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Books on the topic 'Animated feature film'

Author: Grafiati
Published: 24 April 2022

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1

Osmond, Andrew. 100 animated feature films. Palgrave Macmillan on behalf of the British Film Institute, 2010.

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2

100 animated feature films. Palgrave Macmillan on behalf of the British Film Institute, 2010.

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3

Gardner's guide to feature animation writing: The writer's road map. Garth Gardner Co., 2002.

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4

Film cartoons: A guide to 20th century American animated features and shorts. McFarland & Co., 1998.

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5

K, Heumann Joseph, ed. That's all folks?: Ecocritical readings of American animated features. University of Nebraska Press, 2011.

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6

Webb, Graham. The animated film encyclopedia: A complete guide to American shorts, features, and sequences, 1900-1979. McFarland & Co., 2000.

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7

Demystifying Disney: A history of Disney feature animation. Continuum, 2011.

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8

The animated film encyclopedia: A complete guide to American shorts, features, and sequences, 1900-1979. McFarland & Co., 2006.

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9

Webb, Graham. The animated film encyclopedia: A complete guide to American shorts, features and sequences 1900-1979. McFarland, 2000.

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10

Barrier, J. Michael. Hollywood Cartoons: American Animation In Its Golden Age. Oxford University Press, 1999.

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11

Walt Disney and Europe: European influences on the animated feature films of Walt Disney. Indiana University Press, 1999.

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12

Walt Disney and Europe: European influences on the animated feature films of Walt Disney. John Libbey & Company, 1999.

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13

Prepare to board!: Creating story and characters for animated features and shorts. Focal Press, 2012.

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14

The animated film encyclopedia: A complete guide to American shorts, features and sequences, 1900-1999. 2nd ed. McFarland & Co., 2011.

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15

Johnston, Joe, Ernie Contreras, David Kirschner, et al. The Pagemaster. 20th Century Fox Home Entertainment, 2002.

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16

Good girls and wicked witches: Women in Disney's feature animation. John Libbey Publishing, 2006.

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17

Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
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18

Twice the First: Quirino Cristiani and the Animated Feature Film. Taylor & Francis Group, 2017.

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19

Lotte's Magical Paper Puppets: The Woman Behind the First Animated Feature Film. Page Street Kids, 2020.

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20

Goldmark, Daniel. Pixar and the Animated Soundtrack. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.022.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Of the many ways in which the animation production company Pixar differentiated itself from the classic animated shorts and films produced by Disney, the complete shunning of the Disney musical archetype may be the most pronounced. Pixar replaced the musical numbers and dance sequences with montages and flashbacks, scored with either original music or preexisting songs, furthering Pixar’s near-obsession with nostalgia and resurrection of the distant past. Combining unusually nuanced attention to the soundtrack with a longing for bygone popular culture, the Pixar films show a new stage of development for animated films, taking on the stereotype that Hollywood cartoons are for kids. This chapter explores Pixar’s approach to music and the soundtrack to show how advances in sound design, as well as an evolving approach to film scoring taken by veteran Hollywood composers, have brought a new level of complexity and even respectability to the long-maligned animated feature.
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21

Osmond, Andrew. 100 Animated Feature Films. Bloomsbury Publishing (UK), 2010. http://dx.doi.org/10.5040/9781838710514.

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22

Les Triplettes de Belleville: The Triplets of Belleville. Remstar, 2004.

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23

Bohn, James, and Jeff Kurtti. Music in Disney's Animated Features. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812148.001.0001.

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Music in Disney’s Animated Features: Snow White and the Seven Dwarfs to The Jungle Book investigates how music functions in Disney Animated films. The book identifies several techniques used in a number of Disney animated movies. In addition it also presents a history of music in Disney animated films, as well as biographical information on several of the Studios’ seminal composers. The popularity and critical acclaim of Disney animated features is built as much on music as it is on animation. From Steamboat Willie through Bambi, music is the organizing element of Disney’s animation. Songs that establish character and aid in narrative form the backbone of the Studios’ animated features from Snow White and the Seven Dwarfs through The Jungle Book and beyond. In the course of their early animated features the Studios’ composers developed a number of techniques and models that have been used throughout their oeuvre. Instrumental instances of a given film’s songs are used to comment on various character’s thoughts, as well as on the plot and action. Songs featured in Disney films are often transitioned into or out of using rhymed, metered dialog, functioning in much the same way as recitative in opera. The book also explores the use of theme and variation technique, leitmotif, theatrical conventions, and song archetypes.
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24

Canemaker, John. Storytelling in Animation: The Art of the Animated Image, Volume 2. Samuel French, 1988.

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25

Webb, Graham. Animated Film Encyclopedia: A Complete Guide to American Shorts, Features, And Sequences, 1900-1979. McFarland & Company, 2006.

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26

Film Cartoons: A Guide to 20th Century American Animated Features And Shorts. McFarland & Company, 2005.

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27

Webb, Graham. The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features, And Sequences, 1900-1979. McFarland & Company, 2006.

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28

Webb, Graham. The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features, and Sequences, 1900-1979. McFarland & Company, 2006.

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29

Prepare to Board! Creating Story and Characters for Animated Features and Shorts, Third Edition. Taylor & Francis Group, 2017.

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30

Prepare to Board! Creating Story and Characters for Animation Features and Shorts. Focal Press, 2007.

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31

The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features, and Sequences, 1900-1979. McFarland Publishing, 2000.

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32

Phil, Collins, Lima Kevin 1962-, Buck Chris, Burroughs Edgar Rice 1875-1950, Walt Disney Pictures, and Buena Vista Home Entertainment (Firm), eds. Tarzan. Disney DVD, 1999.

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33

Mitchell, Lee Clark. Noir Fiction and Film. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192844767.001.0001.

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The argument of Noir Fiction and Film is curiously counterintuitive: that in a century of hard-boiled fiction and detective films, characteristics that at first seemed trivial swelled in importance, flourishing into crucial aspects of the genre. Among these are aimless descriptions of people and places irrelevant to plot, along with detectives consisting of little more than sparkling dialogue and flippant attitudes. What weaves together such features, however, seems to be a paradox: that a genre rooted in solving a mystery, structured around the gathering of clues, must do so by misdirecting our attention, even withholding information we think we need to generate the suspense we also desire. Yet successful noir stories and films enhance that suspense through passing diversions (descriptive details and eccentric perspectives) rather than depending on the centerpieces of plot alone (suspected motives or incriminating traces). As the most accomplished practitioners have realized, the “how” of detective fiction (its stylistic detours) draws us in more insistently than the “what” or the “who” (its linear advance). The achievement of recent film noir is to make that “how” become the tantalizing object of our entire attention, shorn of any pretense of reading for the plot, immersing us in the diversionary delight that has animated the genre from the beginning.
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34

Davis, Amy M. Good Girls And Wicked Witches: Women in Disney's Feature Animation. Indiana University Press, 2007.

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35

Music in Disney's Animated Features: Snow White and the Seven Dwarfs to the Jungle Book. University Press of Mississippi, 2018.

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36

Music in Disney's animated features: Snow White and the Seven Dwarfs to The jungle book. 2017.

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37

Duckett, Victoria. Queen Elizabeth. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0005.

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This chapter examines the 1912 feature film Queen Elizabeth as a reflection of Sarah Bernhardt's roles in the late nineteenth century and her insistence that these could remain relevant to audiences in the twentieth century. In histories of the cinema, Queen Elizabeth is a film consistently referred to as an example of “filmed theater.” The chapter considers the cinematic practices that Queen Elizabeth reveals and how the film draws upon the long and rich history of Queen Elizabeth's appearance in the theater, the visual arts, and the popular presses. It argues that Queen Elizabeth was an intelligent and creative response to the theatrical possibilities of the cinema and to the tastes and fashions of Bernhardt's day. It also discusses how Bernhardt brings to film the same practices and processes that Paul Delaroche had earlier brought to history painting. Finally, it shows how Queen Elizabeth establishes a link between Elizabeth and William Shakespeare, thus presenting itself as film that animates history.
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38

Paris, Domonic, Lee Christopher, Vincent Kesteloot, Graham Welldon, Ben Stassen, and Caroline van Iseghem. The wild life. 2016.

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39

Napier, Susan. An Anorexic in Miyazaki’s Land of Cockaigne. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190240400.003.0016.

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This chapter discusses how copious excretion and vomit feature in popular animator Miyazaki Hayao's Academy-award winning feature Spirited Away (2001), arguing that these bodily eruptions are critiques of rampant consumer capitalism in contemporary Japan. Set in a carnivalesque world revolving around a luxurious bathhouse for gods of all shapes and sizes, the film repeatedly portrays scenes of food excess, denial, and expulsion, which can be interpreted as anorexia and bulimia. The chapter sees the eating frenzies depicted as Miyazaki's metaphor for materialistic overconsumption, and perceives the strong work ethic and self-denial that bring about the protagonist Sen's salvation as Miyazaki's call for a return to traditional values.
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40

Neupert, Richard. John Lasseter and the Rise of Pixar Style. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040153.003.0001.

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This chapter chronicles the rise of John Lasseter's career and the groundbreaking animated films he directed, revealing ways he and his colleagues at Pixar changed the direction of commercial animation forever. Lasseter is the much-celebrated chief creative officer for Pixar Animation Studios, Walt Disney Animation Studios, and Disneytoon Studios. He is also one of the best known and most successful animators in the world. He has contributed to the revival of character animation and helped propel a return to feature-length animation in Hollywood and beyond. Moreover, Lasseter may have done more to foster thinking, embodied computer-generated characters than anyone else. The chapter details the creation of films such as Toy Story (1995), A Bug's Life (1998), and Cars (2006).
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41

Telotte, J. P. Of Robots and Artificial Beings. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190695262.003.0003.

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This chapter examines animation’s fascination with the robot, a figure that has obvious reflexive links to animation’s typical anthropomorphic characters—the various mice, cats, dogs, and ducks that were the usual stars of early cartoons. The robot is also a figure that had an especially popular resonance throughout the pre-war period, as is evidenced by its appearance in a variety of popular culture venues, including vaudeville acts, World’s Fairs, and feature films. What makes this figure particularly significant in its ability to embody the culture’s conflicted attitudes toward science and technology—attitudes that were also being worked out within literary SF. The animated films, the chapter suggests, typically juxtapose the culture’s faith in a technological utopia, within which robots play a key role, with contemporary concerns about the relationship between technology and labor, thereby qualifying the modernist embrace of the technology.
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42

Telotte, J. P. Animating the Science Fiction Imagination. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190695262.001.0001.

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Before flying saucers, robot monsters, and alien menaces invaded the movies of the 1950s, there was already a significant body of animated science fiction, produced by such studios as Disney, the Fleischers, and Terrytoons. That work has largely been overlooked or forgotten, despite the fact that the same pre-World War II era that produced this group of short films also saw the more prominent development and flourishing of SF as a literary genre. This book surveys that neglected body of work to show how it helped contribute to the burgeoning SF imagination that was manifested in pulp literature, serials, feature films, and even World’s Fairs of the era. It argues that prewar cartoons helped to create a familiarity with the scientific and technological developments that were spurring that SF imagination and build an audience for this new genre. Demonstrating the same modernist spirit as SF literature and feature films, these cartoons adopted many of the genre’s most important motifs (rockets and space travel, robots, alien worlds and their inhabitants, and fantastic inventions and inventors), offered comic visions of the era’s growing fascination with science and technology, and framed that matter in a nonthreatening fashion. Popular animation thereby not only added another dimension to the SF imagination, but also helped prepare postwar audiences to embrace SF’s vision of the future and of inevitable change.
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