دانلود کتاب Global Animation Theory: International Perspectives at Animafest Zagreb

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Cover page
Halftitle page
Title page
Copyright page
CONTENTS
FOREWORD
INTRODUCTION
Historical and theoretical approaches from international animation studies
Case studies from around the world
Acknowledgements
SECTION 1 Historical and Theoretical Approaches from International Animation Studies1
1 Animation since 1980 A Personal Journey
References
2 Animation in the Gallery and the Gestalt
References
3 On Analogical Thinking
Introduction
Analogical thinking: the missing premise
Czech Surrealism, dialectics and analogy
Analogy I: Georges Bataille’s Story of the Eyeand Jan Š vankmajer’s Jabberwocky
Analogy II: Franco ‘Bifo’ Berardi and Jan Š vankmajer’s Alice
Conclusion
References
4 The Successful Chorus of ‘The Second Wave’
Preface: the images of ‘Father Power’ and the voices of women artists
‘Cold’ computer and ‘Father Power’
The computer as an artistic medium: absence of women artists
‘Manifesto’ of women artists in digital art
The chorus of ‘The Second Wave’
References
5 Seeking Truth in Facts
Introduction
Animation and cultural nationalism, or the origins of minzu style
How the canon was tempered
Conclusion
References
6 Austria Unlimited – Chances, Spirits and Limitations of a Small Production Environment
Introduction
From a distance – an outline of origins and backgrounds
A new start – slow ascent to progressive thinking
VALIE EXPORT, Maria Lassnig
Exponential expansion – prospects and expectations in an opening world
Conclusion
References
7 Beyond Self- images
Non- photographic documentary
Bergdahl and the fact-based animation
References
SECTION 2 Case Studies from Around the World
8 Short Circuits
Introduction
Pivotal moments
Frame by frame
Doodle or spaghetti
Hand and eyeglasses
Loops and mutations
Animated archives
Synaptic cinema
A semantic cinema
Multiple firsts
Subverting the aura
Back and forth
References
9‘. . . The Film Is Not About That’ 1
Preface
Of expectations and frustrations
Of plot and verse
Of dreams and visions
Of times and spaces
Of eras and escapes
Of gaps and subtexts
Of the plane and the amalgamated
Of wolves and incarnations
References
10 The Importance of Ranko Munitic´’s Work on the Zagreb School of Animation
Introduction
Genesis of an almanac – Zagrebacˇki krug crtanog filma
Theory of animation and animation aesthetics
Critical reviews and theory of critics
Conclusion
References
Bibliography of Munitic´’s books on animation
11 Animation Experienced through Music
To match visual modernism: music with its own imaginary space
Musical modernism of Diary
Professor Balthazar and Maestro Koko: scientific dance-music for an elephant
Annoyance and overlapping in The Man Who Had to Sing
Different faces of musical ‘tapestry ’in The Substitute
Music of great diversity
References
12 The Puppet as Not-Puppet
The problem of realism
Cataloguing animation puppets
Barry Purves’s puppets: the puppet as a human being in theatrical performance
The Kabuki theatre section
The cinematic ending section
References
13 Subversive Machinery
Bakhtinian inspirations
Original-copy or the curse of the reproduction
Technology-art or the soul of an instrument
Biology-technology or the DIY organisms
Antonisz: art, politics, laughter
References
14 Lynsey Martin
Introduction
Background
Expanded cinema
Influences
Formalism
The films
A belated historic bridging
References
CONTRIBUTORS
INDEX
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