Figure and Force in Animation Aesthetics
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Product details:
- Publisher OUP USA
- Date of Publication 7 January 2020
- ISBN 9780190949761
- Binding Paperback
- No. of pages216 pages
- Size 155x231x15 mm
- Weight 454 g
- Language English
- Illustrations 72 animation stills, 3 illustrations 0
Categories
Short description:
How can we describe movements in animated films? In Figure and Force in Animation Aesthetics, Ryan Pierson introduces a powerful new method for the study of animation.
MoreLong description:
How can we describe movements in animated films? In Figure and Force in Animation Aesthetics, Ryan Pierson introduces a powerful new method for the study of animation. By looking for figures--arrangements that seem to intuitively hold together--and forces--underlying units of attraction, repulsion, and direction--Pierson reveals startling new possibilities for animation criticism, history, and theory. Drawing on concepts from Gestalt psychology, Pierson offers a wide-ranging comparative study of four animation techniques--soft-edged forms, walk cycles, camera movement, and rotoscoping--as they appear in commercial, artisanal, and avant-garde works. In the process, through close readings of little-analyzed films, Pierson demonstrates that figures and forces make fertile resources for theoretical speculation, unearthing affinities between animation practice and such topics as the philosophy of mathematics, scientific and political revolution, and love. Beginning and ending with the imperative to look closely, Figure and Force in Animation Aesthetics is a performance in seeing the world of motion anew.
Figure and Force in Animation Aesthetics is a major intervention in the history of modernism. In this beautiful book, Pierson so carefully, so lovingly tracks the formal and philosophical seriousness of abstract animators -- Mary Beams, Robert Breer, Norman McLaren, to name only a few -- whose work has caused major categorical discomfort for scholars of popular narrative-based forms of animation, on the one hand, and for the gatekeepers of the modernist canon, on the other. Moreover, Pierson has opened up a whole new vocabulary for thinking about form in the realm of philosophical aesthetics. His conceptualizations of force, movement, figure, re-centering, illustrative and demonstrative metamorphosis alone will be with us, I predict, for a very long time.
Table of Contents:
Dedication
About the Companion Website
Introduction
Chapter One: Soft Edges
Chapter Two: Walk Cycles
Chapter Three: Perspectival Movement
Chapter Four: Rotoscoping
Afterimage: The Blank Interval
Acknowledgments
Bibliography
Index
