This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Scanning historical and current trends in animation through different perspectives including art history, film, media and cultural studies is a prominent facet of today's theoretical and historical approaches in this rapidly evolving field. Global Animation Theory offers detailed and diverse insights into the methodologies of contemporary animation studies, as well as the topics relevant for today's study of animation. The contact between practical and theoretical approaches to animation at Animafest Scanner, is closely connected to host of this event, the World Festival of Animated Film Animafest Zagreb. It has given way to academic writing that is very open to practical aspects of animation, with several contributors being established not only as animation scholars, but also as artists. This anthology presents, alongside an introduction by the editors and a preface by well known animation scholar Giannalberto Bendazzi, 15 selected essays from the first three Animafest Scanner editions. They explore various significant aspects of animation studies, some of them still unknown to the English speaking communities.
This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Scanning historical and current trends in animation through different perspectives including art history, film, media and cultural studies is a prominent facet of today's theoretical and historical approaches in this rapidly evolving field. Global Animation Theory offers detailed and diverse insights into the methodologies of contemporary animation studies, as well as the topics relevant for today's study of animation. The contact between practical and theoretical approaches to animation at Animafest Scanner, is closely connected to host of this event, the World Festival of Animated Film Animafest Zagreb. It has given way to academic writing that is very open to practical aspects of animation, with several contributors being established not only as animation scholars, but also as artists. This anthology presents, alongside an introduction by the editors and a preface by well known animation scholar Giannalberto Bendazzi, 15 selected essays from the first three Animafest Scanner editions. They explore various significant aspects of animation studies, some of them still unknown to the English speaking communities.
Giannalberto Bendazzi (Independent Scholar, Genoa, Italy)
Foreword
Anthology Editors
Introduction
Section 1: Historical and Theoretical Approaches from
International Animation Studies
1. Marcin Gizycki (Academy of Information Technology, Warsaw,
Poland / Rhode Island School of Design, USA)
Animation Since 1980: A Personal Journey
2. Paul Wells (Animation Academy at Loughborough University,
UK)
Animation in the Gallery and the Gestalt: György Kovásznai and
William Kentridge
3. Mareike Sera (Humboldt University Berlin, Germany)
On Analogical Thinking: Jan Švankmajer and Franco “Bifo” Beradi
4. Chunning Guo (Maggie) (Renmin University of China, Beijing,
China)
The Successful Chorus of “The Second Wave”: An examination of
Feminism's "Manifesto" of Digital Art
5. Olga Bobrowska (Jagiellonian University, Poland)
Seeking Truth in Facts. Historicizing Chinese Animation.
6. Holger Lang (Webster Vienna Private University, Austria)
Austria Unlimited. Limitations and Chances within a Small
Production Environment
7. Mihat Ajanovic-Ajan (University West, Trollhättan, Sweden)
Beyond the self-images: The Context and Development of Animated
Documentaries, the Cornerstones of Modern Animation in Sweden
Section 2: Case Studies from Around the World
8. Edwin Carels (School of Arts KASK/HoGent, Belgium)
Short Circuits. On the Impact of the Flipbook in the Work of Robert
Breer
9. Mikhail Gurevich (Independent Scholar, Chicago, USA)
“…The film is not about that”. Notes on (re)reading Tale of
Tales
10. Andrijana Ružic (Independent Scholar, Milan, Italy)
The Importance of Ranko Munitic´s Work on Zagreb School of
Animation.
11. Irena Paulus (Independent Scholar, Zagreb, Croatia)
Animation Experienced through Music: Tomislav Simovic and Zagreb
School of Animation
12. Fatemeh Hosseini-Shakib (Tehran Art University, Iran)
Puppet as Not-Puppet: the Notion of ‘Puppet’ and its Many
Connotations in the Works of Barry Purves (the case of Screen
Play)
13. Michal Bobrowski (UMCS University, Poland)
Subversive Machinery: DIY Philosophy in Films of Julian
Antonisz
14. Dirk de Bruyn (Deakin University in Melbourne, Australia)
Lynsey Martin: A Case study in 1970s Australian Experimental
Animation
List of Contributors
Abstracts
A collection of original essays on the newest findings of international animation studies, exploring trends in production, aesthetics, theory and cultural significance in worldwide animation.
Franziska Bruckner is a lecturer in animation theory at
the University of Vienna, Austria, Eberhard Karls University
Tübingen, Germany, and the University of Applied Sciences Upper
Austria.
Holger Lang is an Austrian researcher, artist and filmmaker,
living and working in Vienna. For over 20 years he has been
teaching animation, media arts and aesthetics for an American
university at one of their satellite locations in Austria and also
their main campus in St. Louis, USA.
Nikica Gilic is an associate professor in the Faculty of
Humanities and Social Sciences at the University of Zagreb,
Croatia, where he teaches history and theory of cinema.
Daniel Šuljic is an animation film director and a
musician.
Hrvoje Turkovic is a Croatian film theorist, film critic and
university professor.
We have in Global Animation Theory a welcome expansion of the
recent scholarship that has focused on the international
development of animation practices. The editors and authors delve
deeply into genres, techniques, and national cultures to reveal the
complex and contested world of animation analysis, critical
thinking, and new theoretical approaches. Often the discussions
bring personal and artistic perspectives to the subject, enlivening
this liveliest medium all the more.
*Donald Crafton, Professor Emeritus, University of Notre Dame,
USA*
In this book, through case studies that deals with great number of
historically important animated films from all over the world,
authors are unveiling, interpreting and defining many hidden and
complex elements that make the art of animation so fascinating.
*Frano Dulibic, Professor of Art History, University of Zagreb,
Croatia*
For me, as an animation artist and scholar, the symposium Animafest
Scanner represents the best of both worlds: An academic conference
with high-calibre international speakers, which is embedded into
one of the world’s most important artistic animation festivals,
Animafest Zagreb. In the reader Global Animation Theory, this
combined spirit is finally transferred into a book that will no
doubt have a substantial impact on the steadily growing field of
animation studies.
*Dr. Max Hattler, Assistant Professor, School of Creative Media,
City University of Hong Kong, Hong Kong*
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