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Cinema of the interval: Stop-motion ...

Lee, Laura.

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Cinema of the interval: Stop-motion animation and Japanese film aesthetics.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Cinema of the interval: Stop-motion animation and Japanese film aesthetics./
Author:	Lee, Laura.
Description:	222 p.
Notes:	Source: Dissertation Abstracts International, Volume: 71-10, Section: A, page: 3465.
Contained By:	Dissertation Abstracts International71-10A.
Subject:	Asian Studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3419663
ISBN:	9781124197760

Cinema of the interval: Stop-motion animation and Japanese film aesthetics.
Lee, Laura.

Cinema of the interval: Stop-motion animation and Japanese film aesthetics. - 222 p.

Source: Dissertation Abstracts International, Volume: 71-10, Section: A, page: 3465.

Thesis (Ph.D.)--The University of Chicago, 2010.

This dissertation uses the technique of stop-motion animation as a site for thinking through larger aesthetic, historical, and theoretical issues in Japanese cinema. It focuses on the principle underlying stop-motion techniques--the display of the apparatus through emphasis on the filmic interval--as a recurring theme or connection that highlights key moments in Japanese film history. The project is interested in how the cinematic interval has surfaced as a trick of the apparatus in films that are essentially representative of moments in mainstream Japanese cinema history. The spectacle afforded by stop motion is in this sense revealed to be part and parcel of Japan's normative, entertainment film practice, woven into more or less narrative-dominant texts. The recurrence of this dance between trick effects and narrative drive is a characteristic that points to Japanese cinema's use of film language to navigate domestic and international artistic and cultural contexts. Framed as a history of interaction with new media, the dissertation focuses on historical moments marked by transformations in the media terrain. Looking at film's relation to new developments in adjacent media makes salient its shifting historical identity, and contextualizes the various guises stop motion has assumed at different times. As such, each chapter locates stop-motion animation practices in relation to a pivotal medial development, investigating how their changing historical appearances reflect cinema's engagement with new media forms. Moving historically from the period when motion pictures themselves were new to the popularization of television and manga comics, the introduction of video formats, and the integration of digital technologies, the dissertation traces the various manifestations of the interval, to unveil patterns of continuity and change in Japanese film history. While moments of medial change may find particular expression in Japanese cinema, they also point to broader connections to global film culture and to film theory. The dissertation's structure in this way insists upon the contribution of Japanese cinema to film and media studies more broadly, as it invites readers to consider how spectacles of the apparatus, and cinema's relations to adjacent media, emerge in other contexts.

ISBN: 9781124197760Subjects--Topical Terms:

1669375
Asian Studies.

Cinema of the interval: Stop-motion animation and Japanese film aesthetics.
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245 1 0 $a Cinema of the interval: Stop-motion animation and Japanese film aesthetics.
300 $a 222 p.
500 $a Source: Dissertation Abstracts International, Volume: 71-10, Section: A, page: 3465.
500 $a Advisers: Tom Gunning; Michael Raine.
502 $a Thesis (Ph.D.)--The University of Chicago, 2010.
520 $a This dissertation uses the technique of stop-motion animation as a site for thinking through larger aesthetic, historical, and theoretical issues in Japanese cinema. It focuses on the principle underlying stop-motion techniques--the display of the apparatus through emphasis on the filmic interval--as a recurring theme or connection that highlights key moments in Japanese film history. The project is interested in how the cinematic interval has surfaced as a trick of the apparatus in films that are essentially representative of moments in mainstream Japanese cinema history. The spectacle afforded by stop motion is in this sense revealed to be part and parcel of Japan's normative, entertainment film practice, woven into more or less narrative-dominant texts. The recurrence of this dance between trick effects and narrative drive is a characteristic that points to Japanese cinema's use of film language to navigate domestic and international artistic and cultural contexts. Framed as a history of interaction with new media, the dissertation focuses on historical moments marked by transformations in the media terrain. Looking at film's relation to new developments in adjacent media makes salient its shifting historical identity, and contextualizes the various guises stop motion has assumed at different times. As such, each chapter locates stop-motion animation practices in relation to a pivotal medial development, investigating how their changing historical appearances reflect cinema's engagement with new media forms. Moving historically from the period when motion pictures themselves were new to the popularization of television and manga comics, the introduction of video formats, and the integration of digital technologies, the dissertation traces the various manifestations of the interval, to unveil patterns of continuity and change in Japanese film history. While moments of medial change may find particular expression in Japanese cinema, they also point to broader connections to global film culture and to film theory. The dissertation's structure in this way insists upon the contribution of Japanese cinema to film and media studies more broadly, as it invites readers to consider how spectacles of the apparatus, and cinema's relations to adjacent media, emerge in other contexts.
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650 4 $a Asian Studies. $3 1669375
650 4 $a Cinema. $3 854529
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790 1 0 $a Raine, Michael, $e advisor
790 1 0 $a Lastra, Jim $e committee member
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