Yeats, Joyce and Animation’s Field of Transformations.
Abstract: Through an analysis of Tim Booth’s short films, this paper will discuss the potential for the animated form to embody Keiji Nishitani’s ‘field of transformations’. His films The Prisoner (1983) and Ulys (2000), adaptations of Yeats’ The Lake Isle of Inisfree and Joyce’s Ulysses respectively, mark moments of rupture in Irish culture and identity, and through a use of the plasmatic animated image, describe both the animated text’s relationship to literary sources and the contingent nature of language, history and identity itself.
Biographical Statement: Thomas Walsh graduated from the Diploma in Animation Production Course at Ballyfermot Senior College in 1994, and worked as a Special Effects artist for Screen Animation Ireland on the feature productions The Pebble and the Penguin (1994) and All Dogs go to Heaven II (1995), and afterwards for the Walt Disney Feature Animation Studio on The Hunchback of Notre Dame (1996), Hercules (1997) and Tarzan (1999). He has recently completed a PhD on the relationship between a contemporary Irish animation industry and postcolonialism at Loughborough University School of Art and Design, and has contributed an article on special effects animation in Paul Wells’ book Fundamentals of Animation (2006). Ongoing research creates critical linkages between animation practice and formations of national and personal identity arising from postcolonial studies.
He is currently a Senior Lecturer on the BA (Hons) Animation degree course at the Arts University College at Bournemouth in the UK.
Showing posts with label literature and narrative. Show all posts
Showing posts with label literature and narrative. Show all posts
Amy Ratelle
An analysis of the significance of human-animal conflict in Princess Mononoke
Abstract: Pr
incess Mononoke (Hiyao Miyazaki, 1997) is a complex film in which history and mythology brush uncomfortably against one another. Set in feudal Japan, it ostensibly chronicles the ongoing battle between industrial progress and nature. On closer inspection, however, the film is far more ambivalent. This paper investigates Miyazaki’s portrayal of the antagonistic relationship between the humans in Irontown and the animal gods who live in and guard the nearby forest. Key scenes of the film will be examined in terms of the convergence of cultural and economic factors contributing to the ongoing war between humans and animals, and how the ambiguous ending of the film undermines specifically Western notions of the nature of progress.
Biographical statement: AMY RATELLE is currently a PhD candidate of the Joint Programme in Communication and Culture at York University and Ryerson University. Her dissertation focuses on animal issues and animality in children's literature, film and television. She holds a BFA in Film Studies from Ryerson University and a MA in Film Studies from Carleton University.
Abstract: Pr
incess Mononoke (Hiyao Miyazaki, 1997) is a complex film in which history and mythology brush uncomfortably against one another. Set in feudal Japan, it ostensibly chronicles the ongoing battle between industrial progress and nature. On closer inspection, however, the film is far more ambivalent. This paper investigates Miyazaki’s portrayal of the antagonistic relationship between the humans in Irontown and the animal gods who live in and guard the nearby forest. Key scenes of the film will be examined in terms of the convergence of cultural and economic factors contributing to the ongoing war between humans and animals, and how the ambiguous ending of the film undermines specifically Western notions of the nature of progress. Biographical statement: AMY RATELLE is currently a PhD candidate of the Joint Programme in Communication and Culture at York University and Ryerson University. Her dissertation focuses on animal issues and animality in children's literature, film and television. She holds a BFA in Film Studies from Ryerson University and a MA in Film Studies from Carleton University.
María Lorenzo Hernández
Morel_Morello_Morella: The Metamorphoses of Adolfo Bioy Casares’ Invention in a (Re)Animated Universe
Abstract:
This paper proposes Adolfo Bioy Casares’ influential novella La invención de Morel (Morel’s Invention 1940), generally regarded as a metaphor of cinema, as fundamentally a singular metaphor of animation. Moreover, the paper will connect the novel with H.G. Wells’ The Island of Dr Moreau (1896) and Anthony Lucas’ animated film The Mysterious Geographic Explorations of Jasper Morello (2005), focusing on their fascination with the re-fabrication of nature. The paper proposes the special association between animation and invention and argues and demonstrates a critical idea for animation studies: (re)animation is the seminal subject of fiction.
Biographical statement: María Lorenzo Hernández teaches animation at the Department of Design, Universidad Politécnica de Valencia (Spain). In 2006 she obtained her PhD in Fine Arts. She presented papers at the 19th SAS Conference in Portland (2007) the National PCA/ACA Conference in San Francisco (2008), and the 21st SAS Conference in Atlanta (2009). The current paper continues her line of research connecting literature and animation that began with her ‘Visions of a Future Past. Ulysses 31, a Televised Re-interpretation of Homer’s Classic Myth’, published in Animation Studies, the SAS e-journal. She is also an animation filmmaker.
Abstract:
This paper proposes Adolfo Bioy Casares’ influential novella La invención de Morel (Morel’s Invention 1940), generally regarded as a metaphor of cinema, as fundamentally a singular metaphor of animation. Moreover, the paper will connect the novel with H.G. Wells’ The Island of Dr Moreau (1896) and Anthony Lucas’ animated film The Mysterious Geographic Explorations of Jasper Morello (2005), focusing on their fascination with the re-fabrication of nature. The paper proposes the special association between animation and invention and argues and demonstrates a critical idea for animation studies: (re)animation is the seminal subject of fiction. Biographical statement: María Lorenzo Hernández teaches animation at the Department of Design, Universidad Politécnica de Valencia (Spain). In 2006 she obtained her PhD in Fine Arts. She presented papers at the 19th SAS Conference in Portland (2007) the National PCA/ACA Conference in San Francisco (2008), and the 21st SAS Conference in Atlanta (2009). The current paper continues her line of research connecting literature and animation that began with her ‘Visions of a Future Past. Ulysses 31, a Televised Re-interpretation of Homer’s Classic Myth’, published in Animation Studies, the SAS e-journal. She is also an animation filmmaker.