Chapters in this book

1. Frontmatter i
2. Contents vii
3. Acknowledgments ix
4. Animating Film Theory: An Introduction 1
5. I : : Time and Space
6. 1 : : Animation and History 23
7. 2 : : Animating the Instant: The Secret Symmetry between Animation and Photography 37
8. 3 : : Polygraphic Photography and the Origins of 3-D Animation 54
9. 4 : : “A Living, Developing Egg Is Present before You”: Animation, Scientific Visualization, Modeling 68
10. II : : Cinema and Animation
11. 5 : : André Martin, Inventor of Animation Cinema: Prolegomena for a History of Terms 83
12. 6 : : “First Principles” of Animation 98
13. 7 : : Animation, in Theory 111
14. III : : The Experiment
15. 8 : : Film as Experiment in Animation: Are Films Experiments on Human Beings? 129
16. 9 : : Frame Shot: Vertov’s Ideologies of Animation 145
17. 10 : : Signatures of Motion: Len Lye’s Scratch Films and the Energy of the Line 167
18. 11 : : Animating Copies: Japanese Graphic Design, the Xerox Machine, and Walter Benjamin 181
19. 12 : : Framing the Postmodern: The Rhetoric of Animated Form in Experimental Identity-Politics Documentary Video in the 1980s and 1990s 201
20. IV : : Animation and the World
21. 13 : : Cartoon Film Theory: Imamura Taihei on Animation, Documentary, and Photography 219
22. 14 : : African American Representation through the Combination of Live Action and Animation 252
23. 15 : : Animating Uncommon Life: U.S. Military Malaria Films (1942–1945) and the Pacific Theater 264
24. 16 : : Realism in the Animation Media Environment: Animation Theory from Japan 287
25. 17 : : Some Observations Pertaining to Cartoon Physics; or, The Cartoon Cat in the Machine 301
26. Bibliography 317
27. Contributors 337
28. Index 343