Animation Studies Journal
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20 June 2023Anastasiia Gushchina – Towards a Materialist Theory of Animated Documentary
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20 June 2023JS Wu – Hand of Artist, Voice of Griot: A Poetics of African Animation in the Films of Jean-Michel Kibushi
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13 December 2022Elena Altheman – Adventure Time’s World-Building: Analyzing Its Opening Title Sequence and the Mobile Map
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12 December 2022Rea Amit – The Legend of Prince Rama and the Emergence of an Indian Animé: A Japanese Mediation of the Sanskrit Epic
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30 May 2022Giuseppe Gatti – Notes on Transnational Animation and the Pokémon Culture in South Park’s “Chinpokomon”
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30 May 2022Sandeep Ashwath – Mythical Past, Animated Present
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30 May 2022Emmett Redding – From Zeman to Gilliam: The Evolution of Mystimation
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8 November 2021Kristian Jared Robinson – Between a “Rock” and a Hard Place: The Hybridization of Analog and Digital in The Iron Giant
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15 June 2021Pedro Serrazina – Animation, Gentrification and Social Experience
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15 June 2021Ole Christoffer Haga – Film Style in Cinematic VR
Animation Studies 2.0
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5 December 2023Review: French Animation History (2011), by Richard Neupert
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28 November 2023Psychology and The Train Illusion, Walk Cycles, and Induced Motion in Animation
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21 November 2023Memories in the Sky: Remembrance, History, and Aviation in Porco Rosso (1992)
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14 November 2023Recollecting Ivor the Engine (1959)
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7 November 2023The Material Ropeway in Wes Anderson’s Isles of Dogs (2018)
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31 October 2023Hideaki Anno’s Train Sets
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24 October 2023Around Fuji: Panoramic Vision as a Postmodern Sensibility
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17 October 2023Background Developments – Technology and the Process of Animating Vehicles
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11 October 2023Review: Coraline: A Closer Look at Studio LAIKA’s Stop-Motion Witchcraft (2021), ed. Mihaela Mihailova
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14 August 2023“They Are Chasing Me”: Animation Of Non-Protagonist Elements in Video Games