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This article investigates Oshii Mamoru’s experiments with voice and vision in his film Ghost in the Shell (1995). The audio-visual inversion articulated by the disembodied voice in the film dissolves the conventional image-voice conformity. The inorganic gaze adopted by Oshii breaks out of the...
Writings on animation have often noted the plastic quality of the image: objects stretch, squash and change forms. Such discussions of the plastic quality of animation tend to equate plasticity with the appearance of the image. This article proposes a rethinking of plasticity in animation,...
In his autobiography, animator Shamus Culhane describes the mid-1940s as a period of artistic awakening for him, when he engaged with the works of film theorists such as Russian Formalists Sergei Eisenstein and Vsevolod Pudovkin.Working at that point as a director at the Walter Lantz studio, he...
This article is a conversation with Takehito Deguchi and Koji Yamamura, two distinct voices in animation practice and theory. Situated in Tokyo, Japan, the discussion follows a concept of expansion through decentralization, both in terms of the subject of animation and the place from where one...
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