Animation and comic books share a common field in that both are composed of images sequenced in time: one is driven mechanically and electronically in projection, and the other by the peripatetic and wilful actions of the reader. However, the single comic book panel has its own duration which is co- ordinated both by the exigencies of the narrative and the graphic properties of the two-dimensional pictorial plane. The gestural movement of the artist is implied in each line and it is this movement that presents itself as a ground for understanding movement in both comic books and two-dimensional drawn animation. It is movement that is retained in the animated figure, in the form of the outline, but also runs tangentially in the articulation of both reading movement and artistic gesture.
- From the `Cinematic' to the `Anime-ic': Issues of Movement in Anime
- Movements within Movements: Following the Line in Animation and Comic Books
- Seeing Movement: On Motion Capture Animation and James Cameron’s Avatar
- Cognitive Animation Theory: A Process-Based Reading of Animation and Human Cognition
- With a Philosopher’s Eye: A ‘Naive’ View on Animation
- Hanna-Barbera’s Cacophony: Sound Effects and the Production of Movement
- A representation of sound and movement in Japanese animated cartoon
- "Moved" and "Moving" Gentō: Gentō-kai (Gentō Screening) as a Place for "Movements."
- Inquiries around Animation and Moving Image: Anime, Animation and Animating.