Animation And Memory

Description

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. Acknowledgments......Page 6 Contents......Page 8 Notes on Contributors......Page 11 List of Figures......Page 14 Introduction......Page 18 Animated Film and Memory......Page 21 The Structure of the Book......Page 29 SHE......Page 32 References......Page 34 Part I: Memory and Materiality......Page 37 Memoria Rerum: Animated Materiality, Memory, and Amnesia......Page 38 From Ars Memoria to Media......Page 42 Entangledness and Cognitio Confusa: The Comb (From the Museums of Sleep)......Page 44 Memoria Rerum and le Lieu Amnésique......Page 47 Conclusion......Page 55 References......Page 56 Montages of Memory: Collage, Memory, and Gender in the Films of Stacey Steers......Page 60 Phantom Canyon (2006)......Page 63 Night Hunter (2011)......Page 66 Edge of Alchemy (2017)......Page 71 Conclusion......Page 75 References......Page 76 Animating Amnesia: The Materiality of Forgetting in Izabela Plucin´ska’s Liebling......Page 78 Memory, Materiality, Identity......Page 79 Floating Things......Page 82 Wax Tablets and Clay Animation......Page 88 References......Page 92 Part II: Animation Techniques and Memory......Page 94 “A Printing Machine for the Memory”: Stillness, Metamorphosis, and the Poiesis of Memory in Ruth Lingford’s Death and the Mother......Page 95 Metamorphosis and Memory......Page 100 Still Morphing......Page 105 Committed to Memory......Page 109 References......Page 115 Introduction......Page 118 Pre-linguistic Memory and Drawing......Page 121 Drawing and Text......Page 126 Memory and the Mystic Writing Pad......Page 129 References......Page 134 Part III: Trauma and the Body......Page 138 Antumbral Memory: A Psychosomatic Phenomenon in Phantom Limb......Page 139 The Phantom Limb of the Other......Page 140 Burying Absence Within the Other......Page 145 The Antumbral Memory......Page 149 References......Page 152 “Nothing But Paper and Ink”: Metamorphosis, Memory, and Trauma in The Hat......Page 155 Animated Memory Texts......Page 157 Trauma and Body Memory......Page 161 Michèle Cournoyer and the Making of The Hat......Page 163 Conclusion......Page 169 References......Page 170 Part IV: Animating Urban Pasts......Page 173 Stan Douglas and the Animation of Vancouver’s Urban Past......Page 174 Circa 1948......Page 175 Envisioning Vancouver......Page 179 Divergent Modernities......Page 182 The Apparatus of Animation......Page 185 Conclusion......Page 188 References......Page 189 Cinema Emek, Cinema Labour, Cinema Travail: The Revitalization of Istanbul’s Urban Past and the Emek Theater as a Lieu de Mémoire......Page 191 Animation as a Mimetic Substitution......Page 194 Emek as a lieu de mémoire......Page 199 Conclusion......Page 205 References......Page 206 Part V: Documentary and Animation......Page 209 “However It Affects You, It Does Not Have to Hold You Back”: Animated Personal Accounts in CBBC’s Newsround Special “My Autism and Me” and the Prosthetic Memory of Disability and Ablement......Page 210 Studying Disability and Ablement as Prosthetic Memory in Cultural Texts......Page 213 How Autism Gets “Known” in “My Autism and Me”: Breaking Through the Normalization of Naturalized Indexicality......Page 215 The Politics of Epistemologies of Nuance and Heterogeneity in Autism: Neoliberal Ablement as Dominion Over “Semi-Ambiguity”......Page 219 Semi-Ambiguous Epistemologies of Autism and the Neoliberal Cerebral Subject as the Able Subject to Re/member......Page 223 Conclusion......Page 227 References......Page 228 Animated Documentary and the Reclamation of Lost Pasts and Forgotten Memory in Irinka and Sandrinka and Waltz with Bashir......Page 231 Memory, Continuity, and Photography......Page 233 Postmemory and Weaving into Collective Memory Through Animation in Irinka and Sandrinka......Page 235 Postmemory, Flashbacks, and the Significance of Forgetting in Waltz with Bashir......Page 238 Conclusion......Page 244 References......Page 247 Index: Animation and Memory......Page 249