The official behind-the-scenes companion book to VIVO, the first-ever musical from the Academy Award-winning studio Sony Pictures Animation The Art of VIVO will give readers a behind-the-scenes look at VIVO, the first-ever musical from Sony Pictures Animation, including exclusive concept art, character designs, storyboards and commentary from the award-winning filmmaking team.VIVO, an animated musical adventure featuring all-new original songs from Lin-Manuel Miranda, the creator of the Broadway smash Hamilton, whose flair for mashing up musical styles will give the film a wholly unique and contemporary sound. This incredible story about music and friendship will take audiences on an epic adventure to gorgeous and vibrant locations never before seen in animation.

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.

From the iconic Snow White and the Seven Dwarfs (1937) to Tangled, the 2010 retelling of Rapunzel, Handsome Heroes and Vile Villains looks at the portrayal of male characters in Disney films from the perspective of masculinity studies and feminist film theory. This companion volume to Good Girls and Wicked Witches places these depictions within the context of Hollywood and American popular culture at the time of each film s release."

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, Herve Joubert-Laurencin, Gertrud Koch, Thomas LaMarre, Christopher P. Lehman, Esther Leslie, John MacKay, Mihaela Mihailova, Marc Steinberg, Tess Takahashi

Der Band greift einen vorherrschenden wissenschaftlichen Trend zur Prozessualisierung, Relationierung und Situierung von gegenwartigen Medien bzw. medialen Konstellationen auf und erprobt und exemplifiziert diesen an Videospielarrangements. Er vereint unter der Perspektivierung von digitalen Spielen als "Situationen und Prozesse" internationale Forscher*innen aus dem Bereich der Computerspielforschung und zeigt in diesem Zuge auch, dass eine derartige theoretische Pramisse interdisziplinare Herangehensweisen ermoeglicht bzw. zusammenfuhren lasst.

When most people are asked what the first animated movie is, they assume it's Walt Disney's Snow White and the Seven Dwarfs in 1937. For three years (1923-1926), a young, female animation director, her husband, and four men crafted the oldest surviving animated film in a Potsdam garage attic one maddeningly frame at a time. Lotte Reiniger animated Die Abenteuer des Prinzen Achmed, better known as The Adventures of Prince Achmed, equipped with nothing but scissors, cardboard, lead sheets, a camera, and a story inspired by One Thousand and One Arabian Nights. Lotte Reiniger was a animation and puppetry pioneer, who gifted the mediums with her silhouettes and imagination. Yet due to a number of factors: her gender, her German ethnicity, World War II, lack of funding, and many others, she became a footnote in animation and cinematic history. Yet her sixty plus filmography is evident of her passion, talent, and dedication to animated art. For the first time, Early Animation Pioneer Lotte Reiniger shares Lotte Reinger's story in a detailed account that reveals her contribution to animation, puppetry, Weimar cinema, and modern filmmaking as well as how her silhouettes continue to snip their way into fans' imaginations.

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.

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.

Long before flying saucers, robot monsters, and alien menaces invaded our movie screens in the 1950s, there was already a significant but overlooked body of cinematic science fiction. Through analyses of early twentieth-century animations, comic strips, and advertising, Animating the Science Fiction Imagination unearths a significant body of cartoon science fiction from the pre-World War II era that appeared at approximately the same time the genre was itself struggling to find an identity, an audience, and even a name. In this book, author J.P. Telotte argues that these films helped sediment the genre's attitudes and motifs into a popular culture that found many of those ideas unsettling, even threatening. By binding those ideas into funny and entertaining narratives, these cartoons also made them both familiar and non-threatening, clearing a space for visions of the future, of other worlds, and of change that could be readily embraced in the post-war period.

"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.

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.

After Toy Story, Ratatouille, WALLE, and other award-winning blockbusters, where else could Pixar Animation Studios go but UP? Their latest film is the heartwarming story of Carl Fredrickson (voiced by Ed Asner), a 78-year-old widower who feels that life has passed him byuntil a twist of fate takes him on a journey across the globe. UP is set to take off on May 29, 2009. The Art of UP contains more than 250 pieces of concept art developed for the feature, including storyboards, full-color pastels, digital and pencil sketches, character studies, color scripts, and more. Quotes from the director, artists, animators, and production team reveal the sky-high creativity that elevated this whimsical film to new heights.

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.

Comic Books Incorporated tells the story of the US comic book business, reframing the history of the medium through an industrial and transmedial lens. Comic books wielded their influence from the margins and in-between spaces of the entertainment business for half a century before moving to the center of mainstream film and television production. This extraordinary history begins at the medium's origin in the 1930s, when comics were a reviled, disorganized, and lowbrow mass medium, and surveys critical moments along the way-market crashes, corporate takeovers, upheavals in distribution, and financial transformations. Shawna Kidman concludes this revisionist history in the early 2000s, when Hollywood had fully incorporated comic book properties and strategies into its business models and transformed the medium into the heavily exploited, exceedingly corporate, and yet highly esteemed niche art form we know so well today.

The early twenty-first century has seen an explosion of animation. Cartoon characters are everywhere-in cinema, television, and video games and as brand logos. There are new technological objects that seem to have lives of their own-from Facebook algorithms that suggest products for us to buy to robots that respond to human facial expressions. The ubiquity of animation is not a trivial side-effect of the development of digital technologies and the globalization of media markets. Rather, it points to a paradigm shift. In the last century, performance became a key term in academic and popular discourse: The idea that we construct identities through our gestures and speech proved extremely useful for thinking about many aspects of social life. The present volume proposes an anthropological concept of animation as a contrast and complement to performance: The idea that we construct social others by projecting parts of ourselves out into the world might prove useful for thinking about such topics as climate crisis, corporate branding, and social media. Like performance, animation can serve as a platform for comparisons of different cultures and historical eras. Teri Silvio presents an anthropology of animation through a detailed ethnographic account of how characters, objects, and abstract concepts are invested with lives, personalities, and powers-and how people interact with them-in contemporary Taiwan. The practices analyzed include the worship of wooden statues of Buddhist and Daoist deities and the recent craze for cute vinyl versions of these deities, as well as a wildly popular video fantasy series performed by puppets. She reveals that animation is, like performance, a concept that works differently in different contexts, and that animation practices are deeply informed by local traditions of thinking about the relationships between body and soul, spiritual power and the material world. The case of Taiwan, where Chinese traditions merge with Japanese and American popular culture, uncovers alternatives to seeing animation as either an expression of animism or as "playing God." Looking at the contemporary world through the lens of animation will help us rethink relationships between global and local, identity and otherness, human and non-human.

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.

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.

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.

Over the past 25 years, Pixar s team of artists, writers, and directors have shaped the world of contemporary animation with their feature films and shorts. From classics such as Toy Story and A Bug s Life to recent masterpieces such as Up, Toy Story 3, and Cars 2, this comprehensive collection offers a behind-the-scenes tour of every Pixar film to date. Featuring a foreword by Chief Creative Officer John Lasseter, the complete color scripts for every film published in full for the first time as well as stunning visual development art, The Art of Pixar is a treasure trove of rare artwork and an essential addition to the library of animation fans and Pixar enthusiasts.

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

One of the major icons of modern cinema, and hugely influential on pop-culture over the past three decades, Pixar Animation Studios has proved to be an endless source of imagination and delight for children and adults alike. From the Toy Story Trilogy to Brave, The Incredibles to Ratatouille, its films have played a vital role in reminding audiences around the globe of animation's capacity as both an entertainment and an art form. Every feature sits on the 'top 50 highest-grossing animated films of all-time' list, and with over 200 awards to their name, including numerous Oscars, they're as revered by critics as they are successful at the box-office. The Films of Pixar Animation Studio offers a one-stop guide to the studio's entire back catalogue, discussing in-depth the creative choices behind each film, and their place within the wider cinema landscape and animation history. It also offers an insight into their very particular way of working, and the role of the films' producers, writers, directors and animators on each project, examining their colourful and original use of a folk-tale sensibility, and their unique aesthetic.

Ivor the Engine, Noggin the Nog, Pingwings, Pogles Wood, Clangers, and Bagpuss - the iconic animations produced by the Canterbury-based Smallfilms studio between 1958 and 1984 - constitute a significant thread of British cultural history. The lasting appeal of the imagined worlds created by Smallfilms is evident in the highly-successful BBC reboot of Clangers (2015-present), which has introduced a whole new audience to the pink moon mice. As well as the shows likely to be famiilar to readers, this history expands the Smallfilms story to include those less well-known animated shows that nonetheless played an important part in the studio's history. Through extensive studio access, interviews with many key Smallfilms collaborators, press and audience analysis, Chris Pallant provides a comprehensive and definitive historical record of the studio's work. Beyond Bagpuss is illustrated with 100 images from the Smallfilms archive, including those that have not previously been published.

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.