Animation Studies Journal
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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
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14 June 2021Sara Álvarez Sarrat – Innocent and Invisible: Women Behind Bars in Animated Documentaries
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14 June 2021Elizaveta Shneyderman – Parameterization: On Animation and Future Corporealities
Animation Studies 2.0
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18 May 2023A Moving Feast: “A Charlie Brown Thanksgiving”
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7 March 2023Representations of Muslim Trauma in The Breadwinner (2017)
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28 February 2023Mythology of Repetition, Memitology in Animated Gifs
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21 February 2023The Animator-as-Creator “Theology” in Still Alive (2018)
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14 February 2023Revelation of the Author and Incarnation in the Animated Film
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7 February 2023Theology and Animated Parables
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31 January 2023Animation as Sacred Text: Thoughts on Community Formation
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9 January 2023Animated Intergenerational Interviews
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3 October 2022The Ugly Anthropocene: Animated Simulation and Non-Human Perspectives
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26 September 2022A Town Called Panic!’s “Bricolage” Aesthetic and Low-budget Methods: A New Model for Ecological and Resilient Stop Motion Productions