From the 'cinematic' to the 'anime-ic': Issues of movement in anime

This is the author's accepted manuscript. The final published article is available from the link below.This article explores the way that movement is formally depicted in anime. Drawing on Thomas Lamarre's concepts of the `cinematic' and the `anime-ic', the article interrogates further the differences in movement and action in anime from traditional filmic form. While often considered in terms of `flatness', anime offers spectacle, character development and, ironically, depth through the very form of movement put to use in such texts.The article questions whether the modes of address at work in anime are unique to this form of animation.Taking into account how the terms `cinematic' and `anime-ic' can be understood (and by extension the cinematic and animatic apparatus), the article also begins to explore how viewers might identify with such images

Feeling and Healing Eco-social Catastrophe: The Horrific Slipstream of Danis Goulet\u27s Wakening

Cree/Métis filmmaker Danis Goulet’s science fiction short Wakening (2013) is set in Canada’s near future, yet the film reveals a slipstream of time where viewers are invited to contemplate the horrors of ecosocial crises—future, past, and present. I argue Wakening, as futuristic ecohorror, produces horrific feelings in the moment of its viewing that are inevitably entangled with the past, inviting its audiences to experience the monstrous contexts of Indigenous lives across time. To articulate this temporal dynamism, I overlay two key conceptual understandings: Walter Benjamin’s critiques of Western progress and historicism, and Indigenous notions of a Native slipstream. When brought together in Wakening, which is inspired by the First Nations movement Idle No More, these concepts not only help expose the horror of Indigenous ecosocial crises wrought by colonial and neocolonial occupations but also draw our attention to the timelessness of Indigenous resistance in the face of such ecohorror. Ultimately, there are two significant implications in understanding Wakening as ecohorror of dynamic temporality. First, such a reading continues the important work of revisioning the theoretical and critical boundaries of Western cinema. Goulet’s play with audiences’ familiar expectations of horror’s invitations to the weird challenge us all to recalibrate our sense of generic cinematic representation and its purpose. Relatedly, such readings highlight film’s politics of emotion: its ability to generate “affective alliances” that can potentially help us all re-imagine our temporal and spatial engagements with the world at large

In God’s Land: Cinematic Affect, Animation and the Perceptual Dilemmas of Slow Violence

In this paper, I argue that Indian independent filmmaker Pankaj Rishi Kumar\u27s documentary In God’s Land (2012) blends animation and live-action to illuminate the destructive nuances of postcolonial literary scholar, Rob Nixon\u27s notion of slow violence. In turning to cinema, I also suggest that In God’s Land’s “aesthetic strategies” further eco-film scholarship’s recent interests in animation, which have tended to highlight the mode\u27s feel good affect. I draw attention to In God\u27s Land\u27s hybrid of dark, discordant animation spectacle interspliced in the documentary live-action to articulate the potential of eco-animation outside of this affect. Ultimately, the film not only draws attention to animation’s non-playful affect—its potentials and dilemmas, but I also suggest that reading such a film adds postcolonial understandings of cinema beyond the Western/Japanese center on with eco-animation scholars have so far focused

Eco-nostalgia in Popular Turkish Cinema

Book Summary: Ecomedia: Key Issues is a comprehensive textbook introducing the burgeoning field of ecomedia studies to provide an overview of the interface between environmental issues and the media globally. Linking the world of media production, distribution, and consumption to environmental understandings, the book addresses ecological meanings encoded in media texts, the environmental impacts of media production, and the relationships between media and cultural perceptions of the environment. [From the publisher

The theatre and its screen double

This essay offers a close exploration of the live filming and sound production in the schaubühne berlin staging of strindberg's Fräulein Julie (directed by Katie Mitchell, shown on tour at the barbican, london, in 2012). It provides a series of theoretical and critical angles from which to discuss contemporary intermedia performance and audiovisual scenography. After a brief evocation of Artaud's writings in "theatre and cruelty" and on raw cinema, the essay builds on a historical understanding of Western theatre's evolving and hardly settled relationship to cinematography and moving-image technologies, as well as the "choreographic unconscious," as examined in contemporary dance and technology, before delving into an analysis of Mitchell's dramaturgy of real-time film construction and her use of the "camera-actor." A particular emphasis is placed on the question whether the live mediatization of realist drama, under Mitchell's direction, deliberately weakens the theatricality of the physical body and spoken language while proffering an extenuated, if uncritical/unpolitical modulation of digital prosthetics in a superbly crafted, seamless intermedial performance

ImagineNATIVE 2012: Ecocinema and The Indigenous Film Festival

Much scholarship points to how ecological concerns are never far from Indigenous struggles for political sovereignty and public participation. In this paper we turn to the Indigenous film festival as a relatively understudied yet rich site to explore such ecological concerns. Specifically, we highlight the ImagineNATIVE 2012 film festival based in Toronto, Canada

Child of the Long Take: Alfonso Cuaron\u27s Film Aesthetics in the Shadow of Globalization

Alfonso Cuaron\u27s 2006 film, Children of Men, not only suggests that the economic pressures on contemporary Hollywood directors differ little from those in the studio era, it also suggests that film style in the age of globalization is not as homogenized as many fear. The long take is the most prominent feature in Children of Men, including many which are digitally contrived. Lofty reasons by the filmmakers are given for these long lakes, but there are more pedestrian reasons behind this. Other examples past and present suggest that often the tong take serves the needs of both filmmakers and their producers, at least for awhile. Cuaron himself paid his dues over the years with more generic films, and is now making a bold auteurist declaration with these long takes. The question remains whether the economics of Hollywood will allow him to continue

Using film cutting in interface design

It has been suggested that computer interfaces could be made more usable if their designers utilized cinematography techniques, which have evolved to guide the viewer through a narrative despite frequent discontinuities in the presented scene (i.e., cuts between shots). Because of differences between the domains of film and interface design, it is not straightforward to understand how such techniques can be transferred. May and Barnard (1995) argued that a psychological model of watching film could support such a transference. This article presents an extended account of this model, which allows identification of the practice of collocation of objects of interest in the same screen position before and after a cut. To verify that filmmakers do, in fact, use such techniques successfully, eye movements were measured while participants watched the entirety of a commerciall