Animation Studies Journal
-
16 June 2024Steven Malliet, John Buckley, Guido Devadder et al. – Expanded Memories: Artistic Experiments into Hybrid Analogue-Digital Animation
-
16 June 2024Sergei Glotov – Yefim Gamburg’s Passion of Spies: Parody in Soviet Animation
-
16 June 2024Daniel Johnson – “The Emotions that Get Stuck in Your Throat”: Expressivity in Speech, Script, and Sound in Japanese Animation
-
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
Animation Studies 2.0
-
17 June 2025To the Moon on a Whim in A Grand Day Out (1989)
-
3 June 2025A Closer Look at “In the Shadow of the Cypress”
-
20 May 2025Visualizing Trauma Memory Through Surreal Techniques
-
6 May 2025Is Priit Pärn a Surrealist?
-
22 April 2025Surrealism, Memory, and Resistance in Soviet Animation
-
15 April 2025Review of The Intersection of Animation, Video Games, and Music: Making Movement Sing
-
8 April 2025Dimensions of Dialogue: The Carnivorous Appetite of Surrealist Animation
-
26 March 2025Time for Bed: The Dreamlike world of Dougal and the Blue Cat (1970)
-
11 March 2025Cymebelle (2024): A Surrealistic approach to Character Mysteries
-
4 March 2025Wallace and Gromit and the case for Claymation in a world of AI
