abstract expressionism, 168–71
Abstraction and Empathy (Worringer),
175–76
Abstractions and Rock Paintings (Lye),
177f
Accident series (Moriyama), 192–93
Adorno, Theodor W., 10, 221; on aes-
thetic experiment, 137; on autono-
mous works of art, 190, 199n34;
on ducks on screen, 17; on music
theory, 134–35
The Adventures of Prince Achmed
(Reiniger), 27–28
advertising: the commodity econ-
omy of, 196–97; political work of,
164nn12–13, 200n41; in Soviet
animation, 149–54, 164nn5–6,
164nn12–13
“Advertising Films” (Vertov), 150
“An Aesthetic of Astonishment: Early
Film and the (In)credulous Specta-
tor” (Gunning), 105
“Aesthetics, Obstacles, Integral Cinégra-
phie” (Dulac), 8–10
African American portrayals, 252–63;
by African Americans themselves,
259–63; black caricature in, 253–57,
259–60; civil rights movement
and, 259–60; by Disney Studios, 257,
258–59; in Fleischer’s Screen Songs
series, 256–57; in Lantz’s Voodoo in
Harlem, 257–58; in Negro talking
pictures, 255–57
AfterEffects, 203
“The Age When the Reproduction Is the
Original” (Awazu), 187–88
Ahwesh, Peggy, 204
Akasegawa Genpei, 200n40
Alberti, Walter, 88
allegorical version of reality, 28
Althusser, Louis, 215
The Analysis of Beauty (Hogarth), 174–75
Anchors Aweigh, 314, 316n17
Andrew, Dudley, 12, 117, 118–19, 122,
300n32
anima, 101
“animated cartoon” (as term), 87, 95n11
Animated Cartoons (Lutz), 68–69, 80n16
the animatic, 103–8, 110n28
Animating Culture: Hollywood Cartoons
from the Sound Era (Smoodin), 17
animation: definitions of, 4, 19, 20n1,
40–41, 51, 95n9, 101, 113–15, 298n1;
etymology of, 101–2; interdisci-
plinary applications of, 125–26;
marginalization in film theory of,
1–2, 16–17, 19, 28, 98–101, 108n5,
114, 121; philosophizing as form of,
102–8, 108n7; relationship to live-
action cinema of, 11–15, 28, 98–108,
109n11, 114–15, 188–89, 289, 309;
relationship to photography of,
Index
NOTE: Page numbers followed by f indicate a figure.
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