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"This fecund, vivacious collection will be a vital resource for those interested in film animation." — T. Lindvall, Choice
“Animating Film Theory encompasses a wide concern for moving images and underexplored theoretical and aesthetic issues that thinking through and about animation opens up for readers.” — Amanda Egbe, Leonardo Reviews
"How has film theory discourse engaged animation up until now? And how would engagement with animation enrich contemporary film theory? Animating Film Theory explores these two questions.... Both discourse and engagement questions are thoroughly answered throughout this book, both explicitly and implicitly, and its goal has certainly been met." — Monika Raesch, International Journal of Communication
"This fecund, vivacious collection will be a vital resource for those interested in film animation." —T. Lindvall, Choice
“Animating Film Theory encompasses a wide concern for moving images and underexplored theoretical and aesthetic issues that thinking through and about animation opens up for readers.” —Amanda Egbe, Leonardo Reviews
"How has film theory discourse engaged animation up until now? And how would engagement with animation enrich contemporary film theory? Animating Film Theory explores these two questions.... Both discourse and engagement questions are thoroughly answered throughout this book, both explicitly and implicitly, and its goal has certainly been met." —Monika Raesch, International Journal of Communication
"The original arguments, concepts, and questions around animation introduced in this extraordinary project make it a major contribution to film and media theory and art theory more generally. Yet this is not just a book about animated films. Rather, it is a broad investigation of possible theories of animation that closely examines 'animation' as a concept with variable senses, and restores it as a central theme of past and current debates on the medium of film." — D. N. Rodowick, author of, The Virtual Life of Film
"What a wonderful collection of essays! There is no other book that theorizes animation so thoroughly. The top-notch contributors take on the recent debate about the relationship of digital cinema to animated cinema, and they show us just how expansive the definition of animation can be. People who work in animation, and in film history more broadly, have been waiting for something like this." — Eric Smoodin, author of, Regarding Frank Capra: Audience, Celebrity, and American Film Studies, 1930–1960
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Karen Beckman is the Elliot and Roslyn Jaffe Professor of Cinema and Modern Media in the Department of the History of Art at the University of Pennsylvania. She is the author of Crash: Cinema and the Politics of Speed and Stasis and Vanishing Women: Magic, Film, and Feminism and coeditor (with Jean Ma) of Still Moving: Between Cinema and Photography, all also published by Duke University Press.
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