Diegetic Short Circuits: Metalepsis in Animation

Feyersinger, Erwin

doi:10.1177/1746847710386432

Cited by 9 publications

(3 citation statements)

References 15 publications

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“…13. For metalepsis in media outside of literary discourse, see Kukkonen and Klimek (2011); in animation film, Feyersinger (2007Feyersinger ( , 2010Feyersinger ( , 2011 looks at crossover phenomena among various television series. For aspects of virtuality and metalepsis, see Hofer (2011).…”

Section: New Review Of Film and Television Studies 207mentioning

confidence: 98%

Putting television ‘aside’: novel narration inHouse of Cards

Klarer

2014

New Review of Film and Television Studies

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Section: New Review Of Film and Television Studies 207mentioning

confidence: 98%

Putting television ‘aside’: novel narration inHouse of Cards

Klarer

2014

New Review of Film and Television Studies

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“…In these films, animation is a liminal zone, an area where our desire, as well as our fears, are materialized, as can be seen when Wright observes how all around her they reproduce Marilyn Monroes and John Waynes, or even herself, characterized as a superheroine in those films made from her archived images. As in these cases, the disruptive use of 2D animation leads to metalepsis , the combination where ‘two worlds that are perceived as mutually exclusive are connected at the same time’ (Feyersinger, 2010: 281), like the superimposition of a universe that appears more real than another: a metadiegesis or second level of representation localized in the intradiegesis or world-frame, that invites us to explore different narrative levels. Thus, Ari Folman makes the decision that animation must recreate the imaginary in the most anti-illusionist way possible: the more virtual the environment of the film, the more unreal its representation becomes.…”

Section: Spirits In a Materials World: The Animation Of Phantasmagoriamentioning

confidence: 99%

Animation in the Core of Dystopia: Ari Folman’s The Congress

Hernández

2019

Animation

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Ari Folman’s The Congress (2013) borrows freely from Stanisław Lem’s dystopian view in his Sci-fi novel The Futurological Congress (1971) to propose the gradual dissolution of the human into an artificial form, which is animation. By moving the action of the novel from a hypothetical future to contemporary Hollywood, Ari Folman gives CGI animation the role of catalyst for changes not only in the production system, but for human thought and, therefore, for society. This way, the film ponders the changing role of performers at the time of their digitalization, as well as on the progressive dematerialization of the film industry, considering a dystopian future where simulation fatally displaces reality, which invites relating The Congress with Jean Baudrillard’s and Alan Cholodenko’s theses on how animating technologies have resulted in the culture of erasing. Moreover, this article highlights how Lem’s metaphor of the manipulation of information in the Soviet era is transformed in the second part of The Congress into a vision of cinema as a collective addiction, relating it to Alexander Dovzhenko’s and Edgar Morin’s speculative theories of total film – which come close to the potentialities of today’s Virtual Reality and Augmented Reality. In addition, although The Congress is a disturbing view of film industry and animating technologies, its vision of film is nostalgically retro as it vindicates an entire tradition of Golden Age animation that transformed the star system into cartoons, suggesting the fictionalization of their lives and establishing a postmodern continuum between animation and film.

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“…She then applies these to select case studies, proposing that her analytical framework could be used for all kinds of hybrid films. Bruckner (University of Vienna) is active in promoting animation scholarship in the German language; she is co-founder of AG Animation Studies (since 2010), together with Dr Erwin Feyersinger (University of Innsbruck), who has also been published in the journal (see Feyersinger, 2010). 1 animation: an interdisciplinary journal 10(1) Over the years there have been a number of more or less successful attempts to both 'define' animation 2 and maintain the difficulties of such a definition.…”

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confidence: 99%

Editorial

2015

Animation

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EditorialThis year animation: an interdisciplinary journal celebrates its tenth anniversary. Founded at a time when academic publications on animation filled only half a shelf in libraries, in the ten years since, hundreds of scholars have contributed to the journal's 30 issues that, lined up, add a modest ¼ metre to library stacks. These ten volumes contain a terrific density of aesthetics, history and theory of animation in film and media studies, as well as interdisciplinary fields, in articles written by our discipline's best and brightest scholars. In this year's remaining two editorials, we will present the journal's main developments and impacts, as well as some self-reflection on the journal's genesis and the scholars who have shaped it, making significant inroads into expanding animation studies in English language areas and in their own national contexts; this issue is a good example of the latter.Similar to 20th-century painting's shift from mimesis to abstraction, animation filmmakers have long taken advantage of the possibilities for undermining and bending physical laws, including space -Euclidean, hyperbolic, Cartesian -and perspective. This subject has been approached by many scholars over the years, and it is complicated by the increase in digital technologies and the animation-live action debate. Through a set of proposals including what he describes as the 'false problem of the "awkwardness-of-fit between the live-action camera and the animated "camera'", in 'Whole-screen metamorphosis and the imagined camera (notes on perspectival movement in animation)', Ryan Pierson, who received his PhD from the University of Pittsburgh in 2012, makes a significant contribution to understanding what is notionally known as camera movement. He undertakes meticulous analyses of moving image works -from Émile Cohl through Caroline Leaf to contemporary advertisements -and the technologies, camera and materials they work with to create what he terms 'whole screen metamorphosis'. The viewer/spectator is never far away in Pierson's argument that is developed in a convincing framework of a range of philosophers and film studies theorists, from Gilles Deleuze to Stanley Cavell, and he ends his article by introducing a new conundrum to solve.Sharing an interest in one that Pierson addresses, namely the indistinct boundaries between photochemical and digital film, in 'Hybrid image, hybrid montage: Film analytical parameters for live action/animation hybrids', Franziska Bruckner sets up a typology of live action/hybrid animation films for which she develops a set of analytical parameters. Like Pierson, she works with a wide historical range of works, but what is especially helpful is that she embeds her theoretical concepts in German film scholarship that, unless translated, remains virtually unknown in English language contexts, including authors Barbara Flückiger, Dominik Schrey, Erwin Feyersinger and Nicola Glaubitz. Bruckner's clearly developed and applied methodologies investigate techniques, image planes, dispari...

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Diegetic Short Circuits: Metalepsis in Animation

Cited by 9 publications

References 15 publications

Putting television ‘aside’: novel narration inHouse of Cards

Putting television ‘aside’: novel narration inHouse of Cards

Animation in the Core of Dystopia: Ari Folman’s The Congress

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