Description
This work offers a number of reasons why animation had been consigned to the margins of film history and criticism. It suggests a number of models and methodologies by which animation may be understood and it provides a defence of the animated film as a significant art-form. It establishes animation as an important area of study. Chapters discuss the theory and history of animation; narrative strategies; the construction of comic events; the representation of gender and race; and animation and audience research. This work provides an approach to animation and illustrates that the animated film has much to tell us about ourselves, the cultures we live in and our view of art and society.
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