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Coraline: A Closer Look at Studio LAIKA’s Stop-Motion Witchcraft de Dr. Mihaela Mihailova

Coraline: A Closer Look at Studio LAIKA’s Stop-Motion Witchcraft: Animation: Key Films/Filmmakers

Editat de Dr. Mihaela Mihailova
en Limba Engleză Paperback – 22 mar 2023
Coraline (Henry Selick, 2009) is stop-motion studio LAIKA's feature-length debut based on the popular children's novel by British author Neil Gaiman. Heralding a revival in global interest in stop-motion animation, the film is both an international cultural phenomenon and a breakthrough moment in the technological evolution of the craft. This open access collection brings together an international group of practitioners and scholars to examine Coraline's place in animation history and culture, dissect its politics, and unpack its role in the technological and aesthetic development of its medium. More broadly, it celebrates stop motion as a unique and enduring artform while embracing its capacity to evolve in response to cultural, political, and technological changes, as well as shifting critical and audience demands. Divided into three sections, this volume's chapters situate Coraline within an interconnected network of historical, industrial, discursive, theoretical, and cultural contexts. They place the film in conversation with the medium's aesthetic and technological history, broader global intellectual and political traditions, and questions of animation reception and spectatorship. In doing so, they invite recognition - and appreciation - of the fact that Coraline occupies many liminal spaces at once. It straddles the boundary between children's entertainment and traditional 'adult' genres, such as horror and thriller. It complicates a seemingly straight(forward) depiction of normative family life with gestures of queer resistance. Finally, it marks a pivotal point in stop-motion animation's digital turn. Following the film's recent tenth anniversary, the time is right to revisit its production history, evaluate its cultural and industry impact, and celebrate its legacy as contemporary stop-motion cinema's gifted child.As the first book-length academic study of this contemporary animation classic, this volume serves as an authoritative introduction and a primary reference on the film for scholars, students, practitioners, and animation fans.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.
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Specificații

ISBN-13: 9781501381430
ISBN-10: 1501381431
Pagini: 296
Ilustrații: 17 bw illus
Dimensiuni: 152 x 229 x 25 mm
Greutate: 0.4 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria Animation: Key Films/Filmmakers

Locul publicării:New York, United States

Caracteristici

Builds theoretical connections between animation studies and many related disciplines, such as cultural studies, children's media studies, comparative literature, and adaptation studies

Notă biografică

Mihaela Mihailova is Assistant Professor in the School of Cinema at San Francisco State University. She has published in Journal of Cinema and Media Studies, [in]Transition,Convergence: The International Journal of Research into New Media Technologies, Feminist Media Studies, animation: an interdisciplinary journal, Studies in Russian and Soviet Cinema, Flow, and Kino Kultura. She has also contributed chapters to Animating Film Theory (with John MacKay), Animated Landscapes: History, Form, and Function, The Animation Studies Reader, and Drawn from Life: Issues and Themes in Animated Documentary Cinema. Dr. Mihailova is the co-editor of Animation Studies and currently serves as Secretary of the Society for Animation Studies

Cuprins

List of IllustrationsAcknowledgmentsCoraline: A Twitchy, Witchy Girl in Stop-Motion Land Mihaela Mihailova (University of Michigan, USA)Part 1: Historical Contexts and Perspectives Chapter 1: Drawing Coraline: Illustration, Adaptation, and VisualityMalcolm Cook (University of Southampton, UK)Chapter 2: Mixing it Up: Coraline and LAIKA's Hybrid WorldMiriam Harris (Auckland University of Technology, New Zealand)Chapter 3: Armatures in the Closet: Coraline and the History of Stop MotionMihaela Mihailova (University of Michigan, USA)Chapter 4: The Surprising Migrations of 2 ½ D: The Background to CoralineNorman M. Klein (California Institute of the Arts, USA)Part 2: Stop-Motion Technology, Process, and SpectatorshipChapter 5: Replacing CoralineDan Torre (RMIT University, Australia)Chapter 6: Coraline's 'Other World': The Animated Camera in Stop-Motion Feature FilmsJane Shadbolt (The University of Newcastle, Australia)Chapter 7: A World within Reach: A Neuroanimatic Perspective on Themes of Threat in the Miniature World of CoralineAnn Owen (Falmouth University, UK)Chapter 8: Darkness and Delight: The Reception of Coraline in the USA and UKRayna Denison (University of East Anglia, UK)Part 3: Puppet Politics: Ideology, Identity, RepresentationChapter 9: The Other Maiden, Mother, Crone(s): Witchcraft, Queer Identity, and Political Resistance in LAIKA's CoralineMx. Kodi Maier (University of Hull, UK)Chapter 10: Becoming-Puppet: Failed Interpellation and the Uncanny Subjection in CoralineEric Herhuth (Tulane University, USA)Chapter 11: The Wandering Child and the Family in Crisis in Henry Selick's CoralineJane Batkin (University of Lincoln, UK)Chapter 12: Fa(r)ther Figures: Locating the Author Father in CoralineNicholas Andrew Miller (Loyola University Maryland, USA)Index

Recenzii

Coraline: A Closer Look at Studio LAIKA's Stop-Motion Witchcraft is an exciting collection and a much welcome contribution to animation studies. The essays address Coraline from a range of perspectives, collectively positioning it as a key LAIKA feature and a landmark in stop-motion history. A great read for all animation enthusiasts.
Henry Seleck's masterpiece Coraline endures as a haunted and haunting exploration of the adolescent trauma of coping with emerging competing identities. It is also vastly entertaining and technically brilliant. Mihailova leads her band of witchery-finders on a quest to expose the alchemy behind the film. They explore the sophisticated stop-motion technology of the LAIKA studio (state-of-the-art, yet harking back to the earliest days of cinema), the labyrinthine passages of meaning and interpretations honeycombed within the narrative, and its myriad cultural references and resonances. Throughout, the book echoes Mihailova's thesis that Coraline succeeds not only as one of the best stop-motion films ever, but also, reflexively, as a rich work that self-challenges its own animated creation.