Despite the longevity of animation and its significance within
the history of cinema, film theorists have focused on live-action
motion pictures and largely ignored hand-drawn and
computer-generated movies. Thomas Lamarre contends that the
history, techniques, and complex visual language of animation,
particularly Japanese animation, demands serious and sustained
engagement, and in "The Anime Machine" he lays the foundation for a
new critical theory for reading Japanese animation, showing how
anime fundamentally differs from other visual media.
"The Anime Machine" defines the visual characteristics of anime
and the meanings generated by those specifically "animetic"
effects-the multiplanar image, the distributive field of vision,
exploded projection, modulation, and other techniques of character
animation-through close analysis of major films and television
series, studios, animators, and directors, as well as Japanese
theories of animation. Lamarre first addresses the technology of
anime: the cells on which the images are drawn, the animation stand
at which the animator works, the layers of drawings in a frame, the
techniques of drawing and blurring lines, how characters are made
to move. He then examines foundational works of anime, including
the films and television series of Miyazaki Hayao and Anno Hideaki,
the multimedia art of Murakami Takashi, and CLAMP's manga and anime
adaptations, to illuminate the profound connections between
animators, characters, spectators, and technology.
Working at the intersection of the philosophy of technology and
the history of thought, Lamarre explores how anime and its related
media entail material orientations and demonstrates concretely how
the "animetic machine" encourages a specific approach to thinking
about technology and opens new ways for understanding our place in
the technologized world around us.
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