Relevant bibliographies by topics / Animated films Animation cels

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Academic literature on the topic 'Animated films Animation cels'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Animated films Animation cels"

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Żebrowski, Mateusz. "Educational Potential of Animated Films in Poland." Panoptikum, no. 18 (December 29, 2017): 106–19. http://dx.doi.org/10.26881/pan.2017.18.07.

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The paper describes events which are focused on Polish animation, with special regards to their educational values. The thesis refers to the importance of the Polish Film Institute, higher education, film workshops and film festivals for Polish animations. The most important part of the paper describes animation film festivals. Film festivals are portrayed as the most extensive educational platform, because of which the whole paper centres on an understanding of the issue through festival studies. The author evokes theories of the field configuring events by Bernard Leca, Charles-Clemens Rüling and Dominique Puthod. In the paper the Polish animation film scene is described as heterogeneous, however, filmmakers who make animations are evolving a coherent vision of it. Helpful in this process is the Polish Animation Producers Association. In the final part of the paper the author focuses on O!PLA. The Festival of Polish Animation. This event can be interpreted as a something more than a field-configuring event, and described as a communicator of the convergence of expertise (term of Grzegorz D. Stunża and associates).
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Zhang, Rong. "Computer Vision-Based Art Color in the Animation Film Performance Characteristics and Techniques." Journal of Sensors 2021 (September 13, 2021): 1–12. http://dx.doi.org/10.1155/2021/5445940.

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If an animated film wants to present extraordinary visual effects, the successful use of art colors is the key to the success or failure of an animated film. Although our country’s animated film started a short time ago, its development has been slow. In modern times, it is difficult to compete with excellent animation works of other countries; animation is an art form that requires the combination of modern technology and traditional cultural areas. Chinese cartoons are gradually declining today when the technology is taking off. The reason is that the traditional culture of the country has not been thoroughly explored. In today’s diversified world, if you want to revive the brilliance of Chinese animation, you must deeply and systematically study various elements of national art and form your own creative thinking and creation system. Particularly under computer vision, the gap is very obvious. Under the computer vision, in order to study the characteristics and techniques of the use of fine art colors in animated films, to promote the development of animated films in China, this article analyzes the role of art color in the animation of excellent Chinese and foreign animation works in recent years, through literature analysis, comprehensive qualitative and quantitative analysis, etc., to study the meaning and application of color symbols, hoping to be a Chinese animation providing useful help for film creation and development. Studies have shown that color has a strong influence on animated films. A good use of artistic color can add a lot of color to an animated film. According to statistics, art colors account for at least 20% of excellent animation works, which can be integrated into animation colors. Animation works with domestic characteristics are easier to succeed. This shows that the use of artistic colors can play a key role in animated films.
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Nidiansyah, Rafinur, Arif Sulistiyono, and Pandan Pareanom Purwacandra. "Penciptaan Karya Film Animasi 2D “Miliv” Dengan Teknik Hybrid." Journal of Animation and Games Studies 5, no. 1 (2019): 057–76. http://dx.doi.org/10.24821/jags.v5i1.2800.

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When human realize that they are not as they appear, it causes personal conflicts in humans, there are two sources that come from inside and outside. With animated films that have become increasingly popular with various groups, the creation of the animated film “MILIV” as one of media delivery in the form of visual and media delivery messages contained in the film.With the concept of hybrid, it combines stopmotion animation techniques, rotoscope, and digital animation, creating an experimental genre animation work with its unique visual style.The animated film “MILIV” tells of a bird who is too late to realize his true identity and is trapped in comfort zone. Contemplation became the main goal in this animated film “MILIV”Keywords: Film, MILIV, Hybrid, Rotoscope, Stopmotion, Experimental, Animation
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Wells, Paul. "Chairy tales." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 6–23. http://dx.doi.org/10.33178/alpha.8.01.

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This article addresses three issues of what I suggest here should be regarded as the shifting technological and matter-based apparatus of animation: first, the meanings and affect of objects and materials actually used in animated films; second, the visual dramaturgy made possible by objects and materials for animation screenwriters; and, third, the status of animation process materials as archival objects. The analysis looks at a number of animated films and specifically at their design form, material association, and narrative function to define what I will call the “scripted artefact”, and an “Animated Object Cycle”. This overview will also operate in a spirit of thinking about theories of practice and practices of theory in animation, and refer to both established theoretical perspectives as well as primary practice idioms.
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Pikkov, Ülo. "On the Topics and Style of Soviet Animated Films." Baltic Screen Media Review 4, no. 1 (2016): 16–37. http://dx.doi.org/10.1515/bsmr-2017-0002.

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Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian animation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.
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Jonison, Muhammad Adha Fajri, and Anggy Trisnadoli. "Implementation of Rotoscoping Technique in the making of the Hang Tuah Ksatria Melayu 3D Animated Film." Jurnal RESTI (Rekayasa Sistem dan Teknologi Informasi) 4, no. 5 (2020): 943–50. http://dx.doi.org/10.29207/resti.v4i5.2404.

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The development of information technology in the multimedia field is growing very rapidly today. Multimedia development is often found in making animated films. Animation is an image that moves and is arranged so that it makes inanimate objects appear to be moving. Animation initially has a problem, where it is difficult for an animator to create animation with complex movements to imagine directly and sometimes the results will look stiff. Max Fleischer also saw it as a problem, so he invented rotoscoping. Rotoscoping is a technique for making animation by tracing the movements of an actor. This technique is used to create movements that are complex to imagine directly so that the animation movement is realistic. In implementing rotoscoping techniques in an animated film, a folk tale entitled Hang Tuah Ksatria Melayu was adopted. This folktale will be packaged into a 3D animated film using rotoscoping techniques. With the creation of a 3D animated film, the folklore of Hang Tuah Ksatria Melayu, an animated film was created with realistic character movements and people get moral messages of Hang Tuah Ksatria Melayu.
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Geal, Robert. "Animated Images and Animated Objects in the Toy Story Franchise: Reflexively and Intertextually Transgressive Mimesis." Animation 13, no. 1 (2018): 69–84. http://dx.doi.org/10.1177/1746847717752588.

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This article explores how animation can manipulate a reflexive intertextual framework which relates to religious prohibitions on artistic mimesis that might replicate and threaten God’s creative act. Animated films are most intertextually reflexive, in these terms, when they narrativize the movement of diegetic objects from another medium which also transgresses God’s prohibition: sculpture. In the media of both sculpture and animation, the act of mimesis is transgressive in fundamentally ontological terms, staging the illusion of creation by either replicating the form of living creatures in three-dimensional sculpture, or by giving the impression of animating the inanimate in two-dimensional film. Both media can generate artworks that directly comment on these processes by using narratives about the creative act which not only produce the illusion of life, but which produce diegetically real life itself. Such artworks are intensely reflexive, and engage with one another in an intertextual manner. The article traces this process from the pre-historic and early historic religious, mythic and philosophical meditations which structure ideas about mimetic representations of life, via Classical and Early Modern sculpture, through a radical proto-feminist revision crystallizing around the monstrous consequences of the transgression in Mary Shelley’s Frankenstein, and finally into film and more specifically animation. The article culminates with a relatively detailed account of these processes in the Toy Story franchise, which is a heightened example of how animation can stage a narrative in which ostensibly inanimate sculpted toys move of their own volition, and of how this double form of animation does this reflexively, by ontologically performing the toys’ animating act. The animated films analysed also engage with the transgressive and monstrous consequences of this double form of animation, which derive from the intertextual life of those narratives that challenge God’s prohibition on mimesis.
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Sandi, Supriyadi. "Perancangan Animasi Stopmotion Pangeran Diponegoro Berbasis Sinematografi." Jurnal Komunikasi 10, no. 2 (2019): 145–52. http://dx.doi.org/10.31294/jkom.v10i2.6181.

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Nowadays animated films are developing rapidly in Indonesia. Animated films are in demand because they are entertaining, but rarely found educative animated films that tell about history. In general, historical documentation is only based on thick textbooks, and the placement of photos of heroes on classroom walls is generally not interesting for students to enjoy. This encourages researchers to make an animated film that has historical and educational value. With appropriate cinematography, a film can have high artistic value. In addition, the film can also convey information and implied messages that can be used as lessons in life. To attract students, stopmotion technique was chosen. This stopmotion animation is created by applying the sine matography technique so that what will be conveyed in this animated film can be conveyed well to the audience. All of this aims to make the animation look livelier, smoother in its movements, and produce a more attractive appearance and is liked by the audience. It is better to make a stopmotion animation in a detailed storyboard design, so there are no mistakes when making motion, camera angles, type shots, and video translation. Stopmotion filmmaking is inseparable from photography and cinematography
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Wong, Oscar Gordon, and Imelda Ann Achin. "The Hero’s Journey: 12 Stages in The Narrative of Animation Boboiboy Movie 2." Mudra Jurnal Seni Budaya 36, no. 3 (2021): 316–25. http://dx.doi.org/10.31091/mudra.v36i3.1580.

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2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.
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Hubbes, László Attila. "New Hungarian Mythology Animated." Acta Universitatis Sapientiae, Philologica 5, no. 2 (2014): 223–40. http://dx.doi.org/10.2478/ausp-2014-0016.

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Abstract Hungarian civil religion in general, and various ethno-pagan spiritualities in special are deeply unsatisfied with the canonical version(s) of ancient national history. Screening history is an act of powerful pictorial mythologization of historical discourses and also a visual expression of national characterology. In recent years two animated films were released, telling the ancient history of Hungarians, but the stories they tell are very different. Not long after Marcell Jankovics’s Song of the Miraculous Hind1 (Ének a csodaszarvasról, 2002), a long fantasy animation based on ethnographic and historical data, another similar long animation: Heaven’s Sons (Az Ég fiai, 2010) started to circulate on YouTube and other various online Hungarian video-sharing channels. It seems as if the latter, an amateur digital compilation by Tibor Molnár, would have been made in response to the first film, to correct its “errors”, by retelling the key narratives. Built mainly on two recent mythopoetic works: the Arvisura and the Yotengrit (both of them holy scriptures for some Hungarian Ethno-Pagan movements), Molnár’s animation is an excellent summary of a multi-faceted new Hungarian mythology, comprising many alternative historical theses. My paper aims to present two competing images of the Nation on the basis of several parallel scenes, plots and symbolic representations from the two animations. A close comparative investigation of these elements with the help of the Kapitány couple’s mythanalytic method will show the essential differences between the two national self-conceptions expressed through the imaginary
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Dissertations / Theses on the topic "Animated films Animation cels"

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Baldwin, Frances Novier. "The Passage of the Comic Book to the Animated Film: The Case of the Smurfs." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84167/.

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The purpose of this study is to explore the influence of history and culture on the passage of the comic book to the animated film. Although the comic book has both historical and cultural components, the latter often undergoes a cultural shift in the animation process. Using the Smurfs as a case study, this investigation first reviews existing literature pertaining to the comic book as an art form, the influence of history and culture on Smurf story plots, and the translation of the comic book into a moving picture. This study then utilizes authentic documents and interviews to analyze the perceptions of success and failure in the transformation of the Smurf comic book into animation: concluding that original meaning is often altered in the translation to meet the criteria of cultural relevance for the new audiences.
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Shin, Hyungho. "'Hey, Brother' thesis report / by Hyungho Shin." Online version of thesis, 2009. http://hdl.handle.net/1850/11206.

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Hu, Tze-yue Gigi. "Understanding Japanese animation : from Miyazaki and Takahata anime /." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24729954.

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Graf, Matthew D. "The animation paradox : a study in believability." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397373.

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Animation has been an integral part of the entertainment industry for over seventy years. What is it about animated films that make them just as, or even more, captivating than live-action films? While animation is most typically associated with fantasy or escapism, there is certainly an element of reality exploration that causes animation to be more believable. Through examination of this and previous creative projects, it was found that a balance of fantasy and reality exploration, along with other key factors, help to make animation successful in relating to the viewer.<br>Department of Telecommunications
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Su, Jiunnfu. "Co co nut /." Online version of thesis, 2009. http://hdl.handle.net/1850/10126.

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Gochoco, Michael. "Variations /." Online version of thesis, 2008. http://hdl.handle.net/1850/7796.

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Dunn, Christine. "Victorian organ /." Online version of thesis, 2008. http://hdl.handle.net/1850/7901.

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Bergstrom, Ander. "Lockers /." Online version of thesis, 2008. http://hdl.handle.net/1850/7791.

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Jin, Rui. "Memoir of a marionette /." Online version of thesis, 2008. http://hdl.handle.net/1850/8039.

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Lee, Pei-Cheng. "Longshi /." Online version of thesis, 2009. http://hdl.handle.net/1850/8744.

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Books on the topic "Animated films Animation cels"

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Jeanine, Herman, ed. Pinocchio. Hyperion, 1997.

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Lambert, Pierre. Pinocchio. Demons & Merveilles, 1995.

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Joanna, Quinn, and Mills Les, eds. Basics animation: Drawing for animation. AVA Academia, 2009.

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Cartoon animation. W. Foster Publishing, 1994.

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Animation. ReferencePoint Press, Inc., 2014.

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Trueit, Trudi Strain. Animation. Cherry Lake Pub., 2009.

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Murphy, Mary. Beginner's guide to animation. Watson-Guptill Publications, 2008.

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Beginner's guide to animation. Watson-Guptill Publications, 2008.

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Murphy, Mary. Beginner's guide to animation. Watson-Guptill Publications, 2008.

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How to Make Animated Films. Elsevier Science, 2009.

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Book chapters on the topic "Animated films Animation cels"

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Harris, Miriam. "Drawing on Memory: Layers of Association in Robert Breer’s Animated Films." In Animation and Memory. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-34888-5_6.

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Di Fiore, Fabian, Bram Gerits, and Frank Van Reeth. "Faking Dynamics of Cloth Animation for Animated Films." In Articulated Motion and Deformable Objects. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-14061-7_23.

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Price, Hollie. "‘A Very Flexible Medium’: The Ministry of Information and Animated Propaganda Films on the Home Front." In Palgrave Animation. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27939-4_7.

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Boulos, Daniel N. "Abstraction and Stylized Design in 3D Animated Films: Extrapolation of 2D Animation Design." In Encyclopedia of Computer Graphics and Games. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-08234-9_58-1.

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White, Tony. "Animation Basics." In How to Make Animated Films. Elsevier, 2009. http://dx.doi.org/10.1016/b978-0-240-81033-1.00001-7.

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White, Tony. "Animation Basics." In How to Make Animated Films. Routledge, 2013. http://dx.doi.org/10.4324/9780080927848-2.

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Dobson, Nichola. "Creating (Artificial) Emotion in Animation Through Sound and Story." In Emotion in Animated Films. Routledge, 2018. http://dx.doi.org/10.4324/9780203731253-7.

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Ulusal, Dilek. "Feminist Discourse in Animated Films." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1774-1.ch012.

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Animation in cinema, which appeals not only to children but also adults, is one of the most important film genres that has existed since the birth of cinema. As in the other genres of cinema, feminist discourse formed through female characters is remarkable in animated cinema. This study aimed to present the feminist narratives in animated films, one of the most popular film genres today. In this context, computer-animated fantasy film Brave, regarded as one of the feminist films in animation cinema, was included in the scope of the study and was investigated in line with feminist film theory. The study revealed, as opposed to the powerless and passive woman image imposed by the patriarchal structure in society, the female characters in this film were represented as strong, brave, and free as designed by feminist ideology.
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Holliday, Christopher. "DreamWorks Animation, Metalepsis and Diegetic Deconstruction." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0010.

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Chapter Nine applies a framework drawn from Gérard Genette’s (1983) notion of “metalepsis” (recently recovered within contemporary animation studies) to explain the behaviour of computer-animated film characters who freely ascend from the fictional world into the surrounding promotional spaces. Although animation has a long tradition of deconstruction and self-reflexive practices, this chapter offers new space to consider how the seamless worlds of computer-animated films can equally be conceptualised according to a deconstructive comedy of metalepsis. This chapter argues that computer-animated film characters are able to abruptly intrude into company logos, corporate signatures, credits sequences and even features of film form. It maps such repeating comic devices onto wider historical developments in studio signification, digitally-assisted logo design and the promotional strategies of contemporary Hollywood cinema. This chapter also affords the specific opportunity to focus on the cycle of feature-length computer-animated films produced by the Dreamworks Animation studio, which exhibit an unprecedented and widely-operational mingling of promotional space with the animated activity of its digital characters.
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Brown, Noel. "On the Borders: Children’s Horror and Indiewood Animation." In Contemporary Hollywood Animation. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.003.0005.

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This chapter focuses on a recent tradition of Hollywood animated films which mine the intersection between the ‘mainstream’ and ‘cult’ firmaments. While there is a long history of experimental or leftfield animation in the United States, the films discussed here are characterised by a duality specific to post-1990s Hollywood cinema: they target a mass market while simultaneously addressing audiences that may reject mainstream animation in its more conventional iterations. The first half of this chapter examines the ‘children’s horror film’, a cycle that presents grotesque imagery with sufficient wit to appeal to leftfield sensibilities while still delivering the pleasing emotive content associated with mainstream family entertainment. The second half discusses ‘indiewood animation’ films, which often exhibit a comparatively cerebral patented kookiness and trippy, offbeat humour. Collectively, the ‘children’s horror’ and ‘indiewood’ animated films represent a compromise between the perceived requirements of mass audiences and the promise of additional credibility and cachet associated with cult cinema.
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