Dark Alchemy: The Film of Jan Svankmajer
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What exactly is the special appeal of the visual form/medium of animation, and what are the mechanisms that create such attraction? These references contain many hints to help you find answers to those questions.
- Scott Bukatman, The Poetics of Slumberland: Animated Spirits and the Animating Spirit, University of California Press, 2012
- Donald Crafton, Shadow of a Mouse: Performance, Belief, and World-Making in Animation, University of California Press, 2012.
- Donald Crafton, Before Mickey: The Animated Film 1989-1928, University of Chicago Press, 1993
- Simon During, Modern Enchantments: The Cultural Power of Secular Magic, Harvard University Press, 2002
- Peter Hames (ed.), Dark Alchemy: The Film of Jan Svankmajer, Praeger, 1995
- Patrick Harpur, A Complete Guide to the Soul. Rider, 2010
- Thomas Lamarre, The Anime Machine: A Media Theory of Animation, University of Minnesota Press, 2009
- Esther Leslie, Hollywood Flatlands: Animation, Critical Theory and the Avant-Garde, Verso, 2002
- Lev Manovich, The Language of New Media, The MIT Press, 2001
- Eiji Otsuka, Atomu no meidai: Tezuka Osamu to sengo manga no shudai (Atom’s Thesis: Osamu Tezuka and the Central Theme of Postwar Manga), Tokuma Shoten, 2003
- Suzanne Buchan, The Quay Brothers: Into a Metaphysical Playroom, University of Minnesota Press, 2011
- Suzanne Buchan(ed.), Pervasive Animation (AFI Film Readers), Routledge, 2013
In this volume, these essays about Jan Svankmajer and an interview with the director himself go beyond auteur theory, leading to aesthetic debates about the manual, the tactile, and materiality in animation. In particular, I recommend the essay by Michael O'Pray .