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Animating Film TheoryFrom Duke University Press Books
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Animating Film Theory provides an enriched understanding of the relationship between two of the most unwieldy and unstable organizing concepts in cinema and media studies: animation and film theory. For the most part, animation has been excluded from the purview of film theory. The contributors to this collection consider the reasons for this marginalization while also bringing attention to key historical contributions across a wide range of animation practices, geographic and linguistic terrains, and historical periods. They delve deep into questions of how animation might best be understood, as well as how it relates to concepts such as the still, the moving image, the frame, animism, and utopia. The contributors take on the kinds of theoretical questions that have remained underexplored because, as Karen Beckman argues, scholars of cinema and media studies have allowed themselves to be constrained by too narrow a sense of what cinema is. This collection reanimates and expands film studies by taking the concept of animation seriously.
Contributors. Karen Beckman, Suzanne Buchan, Scott Bukatman, Alan Cholodenko, Yuriko Furuhata, Alexander R. Galloway, Oliver Gaycken, Bishnupriya Ghosh, Tom Gunning, Andrew R. Johnston, Hervé Joubert-Laurencin, Gertrud Koch, Thomas LaMarre, Christopher P. Lehman, Esther Leslie, John MacKay, Mihaela Mihailova, Marc Steinberg, Tess Takahashi
- Sales Rank: #541342 in Books
- Published on: 2014-03-21
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 6.50" w x 1.00" l, 1.10 pounds
- Binding: Paperback
- 376 pages
Review
"The original arguments, concepts, and questions around animation introduced in this extraordinary project make it a major contribution to film and media theory and art theory more generally. Yet this is not just a book about animated films. Rather, it is a broad investigation of possible theories of animation that closely examines 'animation' as a concept with variable senses, and restores it as a central theme of past and current debates on the medium of film." (D. N. Rodowick, author of The Virtual Life of Film)
"What a wonderful collection of essays! There is no other book that theorizes animation so thoroughly. The top-notch contributors take on the recent debate about the relationship of digital cinema to animated cinema, and they show us just how expansive the definition of animation can be. People who work in animation, and in film history more broadly, have been waiting for something like this." (Eric Smoodin, author of Regarding Frank Capra: Audience, Celebrity, and American Film Studies, 1930–1960)
"This fecund, vivacious collection will be a vital resource for those interested in film animation." (T. Lindvall Choice)
“Animating Film Theory encompasses a wide concern for moving images and underexplored theoretical and aesthetic issues that thinking through and about animation opens up for readers.” (Amanda Egbe Leonardo Reviews)
About the Author
Karen Redrobe (formerly Beckman) is the Elliot and Roslyn Jaffe Professor of Cinema and Modern Media in the Department of the History of Art at the University of Pennsylvania. She is the author of Crash: Cinema and the Politics of Speed and Stasis and Vanishing Women: Magic, Film, and Feminism and coeditor (with Jean Ma) of Still Moving: Between Cinema and Photography, all also published by Duke University Press.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Wow ... for a somewhat random purchase I made, this is my new favorite book on film theory
By Amazon Customer
I've had a problem resolving performance capture & VFX into standard film theory so just randomly bought this book(I do a lot with xsens, motionbuilder, maya, nuke mixed with live action and motion capture footage). This this one of those books I really not hoping for much, but got way more then I was expecting. Is by far the best book on animation film theory, and perhaps film theory, that I have ever read. At least for me, where I'm focused on integrating live action with motion capture with animation, this book hit every major point I'm focused on. There are a bunch of different contemporary writers, all have a bit different viewpoint, but taken in whole is a great starting point for getting into a more comprehensive understanding of film theory. Every now and then one of the chapters gets a bit "stuffy" but the chapters aren't long. Even chapters that I thought I wasn't going to find interesting, like the one on WW II malaria and animation, I'm like "WOW" after I read it ... and that chapter ties into a later chapter (by a different author) that broadens the concept of "cell" animation.
0 of 0 people found the following review helpful.
The work and study outlined here is a great step forward in formal analysis of the animated form
By Julian Grant
Outstanding film theory resource. The work and study outlined here is a great step forward in formal analysis of the animated form.
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