Animation: Genre and Authorship
"Animation: Genre and Authorship" is an overview of the distinctive language of animation, its production processes, and the particular questions about who makes it, under what conditions and with what purpose. Arguably, animation provides the greatest opportunity for distinctive models of "auteurism" and revises generic categories. This is the first study to look specifically at these issues, and to challenge the prominence of live action movie-making as the first form of contemporary cinema and visual culture. Including extensive analysis of individual animators and their operation within studios such as Disney and Dreamworks, the book investigates the use of animation in genres from horror and science fiction to documentary and propaganda.
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what is animation?
the animation process
animation the modernist art
genre in animation
the animation auteur
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abstract achieve aesthetic anima animated cartoon animated film animated form approach Arguably artists aspects audience auteur auteurist authorial authorship Avery becomes Bill Plympton Caroline Leaf challenge character Chuck Jones colour comic context create creative culture defined depicting Dinosaur director Disney's distinctive drawings effects embrace emotional engagement enhance example explore facilitate fairytales feature figure film-making practice Fischinger Fleischer Brothers foreground frame Fred Tex Freleng full-length further genre graphic Harryhausen idea imagery imperatives industrial intrinsic John Jordan Belson live action live-action cinema Max Fleischer metamorphosis mode modern Mouse move movement narrative Norman McLaren outcomes painting particular Paul Terry perspective principles production puppet Raoul Servais Ray Harryhausen recognised relation relationship sense sequence short soundtrack specific stop-motion animation studio style suggests surreal technique television Tex Avery themes tion Toy Story tradition Ub Iwerks underpinning visual vocabulary Walt Disney