The Toy Like Nature: on the History and Theory of Animated Motion
THE TOY LIKE NATURE: ON THE HISTORY AND THEORY OF ANIMATED MOTION by Ryan Pierson B.A., University of Georgia, 2004 M.A., New York University, 2005 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Ryan Pierson It was defended on August 21, 2012 and approved by Marcia Landy, Distinguished Professor, Department of English Mark Lynn Anderson, Associate Professor, Department of English Peter Machamer, Professor, Department of History and Philosophy of Science Scott Bukatman, Professor, Department of Art and Art History, Stanford University Dissertation Advisor: Daniel Morgan, Assistant Professor, Department of English ii Copyright © by Ryan Pierson 2012 iii THE TOY LIKE NATURE: ON THE HISTORY AND THEORY OF ANIMATED MOTION Ryan Pierson, Ph.D. University of Pittsburgh, 2012 This dissertation examines some key assumptions behind our prevailing idea of animation, arguing that our idea of animation is not, as is often implicitly assumed, an ahistorical category of manipulated imagery, but the result of a complex network of contingent processes. These assumptions, from the aesthetic end, largely emerged from the postwar rise of figurative (or noncartoon, nonabstract) animation—a “new era” which critic André Martin characterized as “marked by the widest possible range of techniques and processes.” From the other end, animation is tied to widespread assumptions from science that assert the biological, automatic nature of visual illusion. Animation’s unique status as a medium of visual movement that can arise from any kind of material (drawings, puppets, computer graphics, etc.), thus yields a paradox that I call “animated automatism”: the fact that, in order to assert its open-ended freedom as an art form, animation must acknowledge the reductive mechanics of perception.
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