Animation Studies Journal
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16 June 2024Steven Malliet, John Buckley, Guido Devadder et al. – Expanded Memories: Artistic Experiments into Hybrid Analogue-Digital Animation
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16 June 2024Sergei Glotov – Yefim Gamburg’s Passion of Spies: Parody in Soviet Animation
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16 June 2024Daniel Johnson – “The Emotions that Get Stuck in Your Throat”: Expressivity in Speech, Script, and Sound in Japanese Animation
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11 December 2023Myria Christophini – Animating in British Communities During the Lockdown
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5 December 2023Hannes Rall and Emma Harper – Re-inventing Shakespeare’s Pericles, Prince of Tyre for Immersive Animation: A Practice-oriented Case Study
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4 December 2023Michelle Ann Abate – Hogan’s Alley in the Enchanted Forest: R. F. Outcault’s The Yellow Kid and Walt Disney’s Dopey
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1 December 2023Li Guo – Toward a New Media Ecology: Aesthetic Experiments in Post-Socialist Chinese Animated Documentaries
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20 June 2023Anastasiia Gushchina – Towards a Materialist Theory of Animated Documentary
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20 June 2023JS Wu – Hand of Artist, Voice of Griot: A Poetics of African Animation in the Films of Jean-Michel Kibushi
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13 December 2022Elena Altheman – Adventure Time’s World-Building: Analyzing Its Opening Title Sequence and the Mobile Map
Animation Studies 2.0
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6 May 2025Is Priit Pärn a Surrealist?
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22 April 2025Surrealism, Memory, and Resistance in Soviet Animation
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15 April 2025Review of The Intersection of Animation, Video Games, and Music: Making Movement Sing
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8 April 2025Dimensions of Dialogue: The Carnivorous Appetite of Surrealist Animation
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26 March 2025Time for Bed: The Dreamlike world of Dougal and the Blue Cat (1970)
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11 March 2025Cymebelle (2024): A Surrealistic approach to Character Mysteries
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4 March 2025Wallace and Gromit and the case for Claymation in a world of AI
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25 February 2025The Outsourcing of Traditional Animation in Spain
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18 February 2025Marketing The Princess and the Goblin: Transnational Animation and Failure During the Disney Renaissance
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11 February 2025A Transnational Appropriation: Thinking about G.O.R.A.’s Visual Effects
