Animation Studies Journal
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16 June 2024“The Emotions that Get Stuck in Your Throat”: Expressivity in Speech, Script, and Sound in Japanese Animation
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16 June 2024Yefim Gamburg’s Passion of Spies: Parody in Soviet Animation
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16 June 2024Expanded Memories: Artistic Experiments into Hybrid Analogue-Digital Animation
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11 December 2023Animating in British Communities During the Lockdown
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5 December 2023Re-inventing Shakespeare’s Pericles, Prince of Tyre for Immersive Animation: A Practice-oriented Case Study
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4 December 2023Hogan’s Alley in the Enchanted Forest: R. F. Outcault’s The Yellow Kid and Walt Disney’s Dopey
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1 December 2023Toward a New Media Ecology: Aesthetic Experiments in Post-Socialist Chinese Animated Documentaries
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20 June 2023Hand of Artist, Voice of Griot: A Poetics of African Animation in the Films of Jean-Michel Kibushi
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20 June 2023Towards a Materialist Theory of Animated Documentary
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13 December 2022Adventure Time’s World-Building: Analyzing Its Opening Title Sequence and the Mobile Map
Animation Studies 2.0
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16 June 2024“The Emotions that Get Stuck in Your Throat”: Expressivity in Speech, Script, and Sound in Japanese Animation
-
16 June 2024Yefim Gamburg’s Passion of Spies: Parody in Soviet Animation
-
16 June 2024Expanded Memories: Artistic Experiments into Hybrid Analogue-Digital Animation
-
11 December 2023Animating in British Communities During the Lockdown
-
5 December 2023Re-inventing Shakespeare’s Pericles, Prince of Tyre for Immersive Animation: A Practice-oriented Case Study
-
4 December 2023Hogan’s Alley in the Enchanted Forest: R. F. Outcault’s The Yellow Kid and Walt Disney’s Dopey
-
1 December 2023Toward a New Media Ecology: Aesthetic Experiments in Post-Socialist Chinese Animated Documentaries
-
20 June 2023Hand of Artist, Voice of Griot: A Poetics of African Animation in the Films of Jean-Michel Kibushi
-
20 June 2023Towards a Materialist Theory of Animated Documentary
-
13 December 2022Adventure Time’s World-Building: Analyzing Its Opening Title Sequence and the Mobile Map
