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.”…
Not long ago I happened upon an original Reynaud praxinoscope for sale in a shop in Paris. Unable to justify its asking price, I began to research more affordable alternatives to share with animation students with whom I have made…
I like to start my animation history class by telling the students that I am going to show them the very first animated film ever made. I then proceed by showing Pauvre Pierrot (1892, by Émile Reynaud) without further comments.…
Animation can be a powerful way to introduce young people to media making. As Yvonne Andersen (1970: 9) notes, “it is dynamic enough to stimulate them and yet easy enough for them to handle.” For several years, I have been…
Following the success of the first ‘Animation and Public Engagement Symposium’ (APES), which ran in association with the Bradford Animation Festival in 2014, APES 2015 touched down at the Tyneside Cinema in Newcastle for this year’s installment. Coordinated by Society…
Teaching middle school girls, particularly middle school girls of color, about the legacy of imperialism can be simultaneously disturbing and disheartening. Learning about imperialism requires revisiting the legacy of cultural dominance with a group of young people who are still…
It is fitting that early animation technologies, such as the zoetrope and thaumatrope were called “optical toys”. This attitude of play and discovery is inherent in the animation process, and especially in experimental work. Experimental animators approach animation from a…
