Finished "A Reader in Animation Studies" (and bought a copy).
Notes:
"The Thief of Buena Vista: Disney's Aladdin and Orientalism" by Leslie Felperin.
Page 138, Edward Said and orientalism notes.
Page 139, "it's conceivable that [Antoine] Galland himself wrote the story [Aladdin], drawing as much from European sources as oriental ones"
page 140, Pathe Freres - first film version, 1906
Page 141, "in many ways, the Aladdin story severs as a trope for the animation process itself... western technology is the genie which Aladdin/the animator commands".
Mr. Magoo / UPA version discussed.
"Animatophilia, cultural production and corporate interests: the case of Ren and Stimpy" by Mark Langer.
Page 145, re cultural capital, [Bordieu] defined capital as 'the set of actually useable resources and powers'. Capital can be either economic, cultural, or social ... thus artists and industrialists can both belong to an upper class ... an artist will have much cultural capital but less economic capital"
Page 145, history of the rise of mainstream animation studios in 60s and 70s.
Page 147, discussion of "hip", "taste", and "culture".
"Francis Bacon and Walt Disney revisited" by Simon Pummell.
(article very anti-Disney)
Page 173, "a careful viewing of much of Disney's work reveals the contrast of a potentially disruptive and problematic dynamism of form then laid over with the sickly colours of a rigid sentimentality.".
"Body consciousness is the films of Jan Svankmajer" by Paul Wells.
Page 177 "The body as the site unto which humankind projects its desires, its fear, and uncertainty".
Michal O'Pray suggests that the level of address is located within further discourses where surrealism conjoins with animation of post Modernism.
Page 178, the four 'R's : reproduction, representation, regulation, and restraint.
Page 184, Mechannibalism: (body as machine feeding other people), "hot the body is reduced to a mechanism".
"Eisenstein and Stokes on Disney: Film animation and omnipotence" by Michael O'Pray.
Page 196, "never been a purer expression of the union of music and movement ... story in Silly Symphonies was quite immaterial" [Borodin].
Len Lye mentioned.
Page 201, Animation is often at its best when we marvel not only at the subject matter, so to speak, but at its means of achievement. We are conscious of technique her in the way that we are often not in mainstream narrative film".
"Towards a post-modern animated discourse, Bakhtin, intertextuality and the cartoon carnival" by Terrance R. Lindvalt and J. Matthew Melton.
Page 204-205, Self reflective comment on filmmaking: -speak to audience, - relationship to creators
Page 205, about filmmaking - McCay's "Little Nemo",. "Starewicz "Revenge of Kinematograph Cameraman", (bugs become voyeurs throuigh watching film), Film Flam Films (1927 Felix), Porky's Preview (1941). Original Movie (Tony Sarg, 1922), Making Em Move (1931), Film Film Film (1969), History of Cinema (1958), Sigmund (1984).
Page 208, Errol Flynn on Bugs, "Cleverly inverts the concepts of reality and illusion by allowing the cartoon to pass judgement on the live action film, even denying its plausibility.".
Page 213, Emile Cohl and "the incoherents", anti-rationalist group.
Page 212-216, live action (animators) and animation mixtures.
Page 217, "Wizard of speed and time"
Mock classical narrative paradigms, but they do affirm personal narratives.
"Restoring the aesthetics of early abstract films" by William Moritz.
Page 221-222, Hans Richter - why he lies about his history.
Page 223, Ruttman's Opus 1 - too complex.
Book of interest: "Viking Eggeling 1880-1925, Artist and filmmaker" by Louise O'Konor.
"Resistance and subversion in animated films of the Nazi era; th ecase of Hans Fischerkoesen" by William Moritz.
Page 230, falsified dates of Nazi-era films. First animated feature "Reynard the Fox".
Page 239, Fischerkoesen postwar mural
http://www.awn.com/mag/issue1.7/articles/moritz1.7.html
"European influences on early Disney feature films" by Robin Allan.
Page 252, choice of Beethoven in Fantasia discussed.
Page 252, "his artists were providing an extended comic strip version with gags appealing t his [Disney's] penchant for anal-erotic jokes and at the same time they were offering the lyrical quality of the flying horses that so touched his aesthetic sense that he wanted this to be matched by appropriate music. Such ambiguities emphasise the difficulty ...."
Page 253, Franz von Stuck (1863-1928) "one of the few artists to depict female centaurs".
"Norm Ferguson and the Latin American films of Walt Disney" by J.B. Kaufman.
Primarily a historical review of the travels of travels in Latin America, home movies that were taken and recordings made. Mexico had music unions so it got more complicated.
Notes:
"The Thief of Buena Vista: Disney's Aladdin and Orientalism" by Leslie Felperin.
Page 138, Edward Said and orientalism notes.
Page 139, "it's conceivable that [Antoine] Galland himself wrote the story [Aladdin], drawing as much from European sources as oriental ones"
page 140, Pathe Freres - first film version, 1906
Page 141, "in many ways, the Aladdin story severs as a trope for the animation process itself... western technology is the genie which Aladdin/the animator commands".
Mr. Magoo / UPA version discussed.
"Animatophilia, cultural production and corporate interests: the case of Ren and Stimpy" by Mark Langer.
Page 145, re cultural capital, [Bordieu] defined capital as 'the set of actually useable resources and powers'. Capital can be either economic, cultural, or social ... thus artists and industrialists can both belong to an upper class ... an artist will have much cultural capital but less economic capital"
Page 145, history of the rise of mainstream animation studios in 60s and 70s.
Page 147, discussion of "hip", "taste", and "culture".
"Francis Bacon and Walt Disney revisited" by Simon Pummell.
(article very anti-Disney)
Page 173, "a careful viewing of much of Disney's work reveals the contrast of a potentially disruptive and problematic dynamism of form then laid over with the sickly colours of a rigid sentimentality.".
"Body consciousness is the films of Jan Svankmajer" by Paul Wells.
Page 177 "The body as the site unto which humankind projects its desires, its fear, and uncertainty".
Michal O'Pray suggests that the level of address is located within further discourses where surrealism conjoins with animation of post Modernism.
Page 178, the four 'R's : reproduction, representation, regulation, and restraint.
Page 184, Mechannibalism: (body as machine feeding other people), "hot the body is reduced to a mechanism".
"Eisenstein and Stokes on Disney: Film animation and omnipotence" by Michael O'Pray.
Page 196, "never been a purer expression of the union of music and movement ... story in Silly Symphonies was quite immaterial" [Borodin].
Len Lye mentioned.
Page 201, Animation is often at its best when we marvel not only at the subject matter, so to speak, but at its means of achievement. We are conscious of technique her in the way that we are often not in mainstream narrative film".
"Towards a post-modern animated discourse, Bakhtin, intertextuality and the cartoon carnival" by Terrance R. Lindvalt and J. Matthew Melton.
Page 204-205, Self reflective comment on filmmaking: -speak to audience, - relationship to creators
Page 205, about filmmaking - McCay's "Little Nemo",. "Starewicz "Revenge of Kinematograph Cameraman", (bugs become voyeurs throuigh watching film), Film Flam Films (1927 Felix), Porky's Preview (1941). Original Movie (Tony Sarg, 1922), Making Em Move (1931), Film Film Film (1969), History of Cinema (1958), Sigmund (1984).
Page 208, Errol Flynn on Bugs, "Cleverly inverts the concepts of reality and illusion by allowing the cartoon to pass judgement on the live action film, even denying its plausibility.".
Page 213, Emile Cohl and "the incoherents", anti-rationalist group.
Page 212-216, live action (animators) and animation mixtures.
Page 217, "Wizard of speed and time"
Mock classical narrative paradigms, but they do affirm personal narratives.
"Restoring the aesthetics of early abstract films" by William Moritz.
Page 221-222, Hans Richter - why he lies about his history.
Page 223, Ruttman's Opus 1 - too complex.
Book of interest: "Viking Eggeling 1880-1925, Artist and filmmaker" by Louise O'Konor.
"Resistance and subversion in animated films of the Nazi era; th ecase of Hans Fischerkoesen" by William Moritz.
Page 230, falsified dates of Nazi-era films. First animated feature "Reynard the Fox".
Page 239, Fischerkoesen postwar mural
http://www.awn.com/mag/issue1.7/articles/moritz1.7.html
"European influences on early Disney feature films" by Robin Allan.
Page 252, choice of Beethoven in Fantasia discussed.
Page 252, "his artists were providing an extended comic strip version with gags appealing t his [Disney's] penchant for anal-erotic jokes and at the same time they were offering the lyrical quality of the flying horses that so touched his aesthetic sense that he wanted this to be matched by appropriate music. Such ambiguities emphasise the difficulty ...."
Page 253, Franz von Stuck (1863-1928) "one of the few artists to depict female centaurs".
"Norm Ferguson and the Latin American films of Walt Disney" by J.B. Kaufman.
Primarily a historical review of the travels of travels in Latin America, home movies that were taken and recordings made. Mexico had music unions so it got more complicated.
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