When BoJack Horseman (2014-2020) was first announced, it made news as the first adult animated original programming for Netflix. I recall at the time that there was a certain amount of hoopla around this—not just for being adult-oriented animation (which…
The first animated feature that Netflix has produced exclusively for its online streaming platform is notably a return to 2D animation in an industry where 3D animation dominates: Klaus (2019). However, this film likewise aspires to dimensionality and depth even…
Of all the models of streaming platform that were tried over the past decade, Netflix’s has undoubtedly proven the most popular. This has no doubt mainly been due to the casual enforcement of subscription policies (41% of Netflix users are…
In fall and winter of 2019-20, I collaborated with Alice Nelson, a Spanish language and Latin American Studies scholar, teaching the fulltime program “Arts of Urgency: Latin American Film and Literature” at The Evergreen State College. The ability to collaborate…
Animation, as perhaps all modes of expression, has the potential to act as a tool for societal improvement. However, for animation to properly yield an informed and effective result for the benefit of society, it should arguably take advantage of…
Materials of the Synesthetic. Rethinking the Formal Elements of Animation “A strange multiplicity of sensations seized me, and I saw, felt, heard, and smelt at the same time; and it was, indeed, a long time before I learned to distinguish…
Revisiting Conversations Regarding the Interdisciplinary Nature of the Art “If the unity of art can be established with all the subject matters taught and exercised, then a real reconstruction of this world could be hoped for—more balanced and less dangerous.”…
When a series of similar, yet progressively different still images are presented to the eye in rapid succession, we perceive the illusion of motion. That is how video and movies work. It is also how traditional and non-traditional animation toys…
In this post, I describe some of my interactive animated artworks that incorporate archival sources. In particular, I focus on three titles: Flora (2018)–which is on view at the Museum of Photographic Arts (San Diego, CA) in the exhibition Illusion:…
The absence of a memorial policy for animated films, in Tunisia and throughout Africa and the Middle East, is mainly explained by a lack of awareness of this art not only among the large audience but also among the insiders.…
