With the debut of its fifth and final season in May 2020, Dreamworks Animation’s She-Ra and the Princesses of Power (2018-2020) made history as another children’s animated series with explicit queer representation. Led by queer creator Noelle Stevenson and a…
She-Ra and the Princesses of Power
She-Ra and the Power of Princesses or: Wait, Weren’t We Supposed to Free the Magic?
by Timothy Jones • July 27, 2020 • 1 Comment
It has been several weeks since I finished watching She-Ra and the Princesses of Power (2018-2020). As with so many things in 2020, it feels a lot longer, and in that time I have reflected on how much there is…
She-Ra and the Princesses of Power
She-Ra and the Principles of Threaded Media Storytelling
by Colin Burnett • July 23, 2020 • 1 Comment
In interviews she gave for the launch of the Netflix/DreamWorks series She-Ra and the Princesses of Power (2018—2020), showrunner Noelle Stevenson made the point repeatedly: the new She-Ra would be the same, but different. From the beginning, the show was…
She-Ra and the Princesses of Power
Rebooting She-Ra
by Ruth Richards • July 20, 2020 • 0 Comments
In 2020, the fifth and final season of She-Ra and the Princesses of Power (2018-2020) was released on Netflix. Headed by showrunner and Eisner award-winner Noelle Stevenson, She-Ra has received wide praise amongst fans and critics for its riveting storylines…
She-Ra and the Princesses of Power
Animating Race in “She-Ra and the Princesses of Power”
by Francis M. Agnoli • July 13, 2020 • 1 Comment
In addition to many other elements, She-Ra and the Princesses of Power (2018-2020) differentiates itself from its source material with a more racially diverse cast of characters. To discuss how and by what means these identities were constructed, we should…
She-Ra and the Princesses of Power
(Environ)Mental Trauma and Recovery in “She-Ra and the Princesses of Power”
by Isabella Macleod • July 8, 2020 • 2 Comments
In his introduction to Eco-Trauma Cinema, Anil Narine states that “nature, whether it threatens us, we threaten it or we see ourselves as part of it, remains sublime” and resistant to any meaning we try to make out of it…
SAS 2020
Animating the Green New Deal: “A Message from the Future with Alexandria Ocasio-Cortez” (2019)
by Kevin Howley • June 29, 2020 • 0 Comments
“Critical utopias are not blueprints for ideal societies, but expressions of aspiration for human fulfillment towards which our political practices should always be directed.” — Ashlie Lancaster, Instantiating Critical Utopia Introduction. This post considers the cultural work taken up in…
SAS 2020
Story Prospecting: The Value of Outdoor Field Research in Animation Pedagogy
by Matthew Gidney and Jack McGrath • June 27, 2020 • 0 Comments
In 2015 and again in 2017 we brought a small class of undergraduate animation students from the University of Technology Sydney on camping expeditions into the Sydney hinterland to seek out evidence and inspiration for animation in abandoned settlements of…
SAS 2020
British Animation Women and the Myth of Meritocracy
by Sarah Ann Kennedy-Parr • June 25, 2020 • 0 Comments
Recently I produced and directed a documentary about women working in the animation industry which highlighted the lack of women in key creative roles. The documentary, entitled British Animation Women Breaking the Mold, was broadcast on Sky Showcase Channel 192…
SAS 2020
Repetition, Flicker, and Sound in the Films of Paul Sharits
by Dirk de Bruyn • June 24, 2020 • 1 Comment
Paul Sharits (1943-1993) was an American film artist, a proponent of what Peter Gidal, P. Adams Sitney, and Anette Michelson referred to as “structural film” (Sitney 2002, 348). This 1960s avant-garde film movement foregrounded a film structure ahead of its…