This book examines the role of memory in animation, as well as the ways in which the medium of animation can function as a technology of remembering and forgetting. By doing so, it establishes a platform for the cross-fertilization between the burgeoning fields of animation studies and memory studies. By analyzing a wide range of different animation types, from stop motion to computer animation, and from cell animated cartoons to painted animation, this book explores the ways in which animation can function as a representational medium. The five parts of the book discuss the interrelation of animation and memory through the lens of materiality, corporeality, animation techniques, the city, and animated documentaries. These discussions raise a number of questions: how do animation films bring forth personal and collective pasts? What is the role of found footage, objects, and sound in the material and affective dimensions of animation? How does animation serve political ends? The essays in this volume offer answers to these questions through a wide variety of case studies and contexts. The book will appeal to both a broad academic and a more general readership with an interest in animation studies, memory studies, cultural studies, comparative visual arts, and media studies.
Chapter “Introduction” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.
Cuprins
INTRODUCTION.- László Munteán, Ali Shobeiri, Maarten van Gageldonk.- PART I MEMORY AND MATERIALITY.- 1. Memoria Rerum: Animated Materiality, Memory and Amnesia.- Suzanne Buchan.- 2. Collaging Cultural Memory: Appropriation, Memory and Gender in the Films of Stacey Steers.- Maarten van Gageldonk.- 3. Animating Amnesia: The Materiality of Forgetting in Izabela Plucinska’s Liebling.- László Munteán.- PART II ANIMATION TECHNIQUES AND MEMORY.- 4. A Printing Machine for the Memory’: Stillness, Metamorphosis, and the Poiesis of Memory in Death and the Mother.- Nicholas Andrew Miller.- 5. Drawing on Memory: Layers of Association in Robert Breer’s Animated Films.- Mirriam Harris.- 6. Beyond the Unrepresentable: Animation, Bodies and Holocaust Memory.- Victoria Grace Walden.- PART III TRAUMA AND THE BODY.- 7. Antumbral Memory: A Psychosomatic Phenomenon in the Phantom Limb.- Ali Shobeiri.- 8. Metamorphosis, Memory, and Trauma in Michèle Cournoyer’s The Hat.- Ruth Richards.- 9. Apocalypse, Amnesia, and Acknowledgement: Trauma and Memory in Animated Movies.- Oliver Scheid.- PART IV ANIMATING URBAN PASTS.- 10. Stan Douglas and the Animation of Vancouver’s Urban Past.- Joel Mc Kim.- 11. Cinema Emek, Cinema Labour, Cinema Travail: Revitalization of Istanbul’s Urban Past and the Cultural Memory of Protest.- Cansu Soyupak.- PART V DOCUMENTARY AND ANIMATION.- 12. ’However it affects you, it does not have to hold you back’: Animated Personal Accounts in My Autism and Me and the Genealogy of the Neurobiological Subject.- Hannah Ebben.- 13. Animated Memories.- Annabelle Honess Roe.
Despre autor
Maarten van Gageldonk is a lecturer in Cultural Studies and Cultural History at the Art EZ University of the Arts in Arnhem, the Netherlands, as well as a lecturer at the HAN University of Applied Sciences in Nijmegen. He is also the lead programmer for the Kaboom Animation Festival in Amsterdam.
Ali Shobeiri is Assistant Professor of Photography at Leiden University in the Netherlands. His upcoming monograph is titled: Place: Towards a Geophilosophy of Photography.
László Munteán is Assistant Professor with a double appointment in Cultural Studies and American Studies at Radboud University Nijmegen, the Netherlands. He is co-editor of Materializing Memory in Art and Popular Culture (2017).
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