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Figure and Force in Animation Aesthetics, Paperback by Pierson, Ryan, Like Ne...
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Parametry przedmiotu
- Stan
- Book Title
- Figure and Force in Animation Aesthetics
- ISBN
- 9780190949761
- Subject Area
- Philosophy, Performing Arts
- Publication Name
- Figure and Force in Animation Aesthetics
- Publisher
- Oxford University Press, Incorporated
- Item Length
- 6.1 in
- Subject
- Film / Genres / Animated, Film / General, Aesthetics, Animation (See Also Film / Genres / Animated)
- Publication Year
- 2019
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.6 in
- Item Weight
- 16 Oz
- Item Width
- 9.1 in
- Number of Pages
- 216 Pages
O tym produkcie
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0190949767
ISBN-13
9780190949761
eBay Product ID (ePID)
10038266782
Product Key Features
Number of Pages
216 Pages
Publication Name
Figure and Force in Animation Aesthetics
Language
English
Publication Year
2019
Subject
Film / Genres / Animated, Film / General, Aesthetics, Animation (See Also Film / Genres / Animated)
Type
Textbook
Subject Area
Philosophy, Performing Arts
Format
Trade Paperback
Dimensions
Item Height
0.6 in
Item Weight
16 Oz
Item Length
6.1 in
Item Width
9.1 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2019-015294
Reviews
"Figure and Force in Animation Aesthetics is a major intervention in the history of modernism. In this beautiful book, Pierson so carefully, so lovingly tracks the formal and philosophical seriousness of abstract animators'Mary Beams, Robert Breer, Norman McLaren, to name only a few'whose work has caused major categorical discomfort for scholars of popular narrative-based forms of animation, on the one hand, and for the gatekeepers of the modernist canon, on the other. Moreover, Pierson has opened up a whole new vocabulary for thinking about form in the realm of philosophical aesthetics. His conceptualizations of force, movement, figure, re-centering, illustrative and demonstrative metamorphosis alone will be with us, I predict, for a very long time." -- Brian Price, Professor of Visual Studies, University of Toronto "Figure and Force in Animation Aesthetics constitutes a tour de force in animation studies. Rejecting conventional forms, Pierson turns to figure and force to overturn everything we thought we perceived in animation.ÂThrough careful analyses of animated films, Pierson shows how every distinct figure is a threshold, generated differentially through the force of the sensible, imperceptibly minute perceptions. But what makes this book so compelling and challenging is that Pierson does not stop there. Figure and force provide a springboard for asking how aesthetics orients questions of life and living ' exposure, complexity, alienation, love." -- Thomas Lamarre, Duke University "Our theoretical terms and frameworks for understanding the moving image'developed primarily through encounters with live-action media'fit animation awkwardly, if at all. Pierson wipes that slate clean and starts anew with refreshing and insightful questions about animation and movement. His answers are stunning and elegant; no one who cares about animation can ignore them. This book will reset the conversation about what animation is." -- Scott Curtis, Northwestern University, "Figure and Force in Animation Aesthetics is a major intervention in the history of modernism. In this beautiful book, Pierson so carefully, so lovingly tracks the formal and philosophical seriousness of abstract animators'Mary Beams, Robert Breer, Norman McLaren, to name only a few'whose work has caused major categorical discomfort for scholars of popular narrative-based forms of animation, on the one hand, and for the gatekeepers of the modernist canon, on the other. Moreover, Pierson has opened up a whole new vocabulary for thinking about form in the realm of philosophical aesthetics. His conceptualizations of force, movement, figure, re-centering, illustrative and demonstrative metamorphosis alone will be with us, I predict, for a very long time." -- Brian Price, Professor of Visual Studies, University of Toronto"Figure and Force in Animation Aesthetics constitutes a tour de force in animation studies. Rejecting conventional forms, Pierson turns to figure and force to overturn everything we thought we perceived in animation.Ã,Through careful analyses of animated films, Pierson shows how every distinct figure is a threshold, generated differentially through the force of the sensible, imperceptibly minute perceptions. But what makes this book so compelling and challenging is that Pierson does not stop there. Figure and force provide a springboard for asking how aesthetics orients questions of life and living ' exposure, complexity, alienation, love." -- Thomas Lamarre, Duke University"Our theoretical terms and frameworks for understanding the moving image'developed primarily through encounters with live-action media'fit animation awkwardly, if at all. Pierson wipes that slate clean and starts anew with refreshing and insightful questions about animation and movement. His answers are stunning and elegant; no one who cares about animation can ignore them. This book will reset the conversation about what animation is." -- Scott Curtis, Northwestern University, "Figure and Force in Animation Aesthetics is a major intervention in the history of modernism. In this beautiful book, Pierson so carefully, so lovingly tracks the formal and philosophical seriousness of abstract animators'Mary Beams, Robert Breer, Norman McLaren, to name only a few'whose work has caused major categorical discomfort for scholars of popular narrative-based forms of animation, on the one hand, and for the gatekeepers of the modernist canon, on the other. Moreover, Pierson has opened up a whole new vocabulary for thinking about form in the realm of philosophical aesthetics. His conceptualizations of force, movement, figure, re-centering, illustrative and demonstrative metamorphosis alone will be with us, I predict, for a very long time." -- Brian Price, Professor of Visual Studies, University of Toronto"Figure and Force in Animation Aesthetics constitutes a tour de force in animation studies. Rejecting conventional forms, Pierson turns to figure and force to overturn everything we thought we perceived in animation.ÂThrough careful analyses of animated films, Pierson shows how every distinct figure is a threshold, generated differentially through the force of the sensible, imperceptibly minute perceptions. But what makes this book so compelling and challenging is that Pierson does not stop there. Figure and force provide a springboard for asking how aesthetics orients questions of life and living ' exposure, complexity, alienation, love." -- Thomas Lamarre, Duke University"Our theoretical terms and frameworks for understanding the moving image'developed primarily through encounters with live-action media'fit animation awkwardly, if at all. Pierson wipes that slate clean and starts anew with refreshing and insightful questions about animation and movement. His answers are stunning and elegant; no one who cares about animation can ignore them. This book will reset the conversation about what animation is." -- Scott Curtis, Northwestern University, "Figure and Force in Animation Aesthetics is a major intervention in the history of modernism. In this beautiful book, Pierson so carefully, so lovingly tracks the formal and philosophical seriousness of abstract animatorsMary Beams, Robert Breer, Norman McLaren, to name only a fewwhose work has caused major categorical discomfort for scholars of popular narrative-based forms of animation, on the one hand, and for the gatekeepers of the modernist canon, on the other. Moreover, Pierson has opened up a whole new vocabulary for thinking about form in the realm of philosophical aesthetics. His conceptualizations of force, movement, figure, re-centering, illustrative and demonstrative metamorphosis alone will be with us, I predict, for a very long time." -- Brian Price, Professor of Visual Studies, University of Toronto "Figure and Force in Animation Aesthetics constitutes a tour de force in animation studies. Rejecting conventional forms, Pierson turns to figure and force to overturn everything we thought we perceived in animation.Through careful analyses of animated films, Pierson shows how every distinct figure is a threshold, generated differentially through the force of the sensible, imperceptibly minute perceptions. But what makes this book so compelling and challenging is that Pierson does not stop there. Figure and force provide a springboard for asking how aesthetics orients questions of life and living exposure, complexity, alienation, love." -- Thomas Lamarre, Duke University "Our theoretical terms and frameworks for understanding the moving imagedeveloped primarily through encounters with live-action mediafit animation awkwardly, if at all. Pierson wipes that slate clean and starts anew with refreshing and insightful questions about animation and movement. His answers are stunning and elegant; no one who cares about animation can ignore them. This book will reset the conversation about what animation is." -- Scott Curtis, Northwestern University, "Figure and Force in Animation Aesthetics is a major intervention in the history of modernism. In this beautiful book, Pierson so carefully, so lovingly tracks the formal and philosophical seriousness of abstract animators'Mary Beams, Robert Breer, Norman McLaren, to name only a few'whose work has caused major categorical discomfort for scholars of popular narrative-based forms of animation, on the one hand, and for the gatekeepers of the modernist canon, on the other. Moreover, Pierson has opened up a whole new vocabulary for thinking about form in the realm of philosophical aesthetics. His conceptualizations of force, movement, figure, re-centering, illustrative and demonstrative metamorphosis alone will be with us, I predict, for a very long time." -- Brian Price, Professor of Visual Studies, University of Toronto "Figure and Force in Animation Aesthetics constitutes a tour de force in animation studies. Rejecting conventional forms, Pierson turns to figure and force to overturn everything we thought we perceived in animation.ÂThrough careful analyses of animated films, Pierson shows how every distinct figure is a threshold, generated differentially through the force of the sensible, imperceptiblely minute perceptions. But what makes this book so compelling and challenging is that Pierson does not stop there. Figure and force provide a springboard for asking how aesthetics orients questions of life and living ' exposure, complexity, alienation, love." -- Thomas Lamarre, Duke University "Our theoretical terms and frameworks for understanding the moving image'developed primarily through encounters with live-action media'fit animation awkwardly, if at all. Pierson wipes that slate clean and starts anew with refreshing and insightful questions about animation and movement. His answers are stunning and elegant; no one who cares about animation can ignore them. This book will reset the conversation about what animation is." -- Scott Curtis, Northwestern University, "Figure and Force in Animation Aesthetics is a major intervention in the history of modernism. In this beautiful book, Pierson so carefully, so lovingly tracks the formal and philosophical seriousness of abstract animators'Mary Beams, Robert Breer, Norman McLaren, to name only a few'whose work has caused major categorical discomfort for scholars of popular narrative-based forms of animation, on the one hand, and for the gatekeepers of the modernistcanon, on the other. Moreover, Pierson has opened up a whole new vocabulary for thinking about form in the realm of philosophical aesthetics. His conceptualizations of force, movement, figure, re-centering,illustrative and demonstrative metamorphosis alone will be with us, I predict, for a very long time." -- Brian Price, Professor of Visual Studies, University of Toronto"Figure and Force in Animation Aesthetics constitutes a tour de force in animation studies. Rejecting conventional forms, Pierson turns to figure and force to overturn everything we thought we perceived in animation.ÂThrough careful analyses of animated films, Pierson shows how every distinct figure is a threshold, generated differentially through the force of the sensible, imperceptibly minute perceptions. But what makes this book so compelling andchallenging is that Pierson does not stop there. Figure and force provide a springboard for asking how aesthetics orients questions of life and living ' exposure, complexity, alienation, love." -- Thomas Lamarre,Duke University"Our theoretical terms and frameworks for understanding the moving image'developed primarily through encounters with live-action media'fit animation awkwardly, if at all. Pierson wipes that slate clean and starts anew with refreshing and insightful questions about animation and movement. His answers are stunning and elegant; no one who cares about animation can ignore them. This book will reset the conversation about what animation is." -- ScottCurtis, Northwestern University
Dewey Edition
23
Illustrated
Yes
Dewey Decimal
777.7
Table Of Content
Dedication About the Companion Website Introduction Chapter One: Soft Edges Chapter Two: Walk Cycles Chapter Three: Perspectival Movement Chapter Four: Rotoscoping Afterimage: The Blank Interval Acknowledgments Bibliography Index
Synopsis
How can we describe movements in animated films? In Figure and Force in Animation Aesthetics , Ryan Pierson introduces a powerful new method for the study of animation. By looking for figures--arrangements that seem to intuitively hold together--and forces--underlying units of attraction, repulsion, and direction--Pierson reveals startling new possibilities for animation criticism, history, and theory. Drawing on concepts from Gestalt psychology, Pierson offers a wide-ranging comparative study of four animation techniques--soft-edged forms, walk cycles, camera movement, and rotoscoping--as they appear in commercial, artisanal, and avant-garde works. In the process, through close readings of little-analyzed films, Pierson demonstrates that figures and forces make fertile resources for theoretical speculation, unearthing affinities between animation practice and such topics as the philosophy of mathematics, scientific and political revolution, and love. Beginning and ending with the imperative to look closely, Figure and Force in Animation Aesthetics is a performance in seeing the world of motion anew., How can we describe movements in animated films? In Figure and Force in Animation Aesthetics, Ryan Pierson introduces a powerful new method for the study of animation. By looking for figures--arrangements that seem to intuitively hold together--and forces--underlying units of attraction, repulsion, and direction--Pierson reveals startling new possibilities for animation criticism, history, and theory. Drawing on concepts from Gestalt psychology, Pierson offers a wide-ranging comparative study of four animation techniques--soft-edged forms, walk cycles, camera movement, and rotoscoping--as they appear in commercial, artisanal, and avant-garde works. In the process, through close readings of little-analyzed films, Pierson demonstrates that figures and forces make fertile resources for theoretical speculation, unearthing affinities between animation practice and such topics as the philosophy of mathematics, scientific and political revolution, and love. Beginning and ending with the imperative to look closely, Figure and Force in Animation Aesthetics is a performance in seeing the world of motion anew., How can we describe movements in animated films? In Figure and Force in Animation Aesthetics, Ryan Pierson introduces a powerful new method for the study of animation. By looking for figures - arrangements that seem to intuitively hold together - and forces - underlying units of attraction, repulsion, and direction - Pierson reveals startling new possibilities for animation criticism, history, and theory. Drawing on concepts from Gestalt psychology, Pierson offers a wide-ranging comparative study of four animation techniques - soft-edged forms, walk cycles, camera movement, and rotoscoping - as they appear in commercial, artisanal, and avant-garde works. In the process, through close readings of little-analyzed films, Pierson demonstrates that figures and forces make fertile resources for theoretical speculation, unearthing affinities between animation practice and such topics as the philosophy of mathematics, scientific and political revolution, and love. Beginning and ending with the imperative to look closely, Figure and Force in Animation Aesthetics is a performance in seeing the world of motion anew., How can we describe movements in animated films? In Figure and Force in Animation Aesthetics, Ryan Pierson introduces a powerful new method for the study of animation.
LC Classification Number
TR897.5.P53 2019
Copyright Date
2019
ebay_catalog_id
4
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