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Batkin, Jane: Identity in Animation. A Journey into Self, Difference, Culture, and the Body. London, New York: Routledge, 2017. (182 S.) 
Resource type: Book
Languages: englisch
ID no. (ISBN etc.): 9781138849778
BibTeX citation key: Batkin2017
View all bibliographic details
Categories: General
Keywords: Animation, Disney, Identität, Japan, Miyazaki. Hayao, Randformen des Comics, USA
Creators: Batkin
Publisher: Routledge (London, New York)
Abstract
Identity in Animation: A Journey into Self, Difference, Culture and the Body uncovers the meaning behind some of the most influential characters in the history of animation and questions their unique sense of who they are and how they are formed.
Jane Batkin explores how identity politics shape the inner psychology of the character and their exterior motivation, often buoyed along by their questioning of ‘place’ and ‘belonging’ and driven by issues of self, difference, gender and the body. Through this, Identity in Animation illustrates and questions the construction of stereotypes as well as unconventional representations within American, European and Eastern animation. It does so with examples such as the strong gender tropes of Japan’s Hayao Miyazaki, the strange relationships created by Australian director Adam Elliot and Nick Park’s depiction of Britishness. In addition, this book discusses Betty Boop’s sexuality and ultimate repression, Warner Bros’ anarchic, self-aware characters and Disney’s fascinating representation of self and society.

Table of Contents

List of Figures
Acknowledgements

Introduction

1. The boop-oop-a-doop girl: culture, body and Betty Boop
2. Disney: self, patriarchy and punishment
3. Conflict and connection, body and performance: how Looney Tunes broke out of the asylum
4. The case for Wallace and Gromit: Britishness, horror, slapstick and the real
5. Who am I? Gender at play: guys in corsets, girls in love
6. The misfits: bodies, difference and wandering in the Clayography films of Adam Elliot
7. Hayao Miyazaki: place, nostalgia and adolescence
8. The ‘thingness’ of CG and the life of the object

Conclusion
Index


  
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