inDex
Page numbers in boldface refer to illustrations.
Aberrations in Black (Ferguson), 74, 129
Abramovic, Marina, 138–39, 144
Ahnlund, Knut, 133
“Alguna Parte #2” (Cabello/Carceller),
114
“Alguna Parte #5” (Cabello/Carceller),
113, 114
“Alguna Parte #23” (Cabello/Carcel-
ler), 115
“all of my days” (Nicholls), 141
Almodovar, Pedro, 57
alternative formations: animality and,
35; anticapitalist critiques and,
2–4, 18–21, 49–52; as childhood
narrative, 52, 118–20; failure and,
88–89; feminisms and, 124–26,
140, 144–45; forgetting as resis-
tance, 70–71, 77–78, 80–82, 84–86;
low theory and, 2, 7, 18–21, 23–25,
186–87; negation and, 129; Pixar-
volt and, 28–29, 47–48, 186–87;
queerness and, 88–89, 140; utopian
narratives, 21–23, 31–32, 48–49,
128–29
Althusser, Louis, 16, 17
“America the Beautiful” (Bustamante),
142–44
“Andreas, POW (Every Good Soldier
Was A Prisoner of War)” (Schorr),
168
Angier, Natalie, 50–51
animality, 25, 37–42, 49–52; animated
cinema and, 32–33, 42–43, 174;
anthropomorphism and, 33–36, 189
n.2 (chap. 1); cross- species alliances
and, 79, 80, 184–85; human- animal
divide and, 174; human exceptional-
ism and, 33–37; human/nonhuman
interactions within Pixarvolt and,
29, 45–48; Pixarvolt film genre and,
42–43
animated cinema, 21–23, 29–32, 174–
76, 181–82, 186; as allegorical state-
ments, 181; animality and, 32–33,
42–43, 174; collectivity and, 43–44,
45, 46–48; cyborgs and, 33–34, 36,
46; media archaeology of, 177; stop-
motion animation, 48, 175, 178–80,
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