Animation and automation, or, the incredible effortfulness of being

Screen

Volumn 50, Issue 4, 2009, Pages 375-391

  Sobchack, Vivian ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 74549130441     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/hjp032     Document Type: Review

References (24)

1. Alan Cholodenko, 'Speculations on the animatic automaton', in Alan Cholodenko (ed.), The Illusion of Life II: More Essays on Animation (Sydney: Power Publications, 2007), p. 521, n. 44
2. WALL-E (Walt Disney Pictures and Pixar Animation Studio, 2008). Directed by Andrew Stanton. Written by Andrew Stanton and Jim Reardon. Based on a story by Andrew Stanton and Pete Docter. Cinematography by Jeremy Lasky with Danielle Feinberg. Edited by Stephen Schaffer. Production design by Ralph Eggleston. Music by Thomas Newman. Produced by Jim Morris. Featured Voices: Ben Burtt, Elissa Knight, Jeff Garlin, Sigourney Weaver, and Fred Willard
3. Joe Morgenstern, 'WALL-E is richly human tale of a robot', The Wall Street Journal, 27 June 2008
4. Robert Wilonsky, 'WALL-E: robots in love', The Village Voice, 24 June 2008
5. Alan Cholodenko, 'Introduction', in Alan Cholodenko (ed.), The Illusion of Life: Essays on Animation (Sydney: Power Publications, 1991), p. 21
6. Participants' brief for the 'Animation and Automation' symposium, held at the University of Manchester's Centre for Screen Studies and Lancaster University's Centre for Science Studies, 26-27 March 2009
7. Vivian Sobchack, 'The scene of the screen: envisioning photographic, cinematic and electronic "presence"', in Carnal Thoughts: Embodiment and Moving Image Culture (Berkeley, CA: University of California Press, 2004), pp. 136-7. Emphasis in original
8. See Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA: Harvard University Press, 2002)
9. Laura Mulvey, Death 24x a Second: Stillness and the Moving Image (London: Reaktion Books, 2006)
10. Deborah Tudor, 'The eye of the frog: questions of space in films using digital processes', Cinema Journal, vol. 48, no. 1 (2008), p. 92
11. Lev Manovich, The Language of New Media (Cambridge, MA: MIT Press, 2001), p. 302. Emphasis in original
12. Cholodenko, 'Speculations on the animatic automaton', p. 486
13. Sergei Eisenstein, Eisenstein on Disney, ed. Jay Leyda, trans. Alan Upchurch (Calcutta: Seagull Books, 1986), p. 54
14. Guiliana Bruno, Atlas of Emotion: Journeys in Art, Architecture and Film (London: Verso, 2002), p. 148
15. Scott Bukatman, 'Disobedient machines: animation and autonomy', in Roald Hoffmann and Iain Boyd-Whyte (eds), Beyond the Finite: the Sublime in Art and Science (New York, NY: Oxford University Press, forthcoming, 2010)
16. Humberto Maturana and Francesco Varela, Autopoiesis and Cognition: the Realization of the Living (New York, NY: Springer, 1991)
17. Gilles Deleuze, Masochism: an Interpretation of Coldness and Cruelty, trans. Jean McNeil (New York, NY: Georges Braziller, 1971), p. 21
18. Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Baltimore, MD: Johns Hopkins University Press, 1984), p. 172
19. Susan Buck-Morss, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA: MIT Press, 1991), p. 336
20. David Denby, 'Past shock: the current cinema', New Yorker, 2 July 2008, p. 93
21. Keith Moxey, 'Visual studies and the iconic turn', Journal of Visual Culture, vol. 7, no. 2 (2008), p 142
22. Eisenstein, Eisenstein on Disney, p. 3
23. Greg Tuck, 'When more is less: CGI, spectacle and the capitalist sublime', Science Fiction Film and Television, vol. 1, no. 2 (2008), p. 266
24. Annmarie Jonson, 'Porky's stutter: the vocal trope and life/death in animation', in Cholodenko (ed.), The Illusion of Life II, p. 425