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oapen-20.500.12657-250042021-11-10T07:53:51Z Frame by Frame Frank, Hannah Aesthetics animation avant-garde cartoons labor photography technology bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema bic Book Industry Communication::J Society & social sciences::JF Society & culture: general::JFD Media studies For most of the twentieth century, the making of animated cartoons was mechanized and standardized to allow for high-volume production: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called "cels") and then photographed in succession, a labor-intensive process that was divided across scores of artists and technicians, most of them anonymous. In order to understand how the industrial mode of production influenced the medium’s visual style, this book regards each frame of a given animated cartoon as a historical document in its own right. This new consideration of the materiality of the medium analyzes cartoons frame by frame to expose hitherto unseen qualities of the image. The book covers the different technologies of reproduction involved in this process, from photography to xerography, as well as the idiosyncrasies of the image—from abstract imagery to mistakes in reproduction—that can be seen only when the film is halted. What emerges is both a new methodology for thinking about animation, the idea of frame-by-frame analysis, and a highly original account of an art formed on the assembly line. 2019-06-19 10:45:08 2020-04-01T10:17:32Z 2020-04-01T10:17:32Z 2019 book 1005097 OCN: 1135845386 9780520303621 http://library.oapen.org/handle/20.500.12657/25004 eng application/pdf n/a frame-by-frame.pdf 10.1525/luminos.65 University of California Press 10.1525/luminos.65 10.1525/luminos.65 72f3a53e-04bb-4d73-b921-22a29d903b3b 9780520303621 278 Oakland open access
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For most of the twentieth century, the making of animated cartoons was mechanized and standardized to allow for high-volume production: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called "cels") and then photographed in succession, a labor-intensive process that was divided across scores of artists and technicians, most of them anonymous. In order to understand how the industrial mode of production influenced the medium’s visual style, this book regards each frame of a given animated cartoon as a historical document in its own right. This new consideration of the materiality of the medium analyzes cartoons frame by frame to expose hitherto unseen qualities of the image. The book covers the different technologies of reproduction involved in this process, from photography to xerography, as well as the idiosyncrasies of the image—from abstract imagery to mistakes in reproduction—that can be seen only when the film is halted. What emerges is both a new methodology for thinking about animation, the idea of frame-by-frame analysis, and a highly original account of an art formed on the assembly line.
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