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Animateurs are characterized by liminality or, possibly more accurately, intersectionality, vis-à-vis the mainstream and the avant-garde. Their vernacular creative work points to hybrid genealogies that include analogue handmade cinema and performing arts, such as the magic lantern show, puppetry and shadow play. The author proposes that animateurs develop a distinctive practice and theory of animation that can be best understood as ‘ para-animation’, i.e. a liminal, nearby, or off idea of animation that critically expands theories of the moving image and media archaeology. In para-animation, the moving image is non-medium specific, freed from both the index and the virtual, as reality is not there to be (re)presented or remade, but instead to be reconnected with. Para-animation’s uncontainable and overflowing multimedia materialities challenge film’s representational and photographic genealogy and actualize the moving image as a key location for an alternative, both embodied and enchanted, experience of the modern world. In so doing, para-animation also reveals multidirectional – across times and places – connections between animateurs and other enchanters (inventors, prestidigitators, performers, storytellers), similarly crossing and morphing boundaries between technology and magic, representation and imagination, science and art, knowledge and pleasure. Referring to a selection of animateurs’ works, this article focuses on the embodied gesture of ‘the hand on-screen’ as one of the key modalities through which para-animation re-centres the body and allows for a simultaneously technologized and de-technologized re-enchanted experience of reality.
Animateurs are characterized by liminality or, possibly more accurately, intersectionality, vis-à-vis the mainstream and the avant-garde. Their vernacular creative work points to hybrid genealogies that include analogue handmade cinema and performing arts, such as the magic lantern show, puppetry and shadow play. The author proposes that animateurs develop a distinctive practice and theory of animation that can be best understood as ‘ para-animation’, i.e. a liminal, nearby, or off idea of animation that critically expands theories of the moving image and media archaeology. In para-animation, the moving image is non-medium specific, freed from both the index and the virtual, as reality is not there to be (re)presented or remade, but instead to be reconnected with. Para-animation’s uncontainable and overflowing multimedia materialities challenge film’s representational and photographic genealogy and actualize the moving image as a key location for an alternative, both embodied and enchanted, experience of the modern world. In so doing, para-animation also reveals multidirectional – across times and places – connections between animateurs and other enchanters (inventors, prestidigitators, performers, storytellers), similarly crossing and morphing boundaries between technology and magic, representation and imagination, science and art, knowledge and pleasure. Referring to a selection of animateurs’ works, this article focuses on the embodied gesture of ‘the hand on-screen’ as one of the key modalities through which para-animation re-centres the body and allows for a simultaneously technologized and de-technologized re-enchanted experience of reality.
This article details an oil paint-on-glass animation depicting posthumous portraits of unclaimed deceased from a Johannesburg mortuary in South Africa. The creative project engages with Western traditions of posthumous, focusing on the iconography of the corpse. The author explores how these traditions are approached through the moving image, metamorphosis and experimental animation processes. The animation uses metamorphosis not just as a symbolic strategy to serve the idea of transformation – but also as a self-referential engagement with animation’s contradictory life-giving and destructive traits. The article and the creative project it illuminates present a critical awareness of the ethical concerns associated with representing the dead and the cultural and historical traditions from which this subject emerges.
Eight Point Star es un cortometraje brasileño estrenado en 1996, dibujado por Fernando Diniz, con Marcos Magalhães como coordinador de animación. Es la primera película animada en Brasil realizada por un artista neurodiverso y afrodescendiente. Este artículo busca describir y analizar el cortometraje, el cual ha recibido escasa atención por la academia y la crítica de cine hispanoamericana, teniendo como marco de referencia la perspectiva de la neurodiversidad y del arte outsider. Se recuperan las reflexiones hechas por el propio Diniz en la película, así como lo escrito por Magalhães en torno al proceso, a fin de descubrir y describir a partir del trabajo colaborativo de ambos artistas cómo la imagen cumple con una función estética y sociocultural al legitimar y dignificar el trabajo artístico de Diniz, a la vez que permite a los espectadores sumergirse en una representación de su vida interior.
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