Titlebook: Anime Aesthetics; Japanese Animation a Alistair D. Swale Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 Anime.aesthetics.Ja

Heterodoxy

Anime as Representation,not through craft, or even technique. Naturally, there has been no attempt to deny that technical, or technological, elements in the creative process will have some capacity to constrain or shape artistic expression. But so far as “art proper” itself is concerned, the focus of our consideration shou

Costume

Anime as Amusement,ated with a form of comedic “play” fits well with anime’s inherent tendency to evoke tropes of visual amusement (Lamarre, 2006: 161 – 163). Drawing on some of the seminal commentary on animation from Paul Wells, we can suggest that this proclivity arguably stems from the pure “novelty” of animated f

bioavailability

单调女

Anime as Art: Digital Cinema and the Anime Aesthetic,te Hagener’s . the Sense s was briefly discussed as having one of the most accessible overviews of the key symptomatic features of a post-photographic, or “post-cinematic” experience of the moving image. They highlight the inherent paradox within the very term “digital cinema” and explore the signif

Efflorescent

Palpate

反抗者

档案

Peter O. Christensen,Gerald A. Felthament to 2D or hand-drawn character design within a backdrop and texturing that is aided by 3D design and digital imaging. This is a markedly distinct trajectory from North American production houses such as Pixar which have opted for an entirely immersive adoption of 3D design (Elsaesser and Hagener,

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Peter O. Christensen,Gerald A. Felthamnot through craft, or even technique. Naturally, there has been no attempt to deny that technical, or technological, elements in the creative process will have some capacity to constrain or shape artistic expression. But so far as “art proper” itself is concerned, the focus of our consideration shou

无瑕疵

Peter O. Christensen,Gerald A. Felthamated with a form of comedic “play” fits well with anime’s inherent tendency to evoke tropes of visual amusement (Lamarre, 2006: 161 – 163). Drawing on some of the seminal commentary on animation from Paul Wells, we can suggest that this proclivity arguably stems from the pure “novelty” of animated f