A Moving Feast: “A Charlie Brown Thanksgiving”
AnimationStudies 2.0
by Peter Piatkowski
3w ago
Until recently, the narrative of the American Thanksgiving meal has been about togetherness. Inspired perhaps by the Norman Rockwell painting Freedom from Want (1943), which depicts the archetypical American family sharing the archetypical American Thanksgiving feast. The traditional Thanksgiving meal is classic Americana, like Coca-Cola, baseball, or Norman Rockwell. The meal orbits the roast turkey but includes staples like mashed potatoes, sweet potatoes, cranberry sauce, stuffing, and dessert is either a sweet potato pie or the more traditional pumpkin pie. Much of the lore of Th ..read more
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Representations of Muslim Trauma in The Breadwinner (2017)
AnimationStudies 2.0
by Safiyya Hosein
3M ago
Figure 1. Opening Scene in The Breadwinner. The Breadwinner is a 2D animated film about an Afghan Muslim girl’s desperate attempt to support her family. The film follows an 11-year-old girl, Parvana, who cuts her hair and dresses up as a boy to work for the family after her father is imprisoned. Produced by Angelina Jolie and directed by Nora Twomey, the film is set right before the American invasion of Afghanistan in 2001. Even though the film was released in 2017, it is more relevant today than in the year of its release considering the recent rise of the Taliban after the US exit from Afgha ..read more
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Mythology of Repetition, Memitology in Animated Gifs
AnimationStudies 2.0
by Wayner Tristão Gonçalve
3M ago
Mythology, as a reference to looping, serves as a new narrative origin, since it enables the narration of the story behind eternal punishments. These Greek heroes betray the trust of some god and are therefore punished with repetition. Duration is only for the gods. They are eternal, man cannot imagine an eternity if he is not punished. The gods allow eternity to be proved through repetition, but an eternity as a punishment, which will return on itself through cycles, depending only on the time of perception: a shorter time for humans whose life is shorter. Figure 1. Prometeu by Wayner Tristão ..read more
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The Animator-as-Creator “Theology” in Still Alive (2018)
AnimationStudies 2.0
by Dennis Tupicoff
3M ago
The animator is often seen as a God controlling all time and space in the animated film. Yet, in our shared world of human life, the animator is as helpless as everyone else, and must die. After a serious acute illness in 2015, I recalled The Slaughtermen’s respectful but ironic rock version of the traditional gospel song “God’s Not Dead”, recorded “live” in 1985. “Well my God’s not dead He’s still alive God’s not dead He’s still alive God’s not dead He’s still alive I can feel him in my hands Feel him in my feet Feel him all over me” This was an opportunity to revisit the tradition of the s ..read more
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Revelation of the Author and Incarnation in the Animated Film
AnimationStudies 2.0
by Terry Lindvall
4M ago
The giant journalist G. K. Chesterton observed that “as God made a pigmy-image of Himself and called it Man, so man made a pigmy-image of creation and called it art” (Chesterton, 264). J. R. R. Tolkien argued that all artists are “sub-creators”, and many plant clues and hints to a reality beyond their two-dimensional existence. Frequently, authors leave their signatures or thumbprints in their work. In such acts, one sees glimpses of a theology of Creation. Many self-reflexive parables point back to their own creation and ultimately to a Creator. Filmmaker Terry Gilliam succinctly suggests tha ..read more
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Theology and Animated Parables
AnimationStudies 2.0
by Terry Lindvall
4M ago
A discussion of theology, from the writings of St. Paul through the ironies of Soren Kierkegaard, delves into questions of God, of human nature, of theodicy and the problem of evil, and of incarnation, sacrifice, grace, and salvation. The heavy Summa Theologica tomes of St. Aquinas and the cartload of Dogmatics of Swiss scholar Karl Barth seem foreign to the interests of the animated film even as cartoons appear as undecipherable and insignificant hieroglyphics to the men and women of the cloth. Where one easily finds theologians debating the works of film artists like Ingmar Bergman, Terrence ..read more
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Animation as Sacred Text: Thoughts on Community Formation
AnimationStudies 2.0
by Erin Jones and Tim Jones
4M ago
One of the gifts of most faith-based communities is that they are among the few places in society where people of multiple generations gather together for meaning-making purposes. The task of pastors, rabbis, imams, or other leaders is to offer engaging worship and education experiences that speak to both 5-year-olds and 80-year-olds, a challenge made much harder during the COVID-19 pandemic. In December of 2020, as our faith community (the Hot Metal Bridge Faith Community, where Erin is pastor) was closing in on a year of Zoom worship and little other interaction, the Disney-Pixar film Soul ..read more
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Animated Intergenerational Interviews
AnimationStudies 2.0
by Ruth Hayes
5M ago
In winter, 2021, I and my co-faculty, Laurie Meeker, assigned our students to produce Animated Intergenerational Interviews about individuals’ relationships with their environment. The interviews were to be 30 to 60 seconds long, include at least 30 seconds of animation with 15 seconds in tight sync and make use of animation techniques students hadn’t tried before. Subjects had to be at least 16 years older or younger than the interviewer, pushing students to work across significant differences, which, in this case, amounted to generational divides. Key to this design problem was the combinati ..read more
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A Town Called Panic!’s “Bricolage” Aesthetic and Low-budget Methods: A New Model for Ecological and Resilient Stop Motion Productions
AnimationStudies 2.0
by Cyril Lepot
7M ago
One of the main attractions of stop motion animation is to be found in how the animator plays with materials, since the medium’s specificity, compared to 2D or 3D animation, is to film objects in real space. If any filmic medium actually needs energy to power the cameras and computers used to edit the movie amongst other uses, we can only be glad, as Miyazaki is, that cinematographic film or celluloid’s time is over (see Le Roy 2013: 37-84), because plastics and chemicals were massively used and most of the copies of a film were often destroyed once exploited in movie theatres. But what of all ..read more
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Should the Low Frame Rate of Stop-motion Animation Be Regarded as a Defect?
AnimationStudies 2.0
by SHengwei Zhou
9M ago
Compared to the fluent visual effect of nowadays stop-motion animations with a high frame rate like LAIKA studio’s ones, most of the stop-motion animations from early times shared a much lower frame rate. Stop-motion animators seem to treat the low frame rate effect as a fault and try so hard to achieve the fluent effect. But is the low frame rate of stop-motion animation really a fault? If we look at stop-motion animation against other media forms, it seems that it was born with a sin: a low frame rate. Three-dimensional animation can automatically fill out the in betweens with the help of so ..read more
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