Relevant bibliographies by topics / Animated films – History and criticism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Animated films – History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Animated films – History and criticism"

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Zvegintseva, Irina Anatolyevna. "The Silent Era in Australian Cinema." Journal of Flm Arts and Film Studies 6, no. 1 (2014): 88–97. http://dx.doi.org/10.17816/vgik6188-97.

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The article focuses on the first period in the history of Australian cinema. It is well-known that the present is always rooted in the past. This is true of any national cinema, and the Australian one is no exception. This subject is relevant in the light of the fact that, in the first place, the reasons for the contemporary boom in Australian cinema are impossible to understand and analyze unless they are derived from the awareness of the first steps of Australian cinema. It was in the very first years of the existence of Australian cinema that there emerged a special worldview, inherent in the cinematographic messages of this nation, that would later become iconic of Australian cinema: addressing the reality of Australia, love for its wild and beautiful nature and for the people who civilize this severe land. In their works the filmmakers of the Green Continent have almost always unflaggingly introduced two protagonists, an animate one, a manly, daring human being, and an inanimate one, the nature, magnificent, powerful, unexplored... At the same time, there was formed an image of a Hero: a fair, proud man, for whom honor and dignity are closely linked to striving for freedom. A conflict between the Individual and a soulless system is manifested in the early bushranger films and in the contemporary ones alike, now that the films by the Australian filmmakers come out again and again featuring the Individuals attempts at breaking his bondage. The novelty of this research lies in the fact that while the contemporary period of Australian cinema is well-covered in the global film criticism, the past of this national cinema is almost unknown. Considering the interest in the phenomenon of the contemporary cinema of the Green Continent, the author concludes that the global success of the Australian films today is largely linked to the accomplishments of the cinema pioneers, who against tough competition from American and English films, have laid a foundation for the future victories of this special national cinema.
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Ristiasari, Riska, and Hendra Kaprisma. "SOCIAL CRITICISM IN THE MISTER FRIMEN ANIMATED SERIES." Capture : Jurnal Seni Media Rekam 12, no. 2 (2021): 176–88. http://dx.doi.org/10.33153/capture.v12i2.3255.

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Social criticism is generally comprised of individuals' ideas and opinions of societal problems that bring changes. Individuals can express their opinions through various media, including animated films. The animated series Mister Frimen created by Pavel Muntyan, Vladimir Ponomarev, Anatoly Dobrozan, and Vadim Demchog are notoriously sarcastic. The sarcastic remarks given by the main character are always about current problems in Russian society. This study focuses on the way the animated series Mister Frimen expresses social problems. This article uses intertextual theory and discourse analysis to analyze every message and symbol and how the messages are generated. The results show that each scene in Mister Frimen contains symbols illustrating social criticism messages about the situation of Russian society. Nonetheless, satire/social criticism offers suggestions for establishing societal peace and prosperity
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Ekinci, Barış Tolga. "A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) Movie." CINEJ Cinema Journal 6, no. 1 (2017): 4–24. http://dx.doi.org/10.5195/cinej.2017.144.

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The word documentary has been described as an advice” in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to separate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is a form of hybrid documentary has been concerned with Baudrillard’s theory. In this context, Ari Folman’s animated documentary Waltz with Bassir (2008) has been analyzed with genre criticism method.
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Benitez Rojas, Raquel Victoria. "CRISTIANI AND THE FIRST ANIMATED FEATURE FILMS IN HISTORY- FROM ARGENTINA TO THE WORLD." MEDIA STUDIES AND APPLIED ETHICS 3, no. 1 (2022): 127–46. http://dx.doi.org/10.46630/msae.1.2022.09.

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On December 21, 1937, Snow White and the Seven Dwarfs (Hand, Jackson, Pearce, Sharpsteen, Morey, Cottrell, 1937) was released, produced by Walter E. Disney. The press immediately ranked it as the first animated feature film. However, this claim was not true. The Italian-Argentinian animator Quirino Cristiani with his work El Apóstol (Cristiani,1917) was responsible for the first animated feature film in the world twenty years before the North American release. His 1931 film Peludopolis (Cristiani,1931) was also the first animated feature film with synchronised sound recording. Cristiani patented a new and revolutionary system for creating animations using only cardboard cut-outs. The aim of this paper is to give recognition to his work by analyzing his contribution to the seventh art through qualitative documentary research.
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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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Klahr, Lewis. "Flotsam and Jetsam: The Spray of History." Animation 6, no. 3 (2011): 387–98. http://dx.doi.org/10.1177/1746847711421651.

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Renowned collage filmmaker Lewis Klahr has created a collage of personal statements and images from his films to reflect upon his cut-out animation films. The piece discusses his artistic process and his use of artifacts, documents and detritus to explore ephemeral aspects of history and the passage of time. He comments on his use of animated movement and stillness and the idea of reanimating objects from the past.
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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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Ainiyah, Kurniyatul, Nurul Hidayah, Faradilah Putri Damayanti, Indana Nuril Hidayah, Juniardi Nur Fadila, and Fresy Nugroho. "Rancang Bangun Film Animasi 3D Sejarah Terbentuknya Kerajaan Samudra Pasai Menggunakan Software Blender." JISKA (Jurnal Informatika Sunan Kalijaga) 5, no. 3 (2020): 164. http://dx.doi.org/10.14421/jiska.2020.53-04.

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Indonesian people's knowledge about the history of kingdoms in Indonesia was decreased. Now the existence of history books was shifted by the rapid development of technology. Realized this, many educational institutions were involved in technology to their learning media. To support that, the writer will use technology to create a learning media, named 3D short animated films. This kind of film turned out to attract the publics' attention, ranging from children to adolescents. The animated film will be designed with the theme of the first Islamic kingdom in Indonesia, named the Samudra Pasai kingdom with a duration of approximately 3 minutes. this animated film was made by Blender software version 2.79. The design of this animation aims to increase knowledge as well as learning media for students about the history of the Indonesian people, especially the history of Samudra Pasai kingdom.
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Simon-Shoshan, Moshe. "Between Philology and Foucault: New Syntheses in Contemporary Mishnah Studies." AJS Review 32, no. 2 (2008): 251–62. http://dx.doi.org/10.1017/s0364009408000111.

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The work of many emerging young rabbinics scholars today, particularly that which is focused on the Mishnah, is animated by a desire to synthesize two distinct approaches to rabbinic texts. One is the traditional philological-historical approach, which traces its roots back to the European Wissenschaft des Judentums tradition of the nineteenth and early twentieth centuries. In its current form, traditional Talmud criticism is perhaps most associated in Israel with the work of J. N. Epstein, the founder of the Hebrew University Talmud Department and the “father of exact scientific Talmudic inquiry.” While most of Epstein's students proceeded to shape the study of rabbinic literature in the Israeli academy, Saul Lieberman, perhaps his most distinguished disciple, moved to America, where his presence dominated the study of rabbinic literature at the Jewish Theological Seminary in the postwar decades. Traditional Talmud criticism is characterized by a scrupulous attention to manuscripts and textual variants, a systematic use of the findings of Semitic and comparative linguistics, and the use of form and source criticism to determine the history and development of larger textual units.
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Kalmakurki, Maarit, and Marley Healy. "‘Who wants the pressure of being super all the time?’: Mid-century modern fashions and their influence on costume development in The Incredibles and Incredibles 2." Film, Fashion & Consumption 11, no. 1 (2022): 91–108. http://dx.doi.org/10.1386/ffc_00041_1.

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In this article, we examine period fashions in character costumes in the two Pixar/Disney computer-animated films, The Incredibles and Incredibles 2. These films have a strong mid-century modern design influence interwoven into the films’ narratives and aesthetic designs. The films have previously raised interest in fashion studies, due to their superhero concept. However, an analysis of the characters’ everyday dress is also valuable for understanding the influence of fashion and pop culture references on contemporary animated film costuming and how those elements embed within the technological development of digital characters’ clothing. We employ historical and visual analysis to highlight the integration of design elements of period-appropriate fashions into character costumes. Additionally, we examine the relationship between animation software development and the films’ design aesthetics to inspect how technological advancements support the behaviour of cloth, narrative progression and characters’ personal emotional arcs by reviewing industry articles as well as animator and designer interviews from the making of the films. This is a unique case study that explores the influences and inspiration of period-specific fashion in constructing costumes for computer-animated films, which are ostensibly set in an environment also inspired by the period and specific cultural zeitgeist.
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Dissertations / Theses on the topic "Animated films – History and criticism"

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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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Chow, Cheuk-wing, and 周卓穎. "Nostalgia, nature, and the re-enchantment of modern world in Hayao Miyazaki's anime." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B4839449X.

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The association between nostalgia, nature and disenchantment has been and still is a very common trope in cultural and literary studies (Saler 138) within the scope of modernity. In fact, it has almost become “a cliché of our time” (Saler 138) in which people often view modern experience as an oppressive status of disillusionment rather than a liberating condition of enlightenment. Since this thesis aims to open up and point at different dimensions of modernity and become “part of a grandiose modernist project yet to be finished” (Hu 23-4), I would like to use Miyazaki’s works to argue that modernity is never a simple, one-sided condition of being ‘disenchanted’ as proclaimed by many scholars. In order to pinpoint some of the contradictory impulsions and potentialities of the experience of modernity, this thesis would first start with a brief overview on the ideas of ‘disenchantment’ and ‘nostalgia’ and their relations to the experience of modernity. The second part would be a general introduction to Miyazaki’s anime, briefly introducing his works in terms of style, content, characterization and such. In particular, I would like to point out how Miyazaki’s works have created alter-tales about disenchanted modernity by showing the multiple facets of modern life and exploring the possibility to (re)enchant modern experiences through his childlike protagonists and the fantastical form of anime. Part three to five would be comprehensive textual analyses about Laputa: Castle in the Sky (1986), Nausicaa of the Valley of the Wind (1984) and Spirited Away (2001) respectively, examining their relationships with and responses to the ambivalent experiences of modernity. The concluding part of this thesis would reflect on the contribution as well as the limitation of my research in regards to the writing of modern experiences and the ongoing modernist project.<br>published_or_final_version<br>Literary and Cultural Studies<br>Master<br>Master of Arts
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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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Meachem, Dhugal. "Virtual worlds, non humans and power beams : a neoformalist analysis of the digital animation aesthetic in Hong Kong's mythical martial arts films." HKBU Institutional Repository, 2003. http://repository.hkbu.edu.hk/etd_ra/513.

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Kovacic, Mateja. "Technologies and paradigms of vision: from the scientific revolution of the Edo period to contemporary Japanese animation." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/317.

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This thesis is mainly concerned with uncovering the meanings and associations embedded in the field of popular culture production in Japanese and European sociocultural contexts, using a comparative approach to unearth the effects, materials, and paradigms of the technological and scientific discourses during the Scientific Revolution. Linking the fields of the anthropology of technology and science, popular culture, and material culture studies, the thesis offers a historical overview of the development of machines and visual technologies in the Edo period, arguing that visuality is the key to delayering the cultural history of technology and science in Japanese popular culture, animation in particular. The objective of this work, therefore, is to look at the assemblage of the scientific, technological, and philosophical discourses to unveil the cultural processes between optical regimes, scientific practices, and popular culture. In its emphasis on the interconnectedness of visual technologies and the field of popular culture production, the thesis asserts that scientific development, particularly under the influence of the Scientific Revolution and Japanese Rangaku scholarship, is closely tied with the function of entertainment in Japanese society. With the understanding of technology as a total social phenomenon that interlocks the material and the symbolic in a complex network, which produces meanings and associations, the thesis further stresses the view that intellectual history cannot be separated from material culture studies; it also grapples with a number of existing scholarships on the history of science, particularly their inattentiveness to cultural histories in their historical surveys of scientific development. Finally, this work closely examines Oshii Mamoru's Ghost in the Shell and its sequels and the anime TV series Psycho-Pass to explore the tangled responses to the ideologies of the Euro-American mode of modernity.
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Vermaak, Janelle Leigh. "Part one: "Horror versus terror in the body genre" : part two: "Silent planet"." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/636.

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This article seeks to investigate this balance and to interrogate the difference between horror and terror in an attempt to contribute to the development of a systematic genre typology. A brief history of the genre will be given, after which the focus will fall on contemporary Horror film, paying specific attention to the relationship between violence and horror, the theme of sacrificial violence, and the transgression of ‘natural’ laws. An eclectic approach is followed, drawing from literary theory, theology, psychology, and, of course, film theory.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Tso, Wing-bo, and 曹穎寶. "Representation of female vampires in Bram Stoker's "Dracula" and horror films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29940412.

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Gisler, Carolyn M. "Revisioning the documentary tradition from within : Patricia Gruben's Leylines (1993)." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26689.

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Postmodernism, with its interrogation of reality and the im/possibility of representation, presented a legitimation crisis for the documentary which would potentially signal the end. Gauging by the renewed interest in the documentary tradition (in theory and practice) it is obvious that postmodernism had the reverse effect on documentary, freeing a filmmaking practice that had become hopelessly trapped within its own representational contradictions. In response to the challenge postmodernism presented, documentary theorists and filmmakers cleared a new space for documentary, and in the process reconsidered the limitations of Western epistemology and the ideal of 'representing reality'. This new space is reflected in the renewed interest in a new and more self-reflexive documentary theory and practice from the early 1980's onward. This essay will examine the transition which the documentary tradition has undergone in light of the shift from modernity to postmodernity: the shift from Grierson's heavily didactic social documentary to cinema verite and direct cinema and, finally, to the self-reflexive postmodern documentary. A textual analysis of Patricia Gruben's Leylines (1993), a recent postmodern documentary, will allow me to demonstrate how the contemporary documentary deals with the postmodern questions of history, representation, authority, knowledge, and subjectivity. (Abstract shortened by UMI.)
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Ma, Ran, and 马然. "Chinese independent cinema and international film festival network at the age of global image consumption." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B46676314.

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Books on the topic "Animated films – History and criticism"

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

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French animation history. Wiley-Blackwell, 2011.

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The encyclopedia of animated cartoons. 2nd ed. Facts on File, 1999.

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Lenburg, Jeff. The encyclopedia of animated cartoons. Oxford, 1992.

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Lenburg, Jeff. The encyclopedia of animated cartoons. Facts on File, 1991.

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Lenburg, Jeff. The encyclopedia of animated cartoons. Facts on File, 1991.

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Alan, Cholodenko, and Australian Film Commission, eds. The Illusion of life: Essays on animation. Power Publications in association with the Australian Film Commission, 1991.

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Enchanted drawings: The history of animation. Wings Books, 1994.

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Hwang, Sŏn-gil. Aenimeisyŏn yŏnghwasa: A history of animation. Pŏmusa, 1998.

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Emmerling, Anna. Animierte Wunderwelten: Animated wonderworlds. Museum für Gestaltung Zürich, 2015.

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Book chapters on the topic "Animated films – History and criticism"

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Shmidt, Victoria, and Karl Kaser. "The complex legacy of early animated health films in Eastern Europe." In A Critical History of Health Films in Central and Eastern Europe and Beyond. Routledge, 2023. http://dx.doi.org/10.4324/9781003272267-8.

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Kılınçarslan, Yasemin. "A Woman Director in the History of Animated Film." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1774-1.ch011.

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Rapidly spreading computer technologies cause many classical art applications to disappear. One of these is the classic stop motion animation cinema. Animation film director Lotte Reiniger has an important place in the history of cinema both through her personality and films. The avant-garde style of the director puts her in the category of modern artists. Reiniger's technical and stylistic innovations in the art of animation are still important. In this study, the artistic life and film aesthetics of the Lotte Reiniger will be discussed and the elements that make it an auteur method will be examined through her animation films.
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Holliday, Christopher. "The Mannerist Game." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0011.

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This chapter argues that mannerism and traditions of mannerist art give greater definition to how computer-animated films playfully dismantle their illusionist activity by making false claims about their relation to live-action cinema. To consider these specific forms of Mannerist humour in the computer-animated film, this chapter plots Mannerism’s cinematic lineage within certain styles and genres (film noir, pop music film, heritage drama, period film and cinéma du look), and notes that despite scholars having employed a vocabulary drawn from European art history to describe the (often digitally-assisted) bravura camerawork of New Hollywood cinema, Mannerism has yet to be employed as a descriptor for digital animation. This chapter therefore re-imagines computer-animated film comedy as strongly Mannerist in its invention, and draws particular attention to their strategies of allusive anti-illusionism. Computer-animated films frequently stage false, illusory discourses of revelation (feigned blooper reels, outtake material, behind-the-scenes ‘actor’ interviews) as a comic flourish that maintains the genre’s illusion. To interrogate the wit of the genre’s Mannerist play, I examine its many trompe-l’œil illusion effects and activities of self-deception.
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Lockhart, Ellen. "Giuditta Pasta and the History of Musical Electrification." In Animation, Plasticity, and Music in Italy, 1770-1830. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520284432.003.0006.

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Chapter 5 traces the theme of human plasticity into Italian aesthetic discourse and opera of the 1820s and 1830s. The echoes of the musical statues of the late Enlightenment can be heard in the reception of performers of Ottocento opera, especially the women. Figures like Maria Malibran and particularly Giuditta Pasta were construed as living statues or artificially animated interlopers from an ancient past. This quality of animatedness was described with a very new kind of imagery within music criticism, one that drew on well-known developments in the nascent scientific field later known as electrobiology.
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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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Horlock, Douglas. "Introduction." In The Films of Delmer Daves. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496838841.003.0001.

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The introduction establishes that despite directing popular and critically well received films, Delmer Daves has remained a neglected figure in the history of Hollywood’s ‘Golden Age’. He has been similarly underestimated in film criticism and analysis, including that of authors such as Andrew Sarris who advocated an auteur theory of criticism. More recent interest in Daves’s work is recognised, such as the 2016 publication of Matthew Carter and Andrew Nelson. The introduction goes on to set out the scope of this study which focuses on all Daves’s films and significant screenplays, and which utilises underused sources such as the Delmer Daves Papers.
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Sepinwall, Alyssa Goldstein. "Remembering Haiti’s Revolution in France and North America." In Slave Revolt on Screen. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833105.003.0007.

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The chapter focuses on documentaries, dramatic shorts, and animated shorts about the Haitian Revolution. Many were made entirely by non-Haitians, but some involved collaborations with Haitian scholars and artists. Because Haiti was once a colony of France, several of these documentaries come from French filmmakers. In analyzing these films, the chapter highlights French difficulties in grappling with their histories of slavery and racism, as well as imbalances that give the French greater power to recount Haiti’s history on screen than Haitians themselves. The chapter also examines public television and crowdfunded documentaries from the U.S., such as Égalité for All (2009) and 1804: The Hidden History of Haiti (2017), from white as well as African American directors. Finally, the chapter looks at lesser-known dramatic shorts on the Revolution, and at animated films, including Robin Lloyd and Doreen Kraft’s pioneering 1978 short Black Dawn.
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Mihailova, Mihaela. "Before Sound, there was Soul: The Role of Animation in Silent Nonfiction Cinema." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0003.

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Mihaela Mihailova examines the role and functions of the drawn image within early-twentieth-century scientific and educational media texts (in this case, a range of 1920s educational animated short films). Exploring seminal names from animation history, such as Bray Productions and the Fleischer brothers, Mihailova demonstrates the contemporary resonances and applications of these works. The chapter examines a range of foundational trends, methods and approaches that subsequently shaped animated documentary during the nine decades since the advent of sound. Examining the functions which the drawn image fulfils, animation is seen as a metacommentary on its own expressive limitations, as well as those of nonfiction, foregrounding the challenges of conveying reality by means of a single representational mode. At once liberated from the concreteness of the photographic record and limited in their abstraction by the requirements of scientific content, these films occupy a position between mechanical recording and pure artistic creation.
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Saxton, Libby. "Paper, Water, Ice: The Falling Soldier." In No Power Without an Image. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474463157.003.0002.

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Commentators have often viewed Robert Capa’s snapshot of a man supposedly felled by an enemy bullet (1936) as epitomising photography’s distinctive capacity to capture moments that assume iconic status. Chapter 1, however, contends that a full account of this image’s iconicity must pay attention to cinema. The chapter traces the passage of Capa’s picture through magazines that emulate or comment on cinema, an eclectic selection of films and moving image criticism and theory, reconsidering the photograph as a film frame, a transitory – rather than pregnant or decisive – instant and an arrested image or freeze-frame. Drawing on critical writing on the still / moving relation, the chapter argues that the ‘Falling Soldier’ evolved in the first half century of its life from a dynamic depiction of a meaningful sacrifice in the ‘paper cinema’ which first animated it into a petrified template for filmic evocations of senseless violence.
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Rayner, Jonathan. "Forever Being Yamato." In Sideways in Time. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620139.003.0004.

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This chapter examines the rewriting of the Pacific War in Japanese films and animation. Films such as Men of the Yamato (2005) and Admiral Yamamoto (2011) evince an uneasy balance between lamentation for the destruction of the Pacific War, evasion of Japanese responsibility for the conflict, and celebration of self-sacrifice in the creation of Japan’s future peace and prosperity. The vexed status of Japan’s history renders the past a contestable and re-interpretable space. Where putatively historical films proffer problematic depictions of the conflict, Japanese science fiction films (like Space Battleship Yamato) and animated series such as Zipang engage in active re-writings of history to posit alternative visions of the Pacific War. In contrast to the equivocation of mainstream cinema, these texts contain controversial re-imaginings of the country’s past, reflecting continuing controversies in the interpretations of Japan’s war.
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Conference papers on the topic "Animated films – History and criticism"

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Tipa, Violeta. "Identity visions in the creation of the filmmaker Constantin Balan." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.18.

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One of the filmmakers from the studio „Moldova-Film”, who supported and promoted our national values was Constantin Balan. Following the activity path of the artist from his coming to the studio „Moldova-Film” as a painter-scenographer until his dissolution, we detect the value conceptions, to which he remains faithful throughout creation. He made his debut as a painter-scenographer for the film „Alone in the Face of Love” (1969), directed by Gheorghe Voda, and later he will be requested by Director Vlad Iovita for the film-story „Prince Charming” (1977) and the historical drama „At the gates of Satan” (1980), for which he anchors in our national mythofolchloric relating it to the history of the people. In 1970 his dream during his studies at VGIK (1964—1969) is fulfilled — to create animated films. In this context, especially significant becomes his first film „Guguta” (made with the support and competition of Estonian director Elbert Tuganov), which will be auspicious and will be the head of a whole series of films with the character of writer Spiridon Vangheli.
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