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Frontmatter -- Contents -- Acknowledgments -- Animating Film Theory: An Introduction -- I : : Time and Space -- 1 : : Animation and History -- 2 : : Animating the Instant: The Secret Symmetry between Animation and Photography -- 3 : : Polygraphic Photography and the Origins of 3-D Animation -- 4 : : “A Living, Developing Egg Is Present before You”: Animation, Scientific Visualization, Modeling -- II : : Cinema and Animation -- 5 : : André Martin, Inventor of Animation Cinema: Prolegomena for a History of Terms -- 6 : : “First Principles” of Animation -- 7 : : Animation, in Theory -- III : : The Experiment -- 8 : : Film as Experiment in Animation: Are Films Experiments on Human Beings? -- 9 : : Frame Shot: Vertov’s Ideologies of Animation -- 10 : : Signatures of Motion: Len Lye’s Scratch Films and the Energy of the Line -- 11 : : Animating Copies: Japanese Graphic Design, the Xerox Machine, and Walter Benjamin -- 12 : : Framing the Postmodern: The Rhetoric of Animated Form in Experimental Identity-Politics Documentary Video in the 1980s and 1990s -- IV : : Animation and the World -- 13 : : Cartoon Film Theory: Imamura Taihei on Animation, Documentary, and Photography -- 14 : : African American Representation through the Combination of Live Action and Animation -- 15 : : Animating Uncommon Life: U.S. Military Malaria Films (1942–1945) and the Pacific Theater -- 16 : : Realism in the Animation Media Environment: Animation Theory from Japan -- 17 : : Some Observations Pertaining to Cartoon Physics; or, The Cartoon Cat in the Machine -- Bibliography -- Contributors -- Index
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Animating Film Theory / Karen Redrobe Beckman
