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
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