrew Buchanan
Animation studies seems not to shy away from disciplinary identity inquiries, driven perhaps, at least peripherally, by the rapid developments in its technology, practices, industry and evolutions as a medium of expression throughout its history, and perhaps more centrally by its expansion as a discipline of academic inquiry in more recent history. Of note in this ongoing discussion is the question of categorizing animation (and animation studies) in relation to film (and film studies) evident in Alan Cholodenko’s ‘The Animation of Cinema’ (2008), Donald Crafton’s ‘Veiled Genealogies of Animation and Cinema’ (2011) and Karen Beckman’s Animating Film Theory (2014). Animation studies maintains somewhat similar relationships with media studies, visual arts, and newer fields, including the study of games and emerging interactive technologies. Unlike other artforms or creative media that may be defined by a discrete set of materials or practices, animation is defined by an exceptionally broad phenomenon – the ‘breathing into’ of life: the perception of mobility and motion. Questions about how to define and contextualize the study of animation as artefact, practice and cultural phenomenon are ongoing concerns. In Pervasive Animation, Suzanne Buchan notes the peculiar homonymic stance of ‘animation’, which exists both as technology and as artistic medium. The premise of this collection is to embrace the heterogeneity of animation, and present a corpus of positions that collectively contends that there is more to animation studies than intra-disciplinary concerns, that animation offers a fundamental access point into moving image culture at large. It both adopts theories and practices from other fields, and carries its conceptual concerns back into the world. The collection of chapters covers a range of topics and theoretical approaches. Alongside the expected considerations of animation craft, technology, materiality and history, there is a rich vein of animation philosophy. As is typical of edited collections of this quality, the heavy lifting of providing an overview of the chapters and the theoretical rivers that flow through them is amply provided in Buchan’s introduction that highlights the stated strategy of the AFI Film Readers collection: to embrace the plurality of approaches across related disciplines. The volume is organized into five sections: Mechanics and Magic; Material Culture; Life and Non-life; History, Documentary and Truth; and finally, Display, Process and Practice. There is something of a conundrum in segmenting the contributions within the theoretical proposition that animation is ‘pervasive’. 900456 ANM0010.1177/1746847719900456animation: an interdisciplinary journalBook review book-review2019
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Pub Date : 2020-03-01DOI: 10.1177/1746847720909562
Suzanne H. Buchan
We are always a year older than our birth year on the day of our birth. Fifteen years ago, the inaugural issue of animation: an interdisciplinary journal was delivered to our long-serving copyeditor, Jane Price, at the Sage London offices in Old Street. It was transported in a carefully arranged set of folders using the technology of that time, a far cry from today’s instant uploads and file transfers: all materials were compiled on CDs accompanied by a stack of printouts in case the data was corrupted or unreadable – not unusual in the day. The issue’s content reflected our global and interdisciplinary aims, with articles examining chronophotography, animated architecture, multiplane cinema, South Korean Animation, speculation on animation as a hybrid form, and the application of psychoanalytic theory to Japanese anime. The Editorial team included Suzanne Buchan, Bob Rehak and Angela Ndalianis, who, along with the many supporters and the initial Editorial Board members, contributed significantly to the journal’s development and launch. Fifteen years on, the journal’s editorial aims remain largely the same:
在我们出生的那天，我们总是比我们的出生年份大一岁。15年前，《动画:一份跨学科期刊》的创刊号送到了我们在老街Sage London办公室长期任职的编辑简·普莱斯(Jane Price)手中。它是用当时的技术在一组精心安排的文件夹中传输的，与今天的即时上传和文件传输相距甚远:所有材料都被编译在cd上，并伴随着一堆打印输出，以防数据损坏或不可读——这在当时并不罕见。这期的内容反映了我们的全球性和跨学科的目标，文章探讨了时间摄影，动画建筑，多平面电影，韩国动画，对动画作为混合形式的猜测，以及精神分析理论在日本动画中的应用。编辑团队包括Suzanne Buchan, Bob Rehak和Angela Ndalianis，他们与许多支持者和最初的编辑委员会成员一起，为期刊的发展和发行做出了重大贡献。15年过去了，该杂志的编辑目标基本保持不变:
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Pub Date : 2020-03-01DOI: 10.1177/1746847720909348
Karel Doing
This article proposes the phytogram, an image made by using the internal chemistry of plants in conjunction with photographic emulsion. First, a theoretical framework is set out, drawing inspiration from structural/materialist film theory, biosemiotics and perspectivism. The notion of plant sensations/perceptions is questioned, developing the real possibility of human–plant communication. Subsequently, a summary of the materials and methods involved in making phytograms is included in order to show how an inter-dependency of technological and natural elements can lead to evocative results and spontaneous animation. Instead of bringing inert matter to life, the image moves by itself. This practice can bring people together, sharing knowledge about their environment while enjoying the cohesion of a wider community and history of people and plants. Making such an extended community visible is significant with regard to a heightened awareness of the natural environment. Instead of preaching ecological propriety and austere behaviour, phytography offers a positive and fulfilling engagement with our living environment.
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Pub Date : 2020-03-01DOI: 10.1177/1746847719898783
Jordan Gowanlock
Existing scholarship finds that early industrialized animation studios sought to emphasize the unpredictable liveliness of creativity at their studios, while also demonstrating their ability to control and manage production through industrial management techniques that promoted regulation and efficiency. This article examines how this dynamic between unpredictability and control has been negotiated by digital animation studios since the early 1980s, with a focus on the way Pixar Animation Studios represents its management theory through popular books, business journal articles, DVD extras, and behind-the-scenes promotional material. This article highlights how computational principles for creating and managing unpredictability via nonlinear simulation inform Pixar’s promoted management theory. The principles of simulated unpredictability ground many of Pixar’s key technological advances, especially for animating fluids and materials (water, smoke, fur, and cloth), but they also ground concepts within the field of management science such as industrial dynamics and organizational resilience. This epistemic frame leads Pixar to represent creativity as the unpredictable product of carefully controlled conditions and parameters and this collapse of technology, animation, and management helps to sculpt Pixar’s own corporate image as both an animation studio and technology company. The research in this article offers contributions to the study of both post-Fordism in animation industries and algorithmic control.
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Pub Date : 2020-03-01DOI: 10.1177/1746847719898785
Daniel Martin
This article explores the critical reception of The Lego Batman Movie (Chris McKay, 2017) in the context of Batman’s long history of multimedia storytelling, anchored to divergent parallel narratives across numerous platforms, and the ways the film appeals to nostalgia through metatextuality. The manner in which critics championed The Lego Batman Movie and derided the earlier live-action Batman v Superman: Dawn of Justice (Zack Snyder, 2016) gave rise to a complex discourse around the cultural value of animation and the larger blockbuster superhero cycle, and discussions of morality, merchandising and commercialism. This article therefore engages with questions of animation’s apparent suitability for particular kinds of child-centric narratives regarded by critics as a vital part of American popular culture.
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Pub Date : 2020-03-01DOI: 10.1177/1746847720909344
Ekin Pinar
Since the early 1960s, Lawrence Jordan has appropriated a variety of Victorian engravings transforming them into experimental animations through the use of cut-out stop-motion techniques. In their outmoded style and technique, the dense tapestry of collaged ephemera begins to function as indices of their original Victorian context and its printing processes. But the stop-motion manipulation also renders these indexical documents surreal through the juxtaposition of apparently unrelated images. This amounts to a reflexive approach harking back to the early days of cinema when audiences perceived the new technology as a source of wonder, amazement and magic. Jordan’s animations, such as Patricia Gives Birth to a Dream by the Doorway (1961–1964) and The Centennial Exposition (1961–1964), employ a productive tension not just between animation and documentary but between indexicality and illusion as well. In these animations, the use of such tensions exposes history and culture as fragmentary constructions of memory, fantasy and experience, thereby open to alteration, re-reading and reconfiguration in the present moment.
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