04135 am 22007333u 450 99631263990331620230621140201.00-520-30362-810.1525/luminos.65(CKB)4100000008496767(OAPEN)1005097(DE-B1597)539938(OCoLC)1057244516(DE-B1597)9780520972773(ScCtBLL)9850d640-7252-4c31-89a6-bb72f0a3f877EBL6984006(AU-PeEL)EBL6984006(MiAaPQ)EBC6984006(oapen)https://directory.doabooks.org/handle/20.500.12854/33668(EXLCZ)99410000000849676720200406h20192019 fg engurmu#---auuuutxtrdacontentcrdamediacrrdacarrierFrame by Frame A Materialist Aesthetics of Animated Cartoons /Hannah FrankOaklandUniversity of California Press2019Berkeley, CA : University of California Press, [2019]©20191 online resource (li, 222 pages) illustrations; PDF, digital file(s)Description based upon print version of record.Print version: 9780520303621 Includes bibliographical references and index.Frontmatter -- Contents -- List of Illustrations -- Foreword : Hannah Frank's Pause -- Editor's Introduction -- Acknowledgments -- Introduction: Looking at Labor -- 1. Animation and Montage; or, Photographic Records of Documents -- 2. A View of the World: Toward a Photographic Theory of Cel Animation -- 3. Pars Pro Toto: Character Animation and the Work of the Anonymous Artist -- 4. The Multiplication of Traces: Xerographic Reproduction and One Hundred and One Dalmatians -- Conclusion: The Labor of Looking -- Notes -- Bibliography -- IndexAt publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. In this beautifully written and deeply researched study, Hannah Frank provides an original way to understand American animated cartoons from the Golden Age of animation (1920-1960). In the pre-digital age of the twentieth century, the making of cartoons was mechanized and standardized: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called "cels") and then photographed in succession, a labor-intensive process that was divided across scores of artists and technicians. In order to see the art, labor, and technology of cel animation, Frank slows cartoons down to look frame by frame, finding hitherto unseen aspects of the animated image. What emerges is both a methodology and a highly original account of an art formed on the assembly line.Animated filmsHistory and criticismMotion picturesAestheticsart formed on assembly line.cel animation.character animation.cinema and media studies.drawings inked and painted.golden age of animation.individual transparent celluloid sheets.making of cartoons.mechanized and standardized.original.photographic theory of cel animation.predigital age of 20th century.researched.study of american animated cartoons.Animated filmsHistory and criticism.Motion picturesAesthetics.791.43/3409Frank Hannah, authttp://id.loc.gov/vocabulary/relators/aut868158Gunning Tom, ctbhttps://id.loc.gov/vocabulary/relators/ctbMorgan Daniel, ctbhttps://id.loc.gov/vocabulary/relators/ctbDE-B1597DE-B1597BOOK996312639903316Frame by Frame1938038UNISA