The purpose of this post is to describe 10X10, an ongoing project initiated at Edinburgh College of Art, that each year brings animators and composers from a range of European universities together in a virtualized collaborative process. Currently, this project…
Almost 24 years ago, in November 1995, audiences flocked to the movie theater to see a new kind of animated film: one not drawn by hand, but created entirely within a computer. While some may have gone due to the…
The practice of dubbing over European productions, as with all dubbed foreign language productions, risks a potential disconnect between the spoken language and opposing cultural references within the diegetic world, ranging from instances of untranslated writing to a specific international…
The notion of the Scottish Animated comedy of the title is as unclear as the first part of the title. Is there such a genre? Is there a national identity inherent in a body of work? If so, can it…
Let’s start with some numbers. 250 animated features were produced in Europe (36 countries) between 2010 and 2014, according to the European Audiovisual Observatory (the corresponding number during the 1989-1998 period: 46) [1]. 1 Cannes Jury Prize (for Marjane Satrapi’s…
Review of Nea Ehrlich and Jonathan Murray (eds.). Drawn from Life: Issues and Themes in Animated Documentary Cinema. Edinburgh: Edinburgh University Press, 2019. This book project evolved from a collection of proceedings during a 2011 conference held at Edinburgh University…
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…
