What can Dory remember? Who are her parents? In Finding Dory, Pixar Animation Studios sets out to answer these questions, to the delight of Finding Nemo fans. The Art of Finding Dory offers a look at the creative process behind the making of this much-anticipated sequel, shining a light on the many inspiring and beautiful layers of creation the artists at the studio explored during years of development. Copyright (c)2016 Disney Enterprises, Inc. and Pixar. All rights reserved.

The official art book for the animated movie The Amazing Maurice, based on the Carnegie Medal-winning Discworld novel by Terry Pratchett Maurice is a streetwise talking tomcat who comes up with a money-making scam by befriending a group of talking rats and finding a dumb-looking kid who plays a pipe. When Maurice and company reach the stricken town of Bad Blintz, they meet a bookworm called Malicia and their scheme soon goes down the drain. The Art of the Film is a coffee table hardback celebration of the creative process of bringing The Amazing Maurice to life, including exclusive concept designs, character sketches, storyboards and production art, alongside insight from the artists, filmmakers and directors.

As the Walt Disney Studio entered its first decade and embarked on some of the most ambitious animated films of the time, Disney hired a group of "concept artists" whose sole mission was to explore ideas and inspire their fellow animators. They Drew as They Pleased showcases four of these early pioneers and features artwork developed by them for the Disney shorts from the 1930s, including many unproduced projects, as well as for Snow White and the Seven Dwarfs, Pinocchio, and some early work for later features such as Alice in Wonderland and Peter Pan. Introducing new biographical material about the artists and including largely unpublished artwork from the depths of the Walt Disney Archives and the Disney Animation Research Library, this volume offers a window into the most inspiring work created by the best Disney artists during the studio's early golden age. They Drew as They Pleased is the first in what promises to be a revealing and fascinating series of books about Disney's largely unexamined concept artists, with six volumes spanning the decades between the 1930s and 1990s. Copyright (c)2015 Disney Enterprises, Inc. All rights reserved.

How can we describe movements in animated films? In Figure and Force in Animation Aesthetics, Ryan Pierson introduces a powerful new method for the study of animation. By looking for figures-arrangements that seem to intuitively hold together-and forces-underlying units of attraction, repulsion, and direction-Pierson reveals startling new possibilities for animation criticism, history, and theory. Drawing on concepts from Gestalt psychology, Pierson offers a wide-ranging comparative study of four animation techniques-soft-edged forms, walk cycles, camera movement, and rotoscoping-as they appear in commercial, artisanal, and avant-garde works. In the process, through close readings of little-analyzed films, Pierson demonstrates that figures and forces make fertile resources for theoretical speculation, unearthing affinities between animation practice and such topics as the philosophy of mathematics, scientific and political revolution, and love. Beginning and ending with the imperative to look closely, Figure and Force in Animation Aesthetics is a performance in seeing the world of motion anew.

Designed to trick the eye and stimulate the imagination, special effects have changed the way we look at films and the worlds created in them. Computer-generated imagery (CGI), as seen in Hollywood blockbusters like Star Wars, Terminator 2, Jurassic Park, Independence Day, Men in Black, and The Matrix, is just the latest advance in the evolution of special effects. Even as special effects have been marveled at by millions, this is the first investigation of their broader cultural reception. Moving from an exploration of nineteenth-century popular science and magic to the Hollywood science fiction cinema of our time, Special Effects examines the history, advancements, and connoisseurship of special effects, asking what makes certain types of cinematic effects special, why this matters, and for whom. Michele Pierson shows how popular science magazines, genre filmzines, and computer lifestyle magazines have articulated an aesthetic criticism of this emerging art form and have helped shape how these hugely popular on-screen technological wonders have been viewed by moviegoers.

The Animation Studies Reader brings together both key writings within animation studies and new material in emerging areas of the field. The collection provides readers with seminal texts that ground animation studies within the contexts of theory and aesthetics, form and genre, and issues of representation. The first section collates key readings on animation theory, on how we might conceptualise animation, and on some of the fundamental qualities of animation. New material is also introduced in this section specifically addressing questions raised by the nature, style and materiality of animation. The second section outlines some of the main forms that animation takes, which includes discussions of genre. Although this section cannot be exhaustive, the material chosen is particularly useful as it provides samples of analysis that can illuminate some of the issues the first section of the book raises. The third section focuses on issues of representation and how the medium of animation might have an impact on how bodies, gender, sexuality, race and ethnicity are represented. These representations can only be read through an understanding of the questions that the first two sections of the book raise; we can only decode these representations if we take into account form and genre, and theoretical conceptualisations such as visual pleasure, spectacle, the uncanny, realism etc.

Few morose thoughts permeate the brain when Yosemite Sam calls Bugs Bunny a "long-eared galut" or a frustrated Homer Simpson blurts out his famous catch-word, "D'oh!" A Celebration of Animation explores the best-of-the-best cartoon characters from the 1920s to the 21st century. Casting a wide net, it includes characters both serious and humorous, and ranging from silly to malevolent. But all the greats gracing this book are sure to trigger nostalgic memories of carefree Saturday mornings or after-school hours with family and friends in front of the TV set.

This is the definitive biography of Emile Cohl (1857-1938), one of the most important pioneers of the art of the animated cartoon and an innovative contributor to popular graphic humor at a critical moment when it changed from traditional caricature to the modern comic strip. This profusely illustrated book provides not only a wealth of information on Cohl's life but also an analysis of his contribution to the development of the animation film in both France and the United States and an interpretation of how the new genre fit into the historical shift from a "primitive" to a "classical" cinema. "Beautiful in look and design, with stunning reproductions from films and newspapers, Emile Cohl, Caricature, and Film offers a biography of a figure who virtually created the European art of animation...In its theory and history, the book is one of the most important contributions to [the field of animated film]. But [it] is central for film study per se, offering a fresh, exciting look at the complicated world of early cinema."--Dana Polan, Film Quarterly Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Animated Performance shows how a character can seemingly 'come to life' when their movements reflect the emotional or narrative context of their situation: when they start to 'perform'. The many tips, examples and exercises from a veteran of the animation industry will help readers harness the flexibility of animation to portray a limitless variety of characters and ensure that no two performances are ever alike. More than 300 color illustrations demonstrate how animal and fantasy characters can live and move without losing their non-human qualities and interviews with Disney animators Art Babbitt, Frank Thomas, Ollie Johnston and Ellen Woodbury make this a unique insight into bringing a whole world of characters to life. New to the second edition: A new chapter with introductory exercises to introduce beginner animators to the the world of animated acting; dozens of new assignments and examples focusing on designing and animating fantasy and animal characters.

With an abundance of information on how to create motion graphics already available, Design in Motion focuses on the why of moving image and less about the how. By unpacking the reasons behind screen designer's production choices, each chapter deconstructs examples of motion graphics by drawing on case studies of both familiar examples from contemporary cinema and unseen work from postgraduate motion graphic designers. It examines the value of image, text, motion, camera and transitions, explaining in detail why some methods work, while others fail. Whether you work in info-graphics, documentary or design, this book is structured to follow the production process and, together with its multimedia companion website, will be a by-your-side companion to guide you through your next project.

Enhance your knowledge of motion graphic design aesthetics and history with this authoritative look at the evolution of the art form. Motion Graphic Design, Third Edition provides a historical and critical overview of how the language of traditional graphic design is combined with the dynamic visual language of cinema in film, television, and interactive media. It features works from highly acclaimed animators and motion graphics studios from across the globe. This new edition has been updated to include: Thorough analysis of motion graphics designed for websites, informational kiosks, desktop and mobile touchscreen applications, DVD menus, and games Inspiring examples of how motion graphics continue to shape our visual landscape by transforming interior and exterior spaces into more engaging, immersive environments Coverage of conventional frame-by-frame animation techniques including stop-motion, cutout, and freehand by contemporary animators and motion design studios Instruction in how to create continuity or discontinuity and maintain the interest of viewers with frame mobility and rhythmic editing Discussion of pictorial and sequential aspects of motion graphics compositions and how they are choreographed to enhance messages and enrich stories downloadable resources featuring new professional and student work from around the globe, as well as figures from the textbook This is a must-have whether you are a student who is learning the principles of motion graphics or a professional in need of inspiration and new ways to impress your clients. Anyone working in or aspiring to work in the motion media industry will benefit greatly from this valuable resource.

Animation can be used to illustrate, simplify and explain complicated subjects, as well as to transform stories into engaging, fantastical narratives. There are many types of animation, all of which can incorporate different artistic techniques such as sculpture, drawing, painting, printing and textiles. In this practical guide, animation tutor Steve Roberts explores the twelve basic principles of animation, demonstrating the different techniques available and offering helpful exercises for readers to practise in their chosen style. From pencils to pixels, flip books to feature films, and plasticine to puppets, this helpful book covers everything you need to know about how to start animating and will be of great interest for anyone looking to learn how to make their own animated films.

A Newly Revised Edition of the Go-To Guide for Any Animation Artist! "Your Career in Animation is the most comprehensive and valuable book on animation careers that you'll ever need." -Bill Plympton, Animator / Producer Whether you want to break into the animation industry or "toon up" to a better career, this comprehensive guide will show you how. A leading animation professional surveys the field and shares the advice of more than one hundred and fifty top talents in the business of making toons- including Brooke Keesling, head of animation talent development at Bento Box, Mike Hollingsworth, supervising director of BoJack Horseman; Andrea Fernandez, art director on The Cuphead Show! PES, Oscar-nominated stop-motion director of Fresh Guacamole; Linda Simensky, head of content for PBS Kids; Minty Lewis, co-creator of The Great North; Ross Bollinger, YouTube sensation with his Pencilmation channel, and executives from Nickelodeon, Disney TVA, Titmouse, Inc., Frederator, PBS Kids, Netflix, 9 Story Media Group, Cartoon Network; and dozens of others. Learn how to: * Get the most out of your animation education * Build a portfolio, reel, and resume * Keep your skills marketable for years to come * Network effectively * Learn from on-the-job criticism * Cope with unemployment * Start your own studio or build an indie brand online * Pitch and sell a show of your own * And more! Also included are invaluable resources such as animation schools, societies, film festivals, events, Web sites, and publications. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

One of the most beloved stories of all time--"The Hockey Sweater"--is celebrated in this heartfelt recollection. Reflecting on the original short story and mortifying real-life moment that started it all, the account relates how the resulting film is as much about childhood emotions and the desire to fit in as it is about hockey, the clash of cultures, and a harkening to bygone times. Canada's tireless devotion to the film is illustrated, emphasizing how it is also loved by many more around the world. Delving into the artist's notebooks, photographs, and memories, this record recreates the movie's entire development, journeying back to the people and places that inspired its original imagery. The director's additional films and illustrations are also explored, chronicling a 40-year career and providing rich insights into the creative process.

From Pixar's upcoming film Incredibles 2, this making-of book is a dive back into the beloved world of the Incredibles. The Art of Incredibles 2 explores Pixar's highly anticipated sequel through colorful artwork, energetic character sketches, intriguing storyboards, and spellbinding colorscripts. Featuring gorgeous production art and interesting details from the production team about the making of the film, The Art of Incredibles 2 overflows with insights into the artistic process behind Pixar's engaging creative vision. Copyright (c)2018 Disney Enterprises, Inc. and Pixar. All rights reserved.

"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.

From an adventurous balloon ride above the clouds to a monster-filled metropolis, Academy Award (R)-winning director Pete Docter (Monsters, Inc., Up) has taken audiences to unique and imaginative places. In Disney Pixar's original movie Inside Out, he will take us to the most extraordinary location of all-inside the mind. Growing up can be a bumpy road, and it's no exception for Riley, who is uprooted from her Midwest life when her father starts a new job in San Francisco. Like all of us, Riley is guided by her emotions - Joy, Fear, Anger, Disgust, and Sadness. The emotions live in Headquarters, the control center inside Riley's mind, where they help advise her through everyday life. As Riley and her emotions struggle to adjust to a new life in San Francisco, turmoil ensues in Headquarters. Although Joy, Riley's main and most important emotion, tries to keep things positive, the emotions conflict on how best to navigate a new city, house and school. In this groundbreaking and illuminating film, Pixar Animation Studios examines the extraordinary depths of the mind and the powers of emotion and imagination. The Art of Inside Out provides an exclusive look into the artistic exploration that went into the making of this vibrant film. Featuring concept art-including sketches, collages, colour scripts, and much more-and opening with a foreword by actress Amy Poehler and introduction by the film's writer and director Pete Docter, this is the ultimate behind-the-scenes experience of the making of this landmark film. Copyright (c)2015 Disney Enterprises, Inc. and Pixar. All rights reserved.

In Animation Lab for Kids, arts educators Laura Bellmont and Emily Brink of The Good School present exciting art projects that teach kids how to create engaging visuals and tell stories using a variety of animation techniques. You'll have fun with: A concise overview of the animation process, from conceptualizing, designing, and scripting a film to basic tools, supplies, and adding sound Traditional animation: zoetropes, flip books, and cel animation Downshoot animation: 2D art surfaces and characters come to life Straight-ahead animation: projects for hand-sewn and claymation puppets, sets, and rigging Pixilation: the ins and outs of becoming your own stop-motion puppet Inspiring examples from innovative and influential animators, such as Kirsten Lepore, Hayley Morris, PES, and Emily Collins The lessons require no previous experience for either child or adult. Animation Lab for Kids is a perfect way for parents, art teachers, home schoolers, after-school care providers, and community group leaders to guide and inspire creative kids to take their art projects to the next level with stop-motion movie making. The popular Lab for Kids series features a growing list of books that share hands-on activities and projects on a wide host of topics, including art, astronomy, clay, geology, math, and even how to create your own circus-all authored by established experts in their fields. Each lab contains a complete materials list, clear step-by-step photographs of the process, as well as finished samples. The labs can be used as singular projects or as part of a yearlong curriculum of experiential learning. The activities are open-ended, designed to be explored over and over, often with different results. Geared toward being taught or guided by adults, they are enriching for a range of ages and skill levels. Gain firsthand knowledge on your favorite topic with Lab for Kids.

For many, the middle ages depicted in Walt Disney movies have come to figure as the middle ages, forming the earliest visions of the medieval past for much of the contemporary Western (and increasingly Eastern) imagination. The essayists of The Disney Middle Ages explore Disney's mediation and re-creation of a fairy-tale and fantasy past, not to lament its exploitation of the middle ages for corporate ends, but to examine how and why these medieval visions prove so readily adaptable to themed entertainments many centuries after their creation. What results is a scrupulous and comprehensive examination of the intersection between the products of the Disney Corporation and popular culture's fascination with the middle ages.

Drawn from Life, a multidisciplinary anthology, introduces readers to a diverse range of filmmakers past and present who use the animated image as a documentary tool. In doing so, it explores a range of questions that preoccupy twenty-first-century film artists and audiences alike: Why use animation to document? How do such images reflect and influence our understanding and experience of'reality'? From early cinema to present-day scientific research, military uses, digital art and gaming, Drawn from Life casts new light on the capacity of the moving image to act as a record of the world around us.

Who Framed Roger Rabbit emerged at a nexus of people, technology, and circumstances that is historically, culturally, and aesthetically momentous. By the 1980s, animation seemed a dying art. Not even the Walt Disney Company, which had already won over thirty Academy Awards, could stop what appeared to be the end of an animation era. To revitalize popular interest in animation, Disney needed to reach outside its own studio and create the distinctive film that helped usher in a Disney Renaissance. That film, Who Framed Roger Rabbit, though expensive and controversial, debuted in theaters to huge success at the box office in 1988. Unique in its conceit of cartoons living in the real world, Who Framed Roger Rabbit magically blended live action and animation, carrying with it a humor that still resonates with audiences. Upon the film's release, Disney's marketing program led the audience to believe that Who Framed Roger Rabbit was made solely by director Bob Zemeckis, director of animation Dick Williams, and the visual effects company Industrial Light & Magic, though many Disney animators contributed to the project. Author Ross Anderson interviewed over 140 artists to tell the story of how they created something truly magical. Anderson describes the ways in which the Roger Rabbit characters have been used in film shorts, commercials, and merchandising, and how they have remained a cultural touchstone today.

This is the definitive biography of Emile Cohl (1857-1938), one of the most important pioneers of the art of the animated cartoon and an innovative contributor to popular graphic humor at a critical moment when it changed from traditional caricature to the modern comic strip. This profusely illustrated book provides not only a wealth of information on Cohl's life but also an analysis of his contribution to the development of the animation film in both France and the United States and an interpretation of how the new genre fit into the historical shift from a "primitive" to a "classical" cinema. "Beautiful in look and design, with stunning reproductions from films and newspapers, Emile Cohl, Caricature, and Film offers a biography of a figure who virtually created the European art of animation.. In its theory and history, the book is one of the most important contributions to the field of animated film]. But it] is central for film study per se, offering a fresh, exciting look at the complicated world of early cinema."--Dana Polan, Film Quarterly

Originally published in 1992.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

In Hollywood Cartoons, Michael Barrier takes us on a glorious guided tour of American animation in the 1930s, '40s, and '50s, to meet the legendary artists and entrepreneurs who created Bugs Bunny, Betty Boop, Mickey Mouse, Wile E. Coyote, Donald Duck, Tom and Jerry, and many other cartoon favorites. Beginning with black-and-white silent cartoons, Barrier offers an insightful account, taking us inside early New York studios and such Hollywood giants as Disney, Warner Bros., and MGM. Barrier excels at illuminating the creative side of animation--revealing how stories are put together, how animators develop a character, how technical innovations enhance the "realism" of cartoons. Here too are colorful portraits of the giants of the field, from Walt and Roy Disney and their animators, to Bill Hanna and Joe Barbera. Based on hundreds of interviews with veteran animators, Hollywood Cartoons gives us the definitive inside look at this colorful era and at the creative process behind these marvelous cartoons. "This definitive depiction of our most American medium will leave all but the most hardened Disnophobe shouting Yabba-Dabba-Doo!"--The Boston Book Review

A formal approach to anime rethinks globalization and transnationality under neoliberalism Anime has become synonymous with Japanese culture, but its global reach raises a perplexing question-what happens when anime is produced outside of Japan? Who actually makes anime, and how can this help us rethink notions of cultural production? In Anime's Identity, Stevie Suan examines how anime's recognizable media-form-no matter where it is produced-reflects the problematics of globalization. The result is an incisive look at not only anime but also the tensions of transnationality. Far from valorizing the individualistic "originality" so often touted in national creative industries, anime reveals an alternate type of creativity based in repetition and variation. In exploring this alternative creativity and its accompanying aesthetics, Suan examines anime from fresh angles, including considerations of how anime operates like a brand of media, the intricacies of anime production occurring across national borders, inquiries into the selfhood involved in anime's character acting, and analyses of various anime works that present differing modes of transnationality. Anime's Identity deftly merges theories from media studies and performance studies, introducing innovative formal concepts that connect anime to questions of dislocation on a global scale, creating a transformative new lens for analyzing popular media.

Coraline (Henry Selick, 2009) is stop-motion studio LAIKA's feature-length debut based on the popular children's novel by British author Neil Gaiman. Heralding a revival in global interest in stop-motion animation, the film is both an international cultural phenomenon and a breakthrough moment in the technological evolution of the craft. This open access collection brings together an international group of practitioners and scholars to examine Coraline's place in animation history and culture, dissect its politics, and unpack its role in the technological and aesthetic development of its medium. More broadly, it celebrates stop motion as a unique and enduring artform while embracing its capacity to evolve in response to cultural, political, and technological changes, as well as shifting critical and audience demands. Divided into three sections, this volume's chapters situate Coraline within an interconnected network of historical, industrial, discursive, theoretical, and cultural contexts. They place the film in conversation with the medium's aesthetic and technological history, broader global intellectual and political traditions, and questions of animation reception and spectatorship. In doing so, they invite recognition - and appreciation - of the fact that Coraline occupies many liminal spaces at once. It straddles the boundary between children's entertainment and traditional 'adult' genres, such as horror and thriller. It complicates a seemingly straight(forward) depiction of normative family life with gestures of queer resistance. Finally, it marks a pivotal point in stop-motion animation's digital turn. Following the film's recent tenth anniversary, the time is right to revisit its production history, evaluate its cultural and industry impact, and celebrate its legacy as contemporary stop-motion cinema's gifted child. As the first book-length academic study of this contemporary animation classic, this volume serves as an authoritative introduction and a primary reference on the film for scholars, students, practitioners, and animation fans. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.