Animators work within a strictly defined, limited space that requires difficult artistic decisions. The blank frame presents a dilemma for all animators, and the decision of what to include and leave out raises important questions about artistry, authorship, and cultural influence. In Animating Space: From Mickey to WALL-E, renowned scholar J. P. Telotte explores how animation has confronted the blank template, and how responses to that confrontation have changed. Focusing on American animation, Telotte tracks the development of animation in line with changing cultural attitudes toward space and examines innovations that elevated the medium from a novelty to a fully realized art form. From Winsor McCay and the Fleischer brothers to the Walt Disney Company, Warner Bros., and Pixar Studios, Animating Space explores the contributions of those who invented animation, those who refined it, and those who, in the current digital age, are using it to redefine the very possibilities of cinema.
- Comics and the Critique of Chronophotography, or ‘He Never Knew When It Was Coming!’
- Sketching Under the Influence? Winsor McCay and the Question of Aesthetic Convergence Between Comic Strips and Film
- The Making and Re-making of Winsor McCay’s Gertie (1914)
- Before Mickey: The Animated Film 1989-1928
- Animating Space: From Mickey to Wall-E
- The Poetics of Slumberland: Animated Spirits and the Animating Spirit
the Fleischer brothers