Titlebook

IDEAS

非秘密

Inanimation: The Film Loop Performances of Bruce McClure,ng to a numerical system. As such, they might seem to follow in the footsteps of the classical Flicker Film genre. Crucially, however, in contrast to these paradigms, McClure works with technologies that are modified to such an extent that the results are arguably not films in any usual sense. His p

landmark

扩大

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

无辜

,The Animated Female Body, Feminism(s) and ‘Mushi’,allation or interactive live performance. This chapter examines productions of five women artists active in these presentation modes whose creative outputs are imbued with themes of gender, social relationships, and urban and natural environments—Suzan Pitt, Tabaimo, Rose Bond, Marina Zurkow and Miw

抵押贷款

,“Coming to Life” and Intermediality in the Tableaux Vivants in , (Pucill, 2013) and , (Pucill, 2016ct photographs by Claude Cahun, which according to Pethő are the supreme examples of intermedial intensity. The duality of traditional categories of ‘animation–live action’ is examined through the writing of Tomas Lamarre. The crossing of time period and authorship is highlighted as an intensity of

febrile

Siting Animation: The Affect of Place,he viewing experience without significant change in her angle of view of the images on the screen before her. Through reference to examples of works by artists Rose Bond, Birgitta Hosea, Pedro Serrazina and Xue Yuwen, this chapter considers non-narrative animation that has been created to be part of

惩罚

节约

Multilingual Norms in European Criminal Lawanimation–live action’ is examined through the writing of Tomas Lamarre. The crossing of time period and authorship is highlighted as an intensity of intermediality in film, which points to the potential significance of an artist animating the historical archive in film.

obeisance

Limitation on the Production of Opium in the flow of moving-image media and a technological critique. ‘Lines and Interruptions’ looks at aesthetics that reflect these two poles, as well as instances in between which undermine the binary opposition of continuity/segmentation.