Among the many recent commemorations of the centenary of First World War, its implications for animation history have received scant attention. In Britain the war stimulated considerable production of animated cartoons between 1914 and 1918, as explored in my recent…
I will begin with the observation that there is no standardized name with a widely accepted currency to describe the prevailing style which began with the inception of studio animation. The emergence of Bray Productions in 1914 marks the beginning…
Krazy first became animated during the second age of Krazy Kat, between 1916 and 1925—initially by Hearst-Vitagraph and Hearst’s International Film Service, then by John Randolph Bray, then by Margaret Winkler and Charles Mintz. Of all of these, the Hearst…
This is a post about the 3 Ages of Krazy Kat in Two Movements. Part I considers the underpinnings of criticism of the comic strip and its animated version, and the importance of race to that criticism. Part II will…
Review of Raz Greenberg. Hayao Miyazaki: Exploring the Early Work of Japan’s Greatest Animator, New York/London: Bloomsbury, 2018. There are those who advocate history-less animation, curricula that focus on the teaching of techniques and technology. In his book, Hayao Miyazaki:…
Winsor McCay’s Little Nemo (1911), How a Mosquito Operates (1912), and Gertie the Dinosaur (1914) are regularly singled out as the most significant achievements in American animation of the early 1910s, often in comparison to the apparent deficiencies of other…
‘Memory is a perpetually actual phenomenon, a band tying us to the eternal present […] Memory nourishes recollections that may be out of focus or telescopic, global or detached, particular or symbolic [… It] takes root in the concrete, in…
Over the past few weeks Animation Studies 2.0 has explored the theme of animation and philosophy through posts by Deborah Levitt, Scott Birdwise, Carol MacGillivray, Robby Gilbert, and Bella Honess Roe. I had the privilege of curating this theme and,…
Review of Rayna Denison (ed.). Princess Mononoke: Understanding Studio Ghibli’s Monster Princess, New York/London: Bloomsbury, 2018. In March 2000, during a visit to the cinema, I chanced upon a mysterious poster design featuring a golden medallion embossed with the image of…
This post is going to make a speculative claim and then ask a speculative question. The claim is that we can think about animation as a type of performance. The question is that if we do so, then what can…
