Database for Animation Studies


  • March 14, 2022

    『アニメーション研究』第20巻第2号、第21巻第1、2号と、『Animation: An Interdisciplinary Journal』第14巻第3号から第16巻第3号の論文情報を追加。

  • February 14, 2020

    トップページに検索窓と更新履歴の設置。『アニメーション研究』第20巻第1号と、『Animation: An Interdisciplinary Journal』第14巻第1号、第2号の論文情報を追加。4件の推薦文献リストとそれに伴う新規文献の追加。

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Animation in the Core of Dystopia: Ari Folman’s The Congress

Ari Folman’s The Congress (2013) borrows freely from Stanisław Lem’s dystopian view in his Sci-fi novel The Futurological Congress (1971) to propose the gradual dissolution of the human into an artificial form, which is animation. By moving the action of the novel from a hypothetical future to contemporary Hollywood, Ari Folman gives CGI animation the role of catalyst for changes not only in the production system, but for human thought and, therefore, for society. This way, the film ponders the changing role of performers at the time of their digitalization, as well as on the progressive dematerialization of the film industry, considering a dystopian future where simulation fatally displaces reality, which invites relating The Congress with Jean Baudrillard’s and Alan Cholodenko’s theses on how animating technologies have resulted in the culture of erasing. Moreover, this article highlights how Lem’s metaphor of the manipulation of information in the Soviet era is transformed in the second part of The Congress into a vision of cinema as a collective addiction, relating it to Alexander Dovzhenko’s and Edgar Morin’s speculative theories of total film – which come close to the potentialities of today’s Virtual Reality and Augmented Reality. In addition, although The Congress is a disturbing view of film industry and animating technologies, its vision of film is nostalgically retro as it vindicates an entire tradition of Golden Age animation that transformed the star system into cartoons, suggesting the fictionalization of their lives and establishing a postmodern continuum between animation and film.

Animation and the Powers of Plasticity

This article studies the notion of plasticity that Sergei Eisenstein identified as key to the practice of animation. But rather than approaching plasticity only in aesthetic terms, the article extends its meaning to consider animated figures’ power over their beholders. By looking at both historical and contemporary case studies, from Athanasius Kircher’s experiments in the 17th century to present-day virtual reality applications developed by the US military, the author seeks to understand the transformative potential of animation with regard to psychic life, and how this potential has been turned into a practice of power.

Critique of the New Historical Landscape of South Korean Animation

This article introduces and critically engages with the animated films produced in the geopolitical reality of South Korea from the colonial period under Japanese occupation to the present, and the animation-related phenomena they caused. In the past, studies of South Korean animation have tended to describe it merely in terms of a production factory on the international scene of animation. However, the history of South Korean animation, many parts of which have been forgotten or not recorded, is as extensive as that of South Korea itself. In exploring the historical and political contexts of South Korean animation in chronological order, the aim is not to present a grand narrative of national cinema. Rather, the article hopes to shed some light on the complex web of animation production, aesthetic expression and South Korean ideologies and political situations.

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My purpose for the list as a whole was to make a list of texts that teach how to create motion with pictures. When you teach animation, you often receive questions about how to do that. So, we have created a list of reference material that can lead to practical knowledge. The selector supplied this list from her production experience, which spans more than 30 years. We hope that students will use these materials at the early stages of learning—looking, understanding, and applying—and will acquire practical knowledge about “moving,” a useful foundation for their creative activities.

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