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Books > Arts & Architecture > Performing arts > Films, cinema > Animation
Contributions by Graham Barton, Raz Greenberg, Gyongyi Horvath,
Birgitta Hosea, Tze-yue G. Hu, Yin Ker, M. Javad Khajavi, Richard
J. Leskosky, Yuk Lan Ng, Giryung Park, Eileen Anastasia Reynolds,
Akiko Sugawa-Shimada, Koji Yamamura, Masao Yokota, and Millie Young
Getting in touch with a spiritual side is a craving many are unable
to express or voice, but readers and viewers seek out this desired
connection to something greater through animation, cinema, anime,
and art. Animating the Spirited: Journeys and Transformations
includes a range of explorations of the meanings of the spirited
and spiritual in the diverse, dynamic, and polarized creative
environment of the twenty-first century. While animation is at the
heart of the book, such related Subjects as fine art, comics,
children's literature, folklore, religion, and philosophy enrich
the discoveries. These interdisciplinary discussions range from
theory to practice, within the framework of an ever-changing media
landscape. Working on different continents and coming from varying
cultural backgrounds, these diverse scholars, artists, curators,
and educators demonstrate the insights of the spirited. Authors
also size up new dimensions of mental health and related
expressions of human living and interactions. While the book
recognizes and acknowledges the particularities of the spirited
across cultures, it also highlights its universality, demonstrating
how it is being studied, researched, comprehended, expressed, and
consumed in various parts of the world.
Is it ever morally wrong to enjoy fantasizing about immoral things?
Many video games allow players to commit numerous violent and
immoral acts. But, should players worry about the morality of their
virtual actions? A common argument is that games offer merely the
virtual representation of violence. No one is actually harmed by
committing a violent act in a game. So, it cannot be morally wrong
to perform such acts. While this is an intuitive argument, it does
not resolve the issue. Focusing on why individual players are
motivated to entertain immoral and violent fantasies, Video Games,
Violence, and the Ethics of Fantasy advances debates about the
ethical criticism of art, not only by shining light on the
interesting and under-examined case of virtual fantasies, but also
by its novel application of a virtue ethical account. Video games
are works of fiction that enable players to entertain a fantasy.
So, a full understanding of the ethical criticism of video games
must focus attention on why individual players are motivated to
entertain immoral and violent fantasies. Video Games, Violence, and
the Ethics of Fantasy engages with debates and critical discussions
of games in both the popular media and recent work in philosophy,
psychology, media studies, and game studies.
It is hard to discuss the current film industry without
acknowledging the impact of comic book adaptations, especially
considering the blockbuster success of recent superhero movies. Yet
transmedial adaptations are part of an evolution that can be traced
to the turn of the last century, when comic strips such as "Little
Nemo in Slumberland" and "Felix the Cat" were animated for the
silver screen. Representing diverse academic fields, including
technoculture, film studies, theater, feminist studies, popular
culture, and queer studies, Comics and Pop Culture presents more
than a dozen perspectives on this rich history and the effects of
such adaptations. Examining current debates and the questions
raised by comics adaptations, including those around authorship,
style, and textual fidelity, the contributors consider the topic
from an array of approaches that take into account representations
of sexuality, gender, and race as well as concepts of
world-building and cultural appropriation in comics from Modesty
Blaise to Black Panther. The result is a fascinating re-imagination
of the texts that continue to push the boundaries of panel, frame,
and popular culture.
This book puts forward a more considered perspective on 3D, which
is often seen as a distracting gimmick at odds with artful
cinematic storytelling. Owen Weetch looks at how stereography
brings added significance and expressivity to individual films that
all showcase remarkable uses of the format. Avatar, Gravity, The
Hole, The Great Gatsby and Frozen all demonstrate that stereography
is a rich and sophisticated process that has the potential to bring
extra meaning to a film's narrative and themes. Through close
reading of these five very different examples, Expressive Spaces in
Digital 3D Cinema shows how being sensitive to stereographic
manipulation can nuance and enrich the critical appreciation of
stereoscopic films. It demonstrates that the expressive placement
of characters and objects within 3D film worlds can construct
meaning in ways that are unavailable to 'flat' cinema.
This book, written from the perspective of a designer and educator,
brings to the attention of media historians, fellow practitioners
and students the innovative practices of leading moving image
designers. Moving image design, whether viewed as television and
movie title sequences, movie visual effects, animating
infographics, branding and advertising, or as an art form, is being
increasingly recognised as an important dynamic part of
contemporary culture. For many practitioners this has been long
overdue. Central to these designers' practice is the hybridisation
of digital and heritage methods. Macdonald uses interviews with
world-leading motion graphic designers, moving image artists and
Oscar nominated visual effects supervisors to examine the hybrid
moving image, which re-invigorates both heritage practices and the
handmade and analogue crafts. Now is the time to ensure that
heritage skills do not atrophy, but that their qualities and
provenance are understood as potent components with digital
practices in new hybrids.
This book analyzes Walt Disney's impact on entertainment, new
media, and consumer culture in terms of a materialist,
psychoanalytic approach to fantasy. The study opens with a taxonomy
of narrative fantasy along with a discussion of fantasy as a key
concept within psychoanalytic discourse. Zornado reads Disney's
full-length animated features of the "golden era" as symbolic
responses to cultural and personal catastrophe, and presents
Disneyland as a monument to Disney fantasy and one man's singular,
perverse desire. What follows after is a discussion of the "second
golden age" of Disney and the rise of Pixar Animation as neoliberal
nostalgia in crisis. The study ends with a reading of George Lucas
as latter-day Disney and Star Wars as Disney fantasy. This study
should appeal to film and media studies college undergraduates,
graduates students and scholars interested in Disney.
Animation - Process, Cognition and Actuality presents a uniquely
philosophical and multi-disciplinary approach to the scholarly
study of animation, by using the principles of process philosophy
and Deleuzian film aesthetics to discuss animation practices, from
early optical devices to contemporary urban design and
installations. Some of the original theories presented are a
process-philosophy based theory of animation; a cognitive theory of
animation; a new theoretical approach to the animated documentary;
an original investigative approach to animation; and unique
considerations as to the convergence of animation and actuality.
Numerous animated examples (from all eras and representing a wide
range of techniques and approaches - including television shows and
video games) are examined, such as Fantastic Mr. Fox (2009), Madame
Tutli-Putli (2007), Gertie the Dinosaur (1914), The Peanuts Movie
(2015), Grand Theft Auto V (2013) and Dr. Katz: Professional
Therapist (1995-2000). Divided into three sections, each to build
logically upon each other, Dan Torre first considers animation in
terms of process and process philosophy, which allows the reader to
contemplate animation in a number of unique ways. Torre then
examines animation in more conceptual terms in comparing it to the
processes of human cognition. This is followed by an exploration of
some of the ways in which we might interpret or 'read' particular
aspects of animation, such as animated performance, stop-motion,
anthropomorphism, video games, and various hybrid forms of
animation. He finishes by guiding the discussion of animation back
to the more tangible and concrete as it considers animation within
the context of the actual world. With a genuinely distinctive
approach to the study of animation, Torre offers fresh
philosophical and practical insights that prompt an engagement with
the definitions and dynamics of the form, and its current
literature.
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