NC1765.A535

Part I. Time and Space Animation and History Animating the Instant: The Secret Symmetry between Animation and Photography Polygraphic Photography and the Origins of 3-D Animation “A Living, Developing Egg Is Present before You”: Animation, Scientific Visualization, Modeling Part II. Cinema and Animation André Martin, Inventor of Animation Cinema: Prolegomena for a History of Terms “First Principles” of Animation Animation, in Theory Part III. The Experiment Film as Experiment in Animation: Are Films Experiments on Human Beings? Frame Shot: Vertov’s Ideologies of Animation Signatures of Motion: Len Lye’s Scratch Films and the Energy of the Line Animating Copies: Japanese Graphic Design, the Xerox Machine, and Walter Benjamin Framing the Postmodern: The Rhetoric of Animated Form in Experimental Identity-Politics Documentary Video in the 1980s and 1990s Part IV. Animation and the World Cartoon Film Theory: Imamura Taihei on Animation, Documentary, and Photography African American Representation through the Combination of Live Action and Animation Uncommon Life: U.S. Military Malaria Films (1942–1945) and the Pacific Theater Realism in the Animation Media Environment: Animation Theory from Japan Some Observations Pertaining to Cartoon Physics; or, The Cartoon Cat in the Machine

Animating Film Theory provides an enriched understanding of the relationship between two of the most unwieldy and unstable organizing concepts in cinema and media studies: animation and film theory. For the most part, animation has been excluded from the purview of film theory. The contributors to this collection consider the reasons for this marginalization while also bringing attention to key historical contributions across a wide range of animation practices, geographic and linguistic terrains, and historical periods. They delve deep into questions of how animation might best be understood, as well as how it relates to concepts such as the still, the moving image, the frame, animism, and utopia. The contributors take on the kinds of theoretical questions that have remained underexplored because, as Karen Beckman argues, scholars of cinema and media studies have allowed themselves to be constrained by too narrow a sense of what cinema is. This collection reanimates and expands film studies by taking the concept of animation seriously. Contributors. Karen Beckman, Suzanne Buchan, Scott Bukatman, Alan Cholodenko, Yuriko Furuhata, Alexander R. Galloway, Oliver Gaycken, Bishnupriya Ghosh, Tom Gunning, Andrew R. Johnston, Hervé Joubert-Laurencin, Gertrud Koch, Thomas LaMarre, Christopher P. Lehman, Esther Leslie, John MacKay, Mihaela Mihailova, Marc Steinberg, Tess Takahashi