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Editorial

Editorial 1056402 ANM0010.1177/17468477211056402AnimationEditorial editorial2021 animation: an interdisciplinary journal 2021, Vol. 16(3) 105 –109 © The Author(s) 2021 Article reuse guidelines: sagepub.com/journals-permissions https://doi.org/10.1177/17468477211056402 DOI: 10.1177/17468477211056402 journals.sagepub.com/home/anm In the articles in this issue, we have two main foci: sound in animation, and national cinemas and styles. Sound is a formal element of animation (and other types of filmmaking) that, considering its emotional impact and affective power on audiences, has been underrepresented in scholarly research, although this has changed positively in the past decade. The first three articles pursue a shared interest in sound, albeit from very different approaches and positions (two include the often discussed method of ‘mickey-mousing’). In ‘Grains of Sound: Visual and Sonic Textures in Sand or Peter and the Wolf’, Amy Skjerseth begins by pointing out that animation studies needs new and up-to-date models for sound, and should pay similar attention to sound tracks as we do to the image track. Her attention is directed at one film and the director’s collaboration with her composer, to explore how and why the materiality of sound – specifically, sonic materials – enhances the vitality of films’ sand-formed figures and objects. Skjerseth’s proposal is that, rather than the mimicry of mickey-mousing, the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Animation SAGE

Editorial

Buchan, Suzanne
Animation , Volume 16 (3): 5 – Nov 1, 2021
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Publisher
SAGE
Copyright
© The Author(s) 2021
ISSN
1746-8477
eISSN
1746-8485
DOI
10.1177/17468477211056402
Publisher site
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Abstract

1056402 ANM0010.1177/17468477211056402AnimationEditorial editorial2021 animation: an interdisciplinary journal 2021, Vol. 16(3) 105 –109 © The Author(s) 2021 Article reuse guidelines: sagepub.com/journals-permissions https://doi.org/10.1177/17468477211056402 DOI: 10.1177/17468477211056402 journals.sagepub.com/home/anm In the articles in this issue, we have two main foci: sound in animation, and national cinemas and styles. Sound is a formal element of animation (and other types of filmmaking) that, considering its emotional impact and affective power on audiences, has been underrepresented in scholarly research, although this has changed positively in the past decade. The first three articles pursue a shared interest in sound, albeit from very different approaches and positions (two include the often discussed method of ‘mickey-mousing’). In ‘Grains of Sound: Visual and Sonic Textures in Sand or Peter and the Wolf’, Amy Skjerseth begins by pointing out that animation studies needs new and up-to-date models for sound, and should pay similar attention to sound tracks as we do to the image track. Her attention is directed at one film and the director’s collaboration with her composer, to explore how and why the materiality of sound – specifically, sonic materials – enhances the vitality of films’ sand-formed figures and objects. Skjerseth’s proposal is that, rather than the mimicry of mickey-mousing, the

Journal

Animation – SAGE

Published: Nov 1, 2021

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