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Product Description
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In this much-needed study of a neglected medium, Paul Wells undertakes aconvincing defence of the animated film as a significant art form, explaining, why animation has been consigned to the margins of film history and criticism, and offering a variety of strategies for inrtpreting and evaluating animated film. Part history, part theory, part celebration, Understanding Animation explores approaches to animation through an electric range of case studies from Betty Boop's Snow White , to Jan Svankmajer's Jabberwocky . Opening with the discussion of the early history of animation through experimental figures like Emile Reynaud and J. Stuat Blavkton, Wells moves on to discuss narrative strategies; the idea of realism and Disney-esque hyper-realism, the construction of comedy; representations of gender and race, and animation and audience research. Understanding Animation provides a range of points of access into this undervalued medium, and demostrates that the animated film has much to tell us about ourselves, the cultures we live in and our view of art and our society.
From the Back Cover
Understanding Animation is a comprehensive introduction to animated film, from cartoons to computer animation. Paul Wells' insightful account of a critically neglected but increasingly popular medium:
* explains the defining characteristics of animation as a cinematic form
* outlines different models and methods which can be used to interpret and evaluate animated films
* traces the development of animated film around the world, from Betty Boop to Wallace and Gromit.
Part history, part theory, and part celebration, Understanding Animation includes:
* notes towards a theory of animation
* an explanation of animation's narrative strategies
* an analyis of how comic events are constructed
* a discussion of representation, focusing on gender and race
* primary research on animation and audiences.
Paul Wells' argument is illustrated with case studies, including Daffy Duck in Chuck Jones' Duck Amuck, Jan Svankmajer's Jabberwocky, Tex Avery's Little Rural Riding Hood and King Size Canary ', and Nick Park's Creature Comforts.
Understanding Animation demonstrates that the animated film has much to tell us about ourselves, the cultures we live in, and our view of art and society.
In this much-needed study of a neglected medium, Paul Wells undertakes aconvincing defence of the animated film as a significant art form, explaining, why animation has been consigned to the margins of film history and criticism, and offering a variety of strategies for inrtpreting and evaluating animated film. Part history, part theory, part celebration, Understanding Animation explores approaches to animation through an electric range of case studies from Betty Boop's Snow White , to Jan Svankmajer's Jabberwocky . Opening with the discussion of the early history of animation through experimental figures like Emile Reynaud and J. Stuat Blavkton, Wells moves on to discuss narrative strategies; the idea of realism and Disney-esque hyper-realism, the construction of comedy; representations of gender and race, and animation and audience research. Understanding Animation provides a range of points of access into this undervalued medium, and demostrates that the animated film has much to tell us about ourselves, the cultures we live in and our view of art and our society.
From the Back Cover
Understanding Animation is a comprehensive introduction to animated film, from cartoons to computer animation. Paul Wells' insightful account of a critically neglected but increasingly popular medium:
* explains the defining characteristics of animation as a cinematic form
* outlines different models and methods which can be used to interpret and evaluate animated films
* traces the development of animated film around the world, from Betty Boop to Wallace and Gromit.
Part history, part theory, and part celebration, Understanding Animation includes:
* notes towards a theory of animation
* an explanation of animation's narrative strategies
* an analyis of how comic events are constructed
* a discussion of representation, focusing on gender and race
* primary research on animation and audiences.
Paul Wells' argument is illustrated with case studies, including Daffy Duck in Chuck Jones' Duck Amuck, Jan Svankmajer's Jabberwocky, Tex Avery's Little Rural Riding Hood and King Size Canary ', and Nick Park's Creature Comforts.
Understanding Animation demonstrates that the animated film has much to tell us about ourselves, the cultures we live in, and our view of art and society.
Inside This Book
(Learn More)
First Sentence
To animate, and the related words, animation, animated and animator all derive from the latin verb, animare, which means 'to give life to', and within the context of the animated film, this largely means the artificial creation of the illusion of movement in inanimate lines and forms. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
To animate, and the related words, animation, animated and animator all derive from the latin verb, animare, which means 'to give life to', and within the context of the animated film, this largely means the artificial creation of the illusion of movement in inanimate lines and forms. Read the first page
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Concordance
Browse Sample PagesConcordance
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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67% buy the item featured on this page: Understanding Animation £18.99 |
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15% buy The Animator's Survival Kit: A Working Manual of Methods, Principles and Formulas for Computer, Stop-motion, Games and Classical Animators (Applied Arts) £18.00 |
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6% buy Basics Animation: Drawing for Animation£12.57 |
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6% buy The Animation Bible: A Guide to Everything - from Flipbooks to Flash£12.97 |
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