Titlebook: Animation, Sport and Culture; Paul Wells Book 2014 Palgrave Macmillan, a division of Macmillan Publishers Limited 2014 Animation.Sport.Dis

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,Body Languages — Early Sporting Animation,together, the first question of the opening chapter is the very opposite. What was it that seemed to attract proto-animators and those who later became established as professional animators to sporting activity, and more specifically what did they identify as ‘sport’? This enables me to ask the broa

xanthelasma

,Good Sports — Re-Imagining the Cartoon,ntal films throughout the decade, in which the studio innovated in taking the cartoon from the plasmatic freedoms of the black and white short to the fully consolidated, character-led, colour, spatially enhanced, sound-synchronised, . film (see Wells 1998a; Barrier 1999; Leslie 2002; Telotte 2010; C

Serenity

,Olympianimation — Global Forms and Perspectives,further evidence of the pervasive influence of athletics’ (Dombrowski 2009:17). The Olympic Games is still the major touchstone for the highest quality sporting competition and, arguably, discourses about nation and nationalism within an international context. This chapter, then, begins with an enga

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Animated Art, Sporting Aesthetics, achievements of, among others, footballers, racing drivers, skaters and tennis players by classifying the best of their work as ‘art’, or more specifically within the realms of a rarefied aesthetic framework. David Winner, for example, in his collaboration with former Arsenal and Holland striker De

expository

Animation, Sport and Technology,nology has proved extraordinarily influential in both sport and animation, enabling both practices to grow and develop. In essence, all technology itself starts out as a facilitating agent — ‘neutral’ in relation to its ideological or cultural charge — but, thereafter, depending upon its application

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mighty

Intra-Period Contract Renegotiationts rendered as flickering grey ghosts, Manchester United players as painterly red blots and Rooney’s effort the focus of a persuasively rotoshopped animated sequence (see Figure I.1).. And there was more: plaintive piano music, and a commentary by former England manager, and . football writer, Terry

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