LEADER 04137 am 22007333u 450 001 9910328153003321 005 20230621140201.0 010 $a0-520-30362-8 024 7 $a10.1525/luminos.65 035 $a(CKB)4100000008496767 035 $a(OAPEN)1005097 035 $a(DE-B1597)539938 035 $a(OCoLC)1057244516 035 $a(DE-B1597)9780520972773 035 $a(ScCtBLL)9850d640-7252-4c31-89a6-bb72f0a3f877 035 $aEBL6984006 035 $a(AU-PeEL)EBL6984006 035 $a(MiAaPQ)EBC6984006 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/33668 035 $a(EXLCZ)994100000008496767 100 $a20200406h20192019 fg 101 0 $aeng 135 $aurmu#---auuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aFrame by Frame $eA Materialist Aesthetics of Animated Cartoons /$fHannah Frank 210 $aOakland$cUniversity of California Press$d2019 210 1$aBerkeley, CA : $cUniversity of California Press, $d[2019] 210 4$dİ2019 215 $a1 online resource (li, 222 pages) $cillustrations; PDF, digital file(s) 300 $aDescription based upon print version of record. 311 08$aPrint version: 9780520303621 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tList of Illustrations -- $tForeword : Hannah Frank's Pause -- $tEditor's Introduction -- $tAcknowledgments -- $tIntroduction: Looking at Labor -- $t1. Animation and Montage; or, Photographic Records of Documents -- $t2. A View of the World: Toward a Photographic Theory of Cel Animation -- $t3. Pars Pro Toto: Character Animation and the Work of the Anonymous Artist -- $t4. The Multiplication of Traces: Xerographic Reproduction and One Hundred and One Dalmatians -- $tConclusion: The Labor of Looking -- $tNotes -- $tBibliography -- $tIndex 330 $aAt 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. 606 $aAnimated films$xHistory and criticism 606 $aMotion pictures$xAesthetics 610 $aart formed on assembly line. 610 $acel animation. 610 $acharacter animation. 610 $acinema and media studies. 610 $adrawings inked and painted. 610 $agolden age of animation. 610 $aindividual transparent celluloid sheets. 610 $amaking of cartoons. 610 $amechanized and standardized. 610 $aoriginal. 610 $aphotographic theory of cel animation. 610 $apredigital age of 20th century. 610 $aresearched. 610 $astudy of american animated cartoons. 615 0$aAnimated films$xHistory and criticism. 615 0$aMotion pictures$xAesthetics. 676 $a791.43/3409 700 $aFrank$b Hannah, $4aut$4http://id.loc.gov/vocabulary/relators/aut$0868158 702 $aGunning$b Tom, $4ctb$4https://id.loc.gov/vocabulary/relators/ctb 702 $aMorgan$b Daniel, $4ctb$4https://id.loc.gov/vocabulary/relators/ctb 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910328153003321 996 $aFrame by Frame$91938038 997 $aUNINA