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.

A retelling of Disney Encanto featuring stunning development art from the original Disney Studio artists. Since its release, Encanto has become an instant classic thanks to its magical story, relatable characters and catchy songs from Tony (R), Grammy (R) and Pulitzer Prize-winner, Lin-Manuel Miranda. Encanto won Best Animated Feature Film at the 2022 Academy Awards (R). Enjoy the hit movie through this retelling of the story, accompanied by concept art from the original Walt Disney Animation Studios artists. Alongside the art, fascinating facts about each piece of art give an insight into the design process behind the iconic movie. Also featured is a foreword from Yvett Merino, Producer at the Walt Disney Animation Studios. The beautiful hardback features a textured finish, stunning foil and illustrated endpapers to ensure this is a book to treasure for years to come. This is the perfect gift for all those who have been enchanted by the magic of Encanto!

"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.

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

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.

An authoritative introduction and guide to the latest developments in animation technology.

This revised and updated edition of the standard introduction to computer animation reflects the latest developments in 3D computer animation. It clearly explains the basic concepts and techniques for all those who want to master the technology, while covering new topics to keep readers up to date on advances in the field. 10 color and 200 black-and-white illustrations.

"At last! A book that I can wholeheartedly recommend to my students. . . . A key text in my classes."—Michael Scroggins, director, Computer Animation Labs, California Institute of the Arts

This open access study of the film Grendel Grendel Grendel, directed by Alexander Stitt, presents it as a masterpiece of animation and design which has attained a national and international cult status since its release in 1981. The film, based on the novel, Grendel, by John Gardner, is a loose adaptation of the Beowulf legend, but told from the point of view of the monster, Grendel. Grendel Grendel Grendel is a mature, intelligent, irreverent and quite unique animated film - it is a movie, both in terms of content and of an aesthetic that was well ahead of its time. Along with a brief overview of Australian animation and a contextualization of where this animated feature fits within the broader continuum of Australian (and global) film history, Dan Torre and Lienors Torre provide an intriguing analysis of this significant Australian animated feature. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.

A phenomenological investigation into new media artwork and its relationship to history What does it mean to live in an era of emerging digital technologies? Are computers really as antihistorical as they often seem? Drawing on phenomenology's investigation of time and history, Sensations of History uses encounters with new media art to inject more life into these questions, making profound contributions to our understanding of the digital age in the larger scope of history. Sensations of History combines close textual analysis of experimental new media artworks with in-depth discussions of key texts from the philosophical tradition of phenomenology. Through this inquiry, author James J. Hodge argues for the immense significance of new media art in examining just what historical experience means in a digital age. His beautiful, aphoristic style demystifies complex theories and ideas, making perplexing issues feel both graspable and intimate. Highlighting underappreciated, vibrant work in the fields of digital art and video, Sensations of History explores artists like Paul Chan, Phil Solomon, John F. Simon, and Barbara Lattanzi. Hodge's provocative interpretations, which bring these artists into dialogue with well-known works, are perfect for scholars of cinema, media studies, art history, and literary studies. Ultimately, Sensations of History presents the compelling case that we are not witnessing the end of history-we are instead seeing its rejuvenation in a surprising variety of new media art.

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.

For students, fans, and scholars alike, this wide-ranging primer on anime employs a panoply of critical approaches Well-known through hit movies like Spirited Away, Akira, and Ghost in the Shell, anime has a long history spanning a wide range of directors, genres, and styles. Christopher Bolton's Interpreting Anime is a thoughtful, carefully organized introduction to Japanese animation for anyone eager to see why this genre has remained a vital, adaptable art form for decades. Interpreting Anime is easily accessible and structured around individual films and a broad array of critical approaches. Each chapter centers on a different feature-length anime film, juxtaposing it with a particular medium-like literary fiction, classical Japanese theater, and contemporary stage drama-to reveal what is unique about anime's way of representing the world. This analysis is abetted by a suite of questions provoked by each film, along with Bolton's incisive responses. Throughout, Interpreting Anime applies multiple frames, such as queer theory, psychoanalysis, and theories of postmodernism, giving readers a thorough understanding of both the cultural underpinnings and critical significance of each film. What emerges from the sweep of Interpreting Anime is Bolton's original, articulate case for what makes anime unique as a medium: how it at once engages profound social and political realities while also drawing attention to the very challenges of representing reality in animation's imaginative and compelling visual forms.

Relive childhood excitement and celebrate more than 30 years of He-Man, She-Ra, Skeletor and all the Masters of the Universe! By the Power of Grayskull! The war for Eternia begins again in 2021! Officially licensed by Mattel, this stunning guide is a visual celebration of Masters of the Universe's enduring legacy, including artworks, sketches, posters and merchandise from the official archives. With the continuation of He-Man's epic story, and a new CGI animated series both scheduled to release on Netflix in 2021, it's the perfect time to familiarise yourself with all the heroes, villains, amazing battles and incredible locations from your childhood. Explore the full history of the toys, minicomics, TV series and movies. Meet characters including Skeletor, Man-At-Arms, Teela, Battle Cat, Beast Man and She-Ra and track how they change through the decades, from 1982 to today. Go behind-the-scenes to discover what it took to create a franchise with phenomenal worldwide impact. There's also a sneak peak at the reboots, to find out how He-Man, one of the biggest icons of the 80s, is being restored to his former glory. (c) 2021 Mattel

"A film that will let you see the music and listen to drawings; in a word, a film full of Fantasia!" Bruno Bozzetto's Allegro non Troppo tips its hand right away: it is an unabashed, yet full of admiration, retake on Walt Disney's 1940 "concert feature". The obvious nod to that model fuels many tongue-in-cheek jokes in the film; however, Allegro non Troppo soon departs from mere parody, and becomes a showcase for the multifaceted aesthetics of Italian animation in 1976, as well as a witty social satire and a powerful rethinking of the music-image relationship in cinema. Marco Bellano's open access book reconstructs the history of the production of Allegro non Troppo, on the basis of an original research developed with the contribution of Bozzetto himself; it also presents an audiovisual analysis of the work, as to reassess the international relevance of Bozzetto's achievements by giving insight into the director's creative process. The eBook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.

In its exploration of puppetry and animation as the performative media of choice for mastering the art of illusion, To Embody the Marvelous engages with early modern notions of wonder in religious, artistic, and social contexts. From jointed, wood-carved figures of Christ, saintly marionettes that performed hagiographical dramas, experimental puppets and automata in Cervantes' Don Quixote, and the mechanical sets around which playwright CalderOn de la Barca devised secular magic shows to deconstruct superstitions, these historical and fictional artifacts reenvisioned religious, artistic, and social notions that led early modern society to critically wrestle with enchantment and disenchantment. The use of animated performance objects in Spanish theatrical contexts during the sixteenth and seventeenth centuries became one of the most effective pedagogical means to engage with civil society. Regardless of social strata, readers and spectators alike were caught up in a paradigm shift wherein belief systems were increasingly governed by reason-even though the discursive primacy of supernatural doxa and Christian wonder remained firmly entrenched. Thanks to their potential for motion, religious and profane puppets, automata, and mechanical stage props deployed a rationalized sense of wonder that illustrates the relationship between faith and reason, reevaluates the boundaries of fiction in art and entertainment cultures, acknowledges the rise of science and technology, and questions normative authority.

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.