Titlebook: Experimental and Expanded Animation; New Perspectives and Vicky Smith,Nicky Hamlyn Book 2018 The Editor(s) (if applicable) and The Author(s

extrovert

Introduction,s book. It had been our intention to trace developments since the 1970s, but things have turned out rather differently in the end, and perhaps inevitably, given the incalculable explosion of all kinds of animation everywhere. The pervasiveness of animated phenomena, and the impossibility of capturin

激励

grotto

畸形

Twenty-First Century Flicker: Jodie Mack, Benedict Drew and Sebastian Buerkner,lmost sculptural—attention to frame intervals and the kinetic visual rhythms and patterns they can create exposes the stroboscopic ‘pulse’ of cinematography and the limits of ‘animation’. More than this, creative use of flicker offers us, as subjects, a valuable opportunity to reassess our relations

加花粗鄙人

synovium

Analogon: Of a World Already Animated,ations think especially hard about movement, time and, unsurprisingly, animation: what motivates something to move. In their remarkably different ways, . (2007–2008) and . (1987) undertake a radical thinking-through of change, respectively as mutation and its constituents, and the capacities of film

Confound

,Emptiness Is Not ‘Nothing’: Space and Experimental 3D CGI Animation,thin a 3D CGI world can form the material basis when working within this mode of production. Also, drawing from Heidegger’s discourse on space, this chapter outlines a combined theoretical and a practical exploration into space as material where emptiness and the void are offered as methods for an i

GLOSS

engrave

Re-splitting, De-synchronizing, Re-animating: (E)motion, Neo-spectacle and Innocence in the Film Wo-positions ‘animation’ both as an extension of its own anticipated limits, and within a broader spectrum of moving-image practices, ultimately using Stezaker’s work as an exemplar of both a resistance to the way film is used in dominant experimental arts practice, and the way in which ‘animation’ ha

傻

Cut to Cute: Fact, Form, and Feeling in Digital Animation,film and media. Beginning with a discussion of Ahwesh’s practice of appropriating CGI animated news footage in her recent films, the conversation then broadens to address questions of genre, affect, politics, violence, labour, gender, and finally, the aesthetics of ‘cuteness’ in animation, which the