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By Jayne Pilling

Cartoons―both from the vintage Hollywood period and from extra modern characteristic motion pictures and tv series―offer a wealthy box for unique research and research. individuals draw on theories and technique from movie, tv, and media stories, artwork historical past and feedback, and feminism and gender studies.

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Extra resources for A Reader In Animation Studies

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The original episode in the history of Western painting is the story of the competition of Zeuxis and Parrhasiuss. The grapes painted by Zeuxis symbolise his skill to create living nature out of inanimate matter of paint. Further examples in the history of art include the celebration of the mimetic skill of those painters who were able to simulate another symbol of living nature – the human flesh. While the painting tradition had its own iconography of subjects connoting mimesis, moving image media relies on a different set of subjects.

Red’s Dream is not quite so simple because the simulation does not involve direct copying; rather, it is the production of a copy without an original, an instance of a certain kind or kinds of film realised through other means. Nevertheless, such methodology also entails a transposition of aesthetic codes into the simulation itself, no matter that this transposition is less direct, given the more abstract nature of the models and the origination involved in the simulation in this instance. Unlike a super-realist painting, however, Red’s Dream is a second-order simulation that is much more continuous with the illusionism contained in the aesthetic form(s) it uses for its model or subject.

Notes 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. Frederick Hartt, Art. A History of Painting, Sculpture, Architecture (New Jersey: Prentice Hall), 503. , 504. Jonathan Crary, Techniques of the Observer (Cambridge, MA and London: MIT Press, 1990), 1. ), What is Cinema? Vol. 1 (Berkeley: University of California Press, 1967), 20. , 21. , 20. , 36–37. Jean-Louis Comolli, ‘Machines of the Visible’, in The Cinematic Apparatus, eds Teresa De Lauretis and Steven Health (New York: St.

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