Animation Studies Journal
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16 June 2024“The Emotions that Get Stuck in Your Throat”: Expressivity in Speech, Script, and Sound in Japanese Animation
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16 June 2024Yefim Gamburg’s Passion of Spies: Parody in Soviet Animation
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16 June 2024Expanded Memories: Artistic Experiments into Hybrid Analogue-Digital Animation
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11 December 2023Animating in British Communities During the Lockdown
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5 December 2023Re-inventing Shakespeare’s Pericles, Prince of Tyre for Immersive Animation: A Practice-oriented Case Study
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4 December 2023Hogan’s Alley in the Enchanted Forest: R. F. Outcault’s The Yellow Kid and Walt Disney’s Dopey
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1 December 2023Toward a New Media Ecology: Aesthetic Experiments in Post-Socialist Chinese Animated Documentaries
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20 June 2023Hand of Artist, Voice of Griot: A Poetics of African Animation in the Films of Jean-Michel Kibushi
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20 June 2023Towards a Materialist Theory of Animated Documentary
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13 December 2022Adventure Time’s World-Building: Analyzing Its Opening Title Sequence and the Mobile Map
Animation Studies 2.0
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9 April 2026Frogs as Counterclaim in The Death of Gandji (La Mort du Gandji) (1965)
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7 April 2026Rethinking TingaTingaTales in Kenyan Animation History
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2 April 2026Negotiating Africanness in Contemporary African Animation
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26 March 2026Animated Environments and Uneven Futures: African Futurism, Class and the City in Iwájú (2024)
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24 March 2026The African Animation Studio as a Learning Institution
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19 March 2026Female Memory, Landscape and Liminal Mediation in Nayola
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16 March 2026Coyote v. Spectator: Ruptured grace in animated humour
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9 March 2026Punch the Clock: Looney Tunes and Labor
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27 February 2026Book Review: Drawn to Nature (2025) by Colin Williamson
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24 February 2026The (In)Appropriate Aesthetic of BoJack Horseman (2014)