Animation Studies Journal
-
11 December 2023Myria Christophini – Animating in British Communities During the Lockdown
-
5 December 2023Hannes Rall and Emma Harper – Re-inventing Shakespeare’s Pericles, Prince of Tyre for Immersive Animation: A Practice-oriented Case Study
-
4 December 2023Michelle Ann Abate – Hogan’s Alley in the Enchanted Forest: R. F. Outcault’s The Yellow Kid and Walt Disney’s Dopey
-
1 December 2023Li Guo – Toward a New Media Ecology: Aesthetic Experiments in Post-Socialist Chinese Animated Documentaries
-
20 June 2023Anastasiia Gushchina – Towards a Materialist Theory of Animated Documentary
-
20 June 2023JS Wu – Hand of Artist, Voice of Griot: A Poetics of African Animation in the Films of Jean-Michel Kibushi
-
13 December 2022Elena Altheman – Adventure Time’s World-Building: Analyzing Its Opening Title Sequence and the Mobile Map
-
12 December 2022Rea Amit – The Legend of Prince Rama and the Emergence of an Indian Animé: A Japanese Mediation of the Sanskrit Epic
-
30 May 2022Giuseppe Gatti – Notes on Transnational Animation and the Pokémon Culture in South Park’s “Chinpokomon”
-
30 May 2022Sandeep Ashwath – Mythical Past, Animated Present
Animation Studies 2.0
-
5 March 2024Animating Affect in the Algorithmic
-
27 February 2024The Floating Horizon and Animated Disorientation
-
20 February 2024Animating the surface of the screen and the body
-
16 February 2024Review: Figure and Force in Animation Aesthetics (2019), Ryan Pierson
-
13 February 2024Unstable surfaces in home is where the heart is (2023)
-
6 February 2024Surface Effects in Frame-by-Frame Filmmaking
-
22 January 2024Visual Alchemy: Transcending the Frame in Phenakistiscope Animation
-
16 January 2024The Grace of Vision: A Bergsonian take on Persistence of Vision
-
9 January 2024Beyond Persistence: Debunking the Myth and the Science of Animated Motion
-
11 December 2023A Rugrats Passover: A Personal Reminiscence