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Monographien mit allgemeiner thematischer Ausrichtung

  • Ajanović, Midhat: De visuella tonsättarna. Animationens mästare i urval. Göteborg: Optimal Press 2005, 220 S.
  • Alberti, Walter: Il cinema di animazione, 1832-1956. Torino: Edizioni Radio Italiana 1957, 223 S.
  • Amidi, Amid: The art of robots. San Francisco: Chronicle Books 2005, 144 S.
    Inhalt*:* Rivet Town – The city – Big weld industries – Outmodes – Chop Shop – Artists.
  • Amidi, Amid: Cartoon modern. Style and design in fifties animation. San Francisco, Cal.: Chronicle Books 2006, 200 S.
    Inhalt*:* Notes about the artwork – Academy Pictures – Creative Arts Studio – Elektra Films – Fine Arts Films – Grantray-Lawrence Animation – Hanna-Barbera – John Sutherland Productions – Keitz & Herndon – MGM – Pintoff Productions – Playhouse Pictures – Ray Patin Productions – Shamus Culhane Productions – Storyboard – Terrytoons – United Productions of America – Walt Disney Productions – Walter Lantz Productions – Warner Bros. – The international design scene – Conclusion.
  • Bacher, Hans: Dream worlds: Production design for animation. Oxford: Focal Press 2008, 208 S.
  • Barrès, Patrick: Le cinéma d'animation. Un cinéma d'expériences plastiques. Paris [...]: L'Harmattan 2006, 189 S. (Champs visuels.).
  • Bassan, Raphaël: Cinéma et abstraction: Des croisements. Paris: Paris expérimental 2007, 36 S. (Les Cahiers de Paris expérimental. 25.).
  • Beaudet, Louise: L'Art du cinema d'animation / The Art of Animated Films. Montréal: Musée des Beaux-Arts de Montréal / The Montreal Museum of Fine Arts 1982, 96 S.
  • Beck, Jerry: The animated movie guide. Chicago, IL: Chicago Review Press 2005, xx, 348 S. (An A Cappella book.).
    Beck, Jerry, Ball, Ryan (Hrsg.): Animation art: from pencil to pixel, the history of cartoon, anime and CGI. [...] London: Flame Tree 2004, 382 S
  • Beckerman, Howard: Animation: The whole story. Mattituck, N.Y. Amereon House 2001.
    Rev. ed. New York: Allworth Press 2003, x, 309 S.
    Inhalt: An animators history of animation – The curtain rises – The studios are born – Jolson speaks, Mickey squeaks – Cartoonlands call to action – From Bullwinkle to Bart, and beyond – The story takes shape – Drawing : the bare bones – Character creation – Storytelling with animation – Direction – Layout : all the worlds a stage – The story comes to life – Animation: moments in time – Locomotion : the illusion of movement – Using color – Filming, frame by frame – The soundtrack and editing – The story goes forth – Computer animation – The business of animation.
  • Beiman, Nancy: Prepare to board! Creating story and characters for animated features and shorts. Amsterdam/Boston: Elsevier Focal Press 2007, xi, 317 S.
  • Bendazzi, Giannalberto: Topolino e poi. Cinema d'animazione dal 1888 ai giorni nostri. Milano: Ed. il Formichiere 1978, 250 S. (Cinema.).
    Frz.: Le film d'animation. 1. Traduction: Geneviève Vidal. Grenoble: La Pensée sauvage 1986, 190 S.
    Engl.: Bendazzi, Giannalberto: Cartoons: One hundred years of cinema animation. Trans. Anna Taraboletti-Segre. Bloomington, Ind.: Indiana University Press 1994.
  • Bendazzi, Giannalberto: Le film d'animation. Du dessin animé à l'image de synthèse. Grenoble: La Pensée Sauvage, JICA 1985, 190 S.
  • Bendazzi, Giannalberto:Cartoons. Cento anni di cinema d'animazione. Venezia: Marsilio 1988, xxiv, 677 S. (Cinema.).
    2. ed. riveduta e ampl. 1992, xxiv, 690 S.
    Engl.: Cartoons: One Hundred Years of Cinema Animation, Bloomington / Indianapolis, IN: Indiana University Press 1994, xxiii, 514 S..
    Repr. 2003.
    Repr. 2006, xxiii, 514 S.
    Also London: Libbey 2006.
    Span.: Bendazzi, Giannalberto / Rosa, Emilio de la: Cartoons: 110 años de cine de animación. Madrid: Ocho y Medio 2003.
    Frz.: Bendazzi, Giannalberto: Cartoons: Le cinéma d'animation, 1892-1992. Paris: Liana Levi 1991.
  • Bendazzi, Giannalberto: I continenti dell'animazione. Milano: CUEM 2002, 34 S.
  • Bendazzi, Giannalberto / Cecconello, Manuele / Michelone, Guido: Coloriture. Voci, rumori, musiche nel cinema d'animazione. Bologna: Ed. Pendragon 1995, 357 S. (Le sfere. 4.).
  • Bendazzi, Giannalberto / Michelone, Guido (a cura di): Il movimento creato. Studi e documenti di ventisei saggisti sul cinema d'animazione. Torino: Pluriverso 1993, 219 S.
  • Bendazzi, Giannalberto / Scrimitore, Raffaella (a cura di): Il cinema d'animazione e la nuova critica. Milano: CUEM [Cooperativa Universitaria Editrice Milanese], 2006, 203 S. (Tra spettacolo e drammaturgia.).
  • Biesenbach, Klaus (a cura di): Animations. [Katalog. Texts: Giannalberto Bendazzi ...]. Berlin: KW - Institute for Contemporary Art, Kunst-Werke Berlin 2001, 189 S.
    Catalogue, published to accompany the Exhibition Animations, P.S. 1 Contemporary Art Center, a MoMA affiliate, New York, October 14, 2001 to January 13, 2002 / Kunst-Werke, KW - Institute for Contemporary Art, Berlin, February 8, 2003 to April 6, 2003.
  • Bendazzi, Giannalberto / Scrimitore, Raffaella (a cura di): Il cinema d'animazione e la nuova critica. Supervisione grafica [di] Gabriele Fantoni. Milano: CUEM 2006, 203 S. (Tra spettacolo e drammaturgia.).
  • Blanc, Mel / Bashe, Philip: That's not all folks. New York, NY: Warner Books 1988, xi, 275 S.
  • Braak, Menno ter: De absolute film. Rotterdam: W.L. en J. Brusse 1931, 50 S. (Monografieën over filmkunst. 8.).
  • Brasch, Walter M.: Cartoon monickers: An insight into the animation industry. Bowling Green, Ohio: Bowling Green University Popular Press 1983, xii, 180 S.
  • Brierton, Tom: Stop-motion puppet sculpting. A manual of foam injection, build-up, and finishing techniques. Jefferson, N.C.: McFarland 2004, ix, 74 S.
  • Brierton, Tom: Stop-motion filming and performance. A guide to cameras, lighting and dramatic techniques. Jefferson [...]: McFarland 2006, 98 S.
  • Buchan, Suzanne (Hrsg.): Trickraum - Spacetricks. Basel: Merian / Christoph 2005, 143 S.
    Katalog zur Ausstellung: Museum für Gestaltung Zürich, 3. August bis 13. November 2005.
  • Buchan, Suzanne, Surman, David, Ward, Paul (Hrsg.): Animated 'Worlds'. Bloomington, Ind./ Eastleigh: Indiana University Press / John Libbey 2006, xiii, 207 S.
  • Bulloch, Ivan: Cartoons & animation. [Texte von Ivan Bulloch, Shona Hynes, Jeffery Lewis.] [Illustrators/model-makers Peter Bull, Ivan Bulloch]. New York/London: Watts 1998, 31 S. (Art & craft skills.).
    Repr. 2002.
  • Canemaker, John (ed.): Storytelling in animation. An anthology. (= The Art of the animated image. 2.) Los Angeles: American Film Institute 1988.
    Published in conjunction with the second Annual Walter Lantz Conference on Animation [held on June 11, 1988 at the Hitchcock Theater, Universal Studios].
  • Cavalier, Stephen: The world history of animation. London: Aurum Press 2011, 416 S. (Aurum Entertainment.).
    Zugl.: Berkeley: University of California Press 2011.
    Inhalt: Introduction – Brief Histories of World Animation – Pre-1900: The Origins of Animation – 1900-1927: Film Animation: The Era of Experimentation – 1928-1957: Film Animation: The Golden Age of Cartoons – 1958-1985: The Television Age – 1986-2010: The Digital Dawn – Resources – Glossary – Academy Award Winners – Animation books and websites.
  • Cavallaro, Dani: Anime Intersections: Tradition and Innovation in Theme and Technique. Jefferson, NC / London: McFarland 2007, 209 S.
  • Cavallaro, Dani: Anime and memory. Aesthetic, cultural and thematic perspectives. Jefferson, N.C. [...]: McFarland 2009, vii, 193 S.
  • Cholodenko, Alan (ed.): The Illusion of Life: Essays on Animation, Sydney: Power 1991, 312 S.
  • Cholodenko, Alan (Hrsg.): The Illusion of Life II: More Essays on Animation. Sydney: Power / London: Turnaround [distrib.] 2007, 576 S.
    Rev. (Susan Napier: Animation beyond the Boundaries) in: Mechademia 5, 2010, S. 344-345.
  • Clarke, James: Animated Films. London: Virgin Books 2004, 298 S.
    Cook, Benjamin / Thomas, Gary (Hrsg.): The Animate! book: Rethinking animation, London: LUX Publications & Arts Council England 2006, 156 S., 1 DVD.
  • Cotte, Olivier: Il était une fois le dessin animé et le cinéma d'animation. Paris: Dreamland 2001, 344 S.
  • Culhane, John / Kaestle, David: Special effects in the movies: How they do it. New York: Ballantine Books 1981, 184 S.
  • Culhane, Shamus: Talking animals and other people. New York: St. Martin's Press 1986, xii, 463 S.
    Autobiographie.
  • Culhane, Shamus: Animation from script to screen. New York: St. Martin's Press 1988, xv, 336 S.
  • Dahmen-Ingenhoven, Regina: Animation. Look, Form Follows Fun. Hrsg. von Kristin Feireiss. Basel: Birkhäuser 2004, 294 S.
    Zugl.: Aachen, Techn. Hochsch., Diss., 2000: Orte der Animation, Architektur für die Freizeit am Ende unseres Jahrhunderts.
  • Daniels, Dieter / Naumann, Sandra (eds.): Audiovisuology Compendium See This Sound. An Interdisciplinary Survey of Audiovisual Culture. [On the occasion of the project See This Sound, jointly realized by the Boltzmann Institute Media.Art.Research and the Lentos Art Museum Linz...] Köln: König 2010, 452 S.
  • Dederen, Eric / Verheylewegen, Serge / Moins, Philippe: Ça bouge... Jeux optiques et films d'animation. Tournai [...]: Casterman 1987, 48 S.
  • Edera, Bruno [...]: Animation, der getrickste Film und seine Möglichkeiten. [Ausstellung, Kunstgewerbemuseum Zürich, 17.6.-16.9.1972.] Texte: Buchmann, Mark / Toeplitz, Jerzy / Edera, Bruno. Zürich: Das Museum 1972, 54 S., 3 Taf. ( Wegleitung des Kunstgewerbemuseums der Stadt Zürich. 287.).
  • Edera, Bruno: Full length animated feature films. London. New York: Focal Press 1977, 198 S. (The library of animation technology.).
  • Enticknap, Leo: Moving image technology: From zoetrope to digital. London/New York: Wallflower 2005, viii, 280 S.
  • Evans, Gareth / Curtis, David: Art and animation. Ed.: Paula Snyder. London: Channel 4 Television 1999, 28 S.
  • Faber, Liz / Walters, Helen: Animation unlimited. Innovative short films since 1940. London: Laurence King, in association with Harper Design International 2003, 192 S.
  • Finch, Christopher: Special effects: Creating movie magic. New York: Abbeville Press 1984, 252 S.
  • Finch, Christopher / Rosenkrantz, Linda: Sotheby's guide to animation art. New York: H. Holt 1998, vi, 198 S.
  • Friedrich, Andreas / Koebner, Thomas (Hrsg.): Animationsfilm. Stuttgart: Reclam 2007, 371 S. (Filmgenres.)/(Reclams Universal-Bibliothek. 18405.).
  • Furniss, Maureen: Art in Motion: Animation Aesthetics. Sydney: John Libbey 1999, x, 278 S.
    Inhalt: Fundamentals – Introduction to animation studies – Foundations of studio practices – Alternatives in animation production – General concepts: Mise-en-scene – General concepts: Sound and structural design – Classical-era Disney Studio – Full and limited animation – Stop-motion animation – Animation and digital media – Studies in Animation Aesthetics Institutional regulators – Animation audiences – Issues of representation – Considering form in abstract animation.
  • Furniss, Maureen (ed.): Animation : art & industry. Eastleigh: John Libbey 2009, vii, 240 S.
  • Gehman, Chris / Reinke, Steve (Hrsg.): The Sharpest Point: Animation at the End of Cinema. Toronto: YYZ Books 2005, 287 S.
  • Giesen, Rolf / Meglin, Claudia (Hrsg.): Künstliche Welten: Tricks, Special Effects und Computeranimation im Film von den Anfängen bis heute, Hamburg: Europa-Verlag 2000, 237 S. (Filmbibliothek.).
    Anläßlich der gleichnamigen Ausstellung im Filmmuseum Berlin, Sony-Center am Potsdamer Platz.
  • Giesen, Rolf / Abbott, L.B. / Prinzler, Hans Helmut: Special effects. King Kong, Orphée und Die Reise zum Mond. Ebersberg: Edition 81/2 1985, 205 S.
    Hrsg. von d. Stiftung Deutsche Kinemathek zur Retrospektive der 35. Internationalen Filmfestspiele Berlin, 1985.
  • Gfader, Verina: Adventure-Landing: A Compendium of Animation. Berlin: Revolver Publishing 2011, 292 S.
    Compendium on the subject of animation. The project brings together materials from experimental and non-commercial domains; it looks at the use of the medium of animation and presents new critical receptions within high and low cultural and artistic production. It traces questions of a time image, the doubling that is integral to image formation, and notions of territorial and urban constructions within the discourse of animation history.
    Includes conversations with artists, architects and researchers Takehito Deguchi, Koji Yamamura, Masaki Fujihata, Stephen Wilson, Yoshiharu Tsukamoto, Kenta Kishi, Saki Satom, Chikara Matsumoto, Naoyuki Tsuji, Hiromitsu Murakami, Takahiro Hayakawa and Toshimaru Nakamura address specific dimensions of Japanese animation, and make the claim for a structural coherence between animation and geographical, institutional and social ideas. In this duality of content and time, the book becomes a multilayered object. The format of the compendium - bookwork and map at once - enables a virtual journey in which the reader travels across various realms of a focused study.
  • Gilland, Joseph: Elemental magic. The art of special effects animation. Oxford: Focal Press 2009, xxvi, 302 S.
  • Graça, Marina Estela: Entre o olhar e o gesto. Elementos para uma poética da imagem animada. São Paulo: Editorial SENAC 2006, 222 S.
    Zugl.: Lisboa, Univ. Nova, Fac. de Ciências Sociais e Humanas, Diss., 2001.
  • Graillat, Ludovic (éd. par): De "Tron" à "Matrix", réflexions sur un cinéma d'un genre nouveau. Actes du colloque des 2 à 4 février 2004 à la Cinémathèque de Toulouse. Toulouse: SCÉRÉN-CRDP Midi-Pyrénées [...] 2006, 220 S. (Documents, actes et rapports pour l'éducation.).
  • Grant, John: Masters of Animation. London: Batsford 2001, 208 S.
  • Greene, Joyce / Reber, Deborah (eds.): Drawing insight. Communicating development through animation. Penang [Malaysia]: Southbound 1996, x, 118 S.
  • Hahn, Don: Animation magic. A behind-the-scenes look at how an animated film is made. New York, NY: Disney Press 2000, 95 S.
  • Halas, John: Film animation: A simplified approach. Paris: Unesco 1976, 92 S. (Monographs on communication technology and utilization. 2.).
  • Halas, John [...]: Visual scripting. London/New York: Focal Press 1976, 144 S. (The Library of animation technology.).
  • Halas, John: Graphics in motion. Vom Trickfilm bis zur Holografik. / From the special effects film to holographics. [Hrsg. in Zsarb. mit Novum - Gebrauchsgraphik, Internat. Monatszeitschr. für Kommunikationsdesign. Dt. Übers.: Veronica Kay] München: Bruckmann, 1981, 206 S. (Novum Press.).
    Neuausg.: New York: Van Nostrand Reinhold 1984.
  • Halas, John: Masters of animation. London: BBC Books 1987, 136 S.
  • Halas, John: The contemporary animator. London/Boston: Focal Press 1990, 168 S.
  • Halas, John / Manvell, Roger: The technique of film animation. London: Focal Press 1959, 346 S.
    2nd ed. London: Focal Press 1968 (The Library of communication techniques.).
    4th ed. London: Focal Press 1976, 351 S., 8 Taf.
    Span.: La técnica de los dibujos animados. Barcelona: Omega 1980.
  • Halas, John / Manvell, Roger: Art in movement. New directions in animation. New York: Hastings House / London: Studio Vista 1970, 192 S. (Visual communication books.).
  • Halas, John / Manvell, Roger: Design in motion. New York: Hastings House, 1962, 160 S. (Visual communication books.).
  • Halas, John / Martin-Harris, Roy: Audio-visual techniques for industry. [Prepared for United Nations Industrial Development Organization by John Halas and Roy Martin-Harris.] New York: United Nations, 1978, ix, 84 S. (Development and transfer of technology series. 6.).
  • Haller, Robert A. (ed.): First Light. New York: Anthology Film Archives 1998, 108 S.
    Online: www.roberthaller.com/firstlight/.
  • Harryhausen, Ray / Dalton, Tony: A century of stop motion animation: From Méliès to Aardman. New York: Watson-Guptill 2008, 240 S.
  • Hein, Birgit / Herzogenrath, Wulf (Hrsg.): Film als Film – 1910 bis heute: Vom Animationsfilm der zwanziger zum Filmenvironment der siebziger Jahre, Stuttgart: Hatje 1977, 268 S.
    2. Aufl. 1978.
    Catalog of an exhibition held at the Kölnischer Kunstverein, Köln.
    Engl., leicht abweichende Ausg.: Curtis, David / Drummond, Philip / Francis, Richard (eds.): Film as Film: Formal Experiment in Film, 1910-1975. [Katalog zur Ausstellung in der Hayward Gallery South Bank, London SE1, 3 May-17 June 1979.] London: Arts Council of Great Britain 1979, 152 S.
  • Hémardinquer, Pierre: Technique des effets spéciaux pour le film et la vidéo. Nouv. éd. augm. et actualisée par Gilles Penso. Paris: Dujarric / If diff. 1993, 287 S.
  • Hertz, Betti-Sue (curator): Animated painting. [Texte:]Buchan, Suzanne / Hertz, Betti-Sue / Manovich, Lev. San Diego, CA: San Diego Museum of Art 2007, 139 S., 1 CD-ROM.
    Begleitband zur Ausstellung im San Diego Museum of Art, 13.10.2007 bis 13.1.2008; .Centro Cultural Tijuana, Tijuana, Mexico, 1.10.-31.12.2008; Faulconer Gallery, Grinnell College, Grinnell, Iowa, 2.3-16.4.2009.
  • Hilty, Greg / Pardo, Alona (eds.): Watch me move. The animation show. London/New York: Barbican / Merrell 2011, 223 S.
    Anläßlich einer Ausstellung in der Barbican Art Gallery, 15.6.-11.9.2011.
    Inhalt: Object, Dream and Image in Animation / Greg Hilty (10-17) – The Toolbox of Technology and Technique / Paul Wells (18-27) – Ghosts in the Machine. Experiencing Animation / Suzanne Buchan (28-39) – Apparitions – Characters – Superhumans – Fables – Fragments – Structures – Visions.
  • Hooks, Ed: Acting for animators: A complete guide to performance animation. Portsmouth, NH: Heinemann 2000.
    Rev. ed. Portsmouth, NH: Heinemann, 2003.
    New ed.: New York/London: Routledge 2011, 176 S.
    Hooks uses basic acting theory to explain everything from character movement and facial expressions to interaction and scene construction. Just as acting on film and on stage are very different disciplines, so is the use of acting theory in creating an animated character, scene or story. Acting for Animators is full of essential craft tips from an acting master.
  • Hooks, Ed: Acting in animation: A look at 12 films. Portsmouth, NH: Heinemann 2005, xiii, 173 S.
    Zu den Filmen: Charlotte's Web – Dumbo – Pinocchio – Treasure planet – Monsters, Inc. – The Emperor's new groove – The Grave of the fireflies – Toy story II – Spirited away – The hunchback of notre dame – The road to el dorado – Tarzan.
  • Jean, Marcel: Le langage des lignes et autres essais sur le cinéma d'animation. Nouvelle éd. Laval (Québec): Les 400 coups 2007, 174 S. (Cinéma.).
    Zuerst 2006. In Frankreich vertrieben durch Seuil (Paris).
  • Joubert-Laurencin, Hervé: La lettre volante. Quatre essais sur le cinéma d'animation. Paris: Presses de la Sorbonne Nouvelle 1997, 348 S. (L�foeil vivant.).
  • Jovanovic, Zoran: Karikatura, Crtani film. / Cartoon, Animated Film. / La caricature, le dessin animé. Beograd: Muzej Primenjene Umetnosti [...] 1981, 146 S.
  • Kaboth, Peter: Ästhetik der Bewegung im Animationsfilm. Eine Analyse der Konventionen und Standards. Saarbrücken: Verlag Dr. Müller 2008, 60 S.
  • Kelts, Roland: Japanamerica: How Japanese pop culture has invaded the U.S.. Basingstoke: Palgrave Macmillan 2006, xi, 238 S.
  • Kilmer, David: The animated film collector's guide: Worldwide sources for cartoons on video and laserdisc. London: Libbey 1997, x, 212 S.
  • Kinder, Marsha: Playing with power in movies, television, and video games. From Muppet Babies to Teenage Mutant Ninja Turtles. Berkeley: University of California Press 1991, xi, 266 S.
  • Korkis, Jim / Cawley, John : Cartoon confidential: Everything you always wanted to know about animation but didn't know you wanted to know it. Introduction by Bill Hannah. Westlake Village, Calif. Malibu Graphics, Inc. 1991, 170 S.
  • Krasner, Jon S.: Motion graphic design, fine art animation: Principles and practice. Boston: Focal Press / Amsterdam/London: Elsevier 2004, xv, 386 S.
    Krasner, Jon S.: Motion graphic design: Applied history and aesthetics. 2nd ed. Amsterdam; Boston: Focal Press 2008.
  • Laloux, René: Ces dessins qui bougent: 1892-1992 cent ans de cinéma d'animation. Paris: Dreamland 1996, 200 S. (Coll. Image par image.).
  • Lambry, Robert: Le Langage des lignes. [Manuel de dessin.] Paris: Impr.-édit. de la Bonne Presse 1933, zweispaltig, 127 S.
  • Laybourne, Kit: The animation book: A complete guide to animated filmmaking, from filp-books to sound cartoons. New York: Crown 1979, 272 S.
    New digital ed.: The animation book: A complete guide to animated filmmaking from flip-books to sound cartoons to 3-D animation. New York: Three Rivers Press 1998, xix, 426 S.
  • Leduc, Yves / Berthiaume, René / Aubry, François: Le manuel de "L'homme de papier": Initiation à l'histoire et aux techniques du cinéma d'animation. Textes additionels de Louise Beaudet et Jacques Giraldau. Montréal: Office national du film du Canada 1987, 143 S. + Beilagen.
  • LeGrice, Malcolm: Abstract Film and beyond. London: Studio Vista Publishers 1977, 160 S.
    Zugl. Cambridge, Mass.: The MIT Press 1977.
    Paperback ed.: Cambridge, Mass.: The MIT Press 1981.
  • Leslie, Esther: Hollywood Flatlands: Animation, Critical Theory and the Avant-Garde. New York/London: Verso 2002, viii, 344 S, [8] Taf.
    Inhalt: preclusion: experi-mental – zeros, dots and dashes: drawing and the european avant-garde – mickey mouse, utopia and walter benjamin – leni and walt: deutsch-amerikanische freundschaft – eye-candy and adorno's silly symphonies – siegfried kracauer, dumbo and class struggle – eisenstein shakes mickey's hand in hollywood – techne-colour – winding up: a flat ending.
  • Levitan, Eli L.: Animation art in the commercial film. New York: Reinhold Pub. Corp. 1960, 128 S.
  • Leyda, Jay (ed.): Eisenstein on Disney. Translated by Alan Upchurch. Calcutta: Seagull 1986, 101 S.
    Ursprünglich russ.
    Repr.: London: Methuen 1988, 101 S. (Series of Eisenstein texts. 3.).
  • Lo Duca [, Giuseppe Maria]: Le dessin animé. Histoire, esthétique, technique. Paris: Prisma (impr. de Lang, Blanchong) 1948, 148 S.
    Repr.: Plan-de-la-Tour: Editions d'Aujourd'hui 1982.
  • Lotman, Jeff / Smith, Jonathan: Animation art: The early years, 1911-1953. Atglen, Pa.: Schiffer 1995, 427 S. (A Schiffer book for collectors.).
  • Lotman, Jeff / Smith, Jonathan: Animation art: The later years, 1954-1993. Atglen, PA: Schiffer Pub. 1996, 396 S. (A Schiffer book for collectors.).
  • Lotman, Jeff: Animation art at auction: Since 1994. With the assistance of Caroline Wylie. Atglen, PA: Schiffer 1998, 208 S. (A Schiffer book for collectors.).
  • Lutz, Edwin George: Animated cartoons; how they are made, their origin and development. New York: C. Scribner's sons 1920.
    Repr.: London: Chapman 1926.
    Repr.: Bedford, MA: Applewood Books 1998, xx, 261 S.
  • Madsen, Roy P.: Animated film; concepts, methods, uses. New York, Interland Pub. 1969, xiv, 234 S.
  • Maltin, Leonard: Of mice and magic. A history of American animated cartoons. New York: McGraw-Hill, 1980, ix, 470 S., [8] S.
    New, updated ed. New York: Crown 1984.
    Rev. ed. New York: New American Library, 1987, ix, 485 S. (A Plume book.).
    Dt.: Der klassische amerikanische Zeichentrickfilm. Der berühmteste Film der Welt und seine Geschichte. Übers.: Bernd Eckhardt, Claudia Walter. München: Heyne 1982, 591 S. (Heyne-Filmbibliothek. 42.).
  • Manvell, Roger: The animated Film. With pictures from the film "Animal Farm" by Halas & Batchelor. London: Sylvan Press 1954, 63 S.
  • Marinčevska, Nadežhda: Kvadrati na vaobraženieto: estetika na animacionnite techniki. Sofia: Titra 2006, 296 S.
    Mit einer Zusammenfassung in engl. Sprache: Marinchevska, Nadezhda: Frames of Imagination: Aesthetics of Animation Techniques.
  • Marko-Nord, Adam / Jurander, Claes (eds.): Om animation. Göteborg: Filmkonst 2002, 174 S. (Filmkonst. 81.).
  • McCloud, Scott: Understanding comics. [Umschlagtitel: The invisible art.] [Writing and art: Scott McCloud; ed.: Mark Martin.] Northampton, MA: Tundra Pub. 1993, 215 S.
    Zugl.: Kitchen Sink Press 1993.
    Neuausg.: New York: HarperPerennial 1994 (A Kitchen Sink Book.).
    Dt.: Comics richtig lesen. [Die unsichtbare Kunst.] Hamburg: Carlsen 2007, 224 S. (Carlsen Comics.).
    Dt. zuerst 1994.
  • Miller, Frederic P. / Vandome, Agnes F. / McBrewster, John: Traditional animation. Multiplane camera, rotoscoping. live-action/ animated film, special effect computer-generated imagery, rubber hose animation, post-production, storyboard, model sheet, cinematographer. Beau Bassin: Alphascript Publishing 2009, 59 S.
  • Moins, Philippe: Les Maîtres de la pâte. Préf. de Noël Godin. Paris: Dreamland 2001., 143 S. (Coll. Image par image.).
  • Moscati, Massimo: Comics und Film. [Übers., bearb., u. erg. von Angelika Drexel.] Frankfurt/Berlin: Ullstein 1988, 222 S. (Ullstein-Buch. 36560.)/( Ullstein-Sachbuch.).
  • Mulack, Thomas / Giesen, Rolf: Special visual effects. Planung und Produktion. Gerlingen: Bleicher 2002, 141 S. (Produktionspraxis. 10.).
  • Murray, Robin L. / Heuman, Joseph K.: That's All Folks? Ecocritical Readings of American Animated Features. Linclon, NE: University of Nebraska Press 2011, 296 S.
    Although some credit the environmental movement of the 1970s, with its profound impact on children�fs television programs and movies, for paving the way for later eco-films, the history of environmental expression in animated film reaches much further back in American history, as That�fs All Folks? makes clear. Countering the view that the contemporary environmental movement�\and the cartoons it influenced�\came to life in the 1960s, Robin L. Murray and Joseph K. Heumann reveal how environmentalism was already a growing concern in animated films of the 1930s, 1940s, and 1950s. From Felix the Cat cartoons to Disney�fs beloved Bambi to Pixar�fs Wall-E and James Cameron�fs Avatar, this volume shows how animated features with environmental themes are moneymakers on multiple levels�\particularly as broad-based family entertainment and conveyors of consumer products. Only Ralph Bakshi�fs X-rated Fritz the Cat and R-rated Heavy Traffic and Coonskin, with their violent, dystopic representation of urban environments, avoid this total immersion in an anti-environmental consumer market. Showing us enviro-toons in their cultural and historical contexts, this book offers fresh insights into the changing perceptions of the relationship between humans and the environment and a new understanding of environmental and animated cinema.
    Neuwirth, Allan: Makin' toons: Inside the most popular animated TV shows and movies. New York: Allworth Press 2003, xiii, 272 S.
  • Noake, Roger: Animation: A guide to animated film techniques. London: Macdonald Orbis 1988, 159 S.
  • Penso, Gilles: Les effets spéciaux de plateau. Marseille: [s.n.] 1992, 212 Bl.
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    Inhalt: Introduction, by Jayne Pilling – New technologies – What is animation and who needs to know? An essay on definitions – 'Reality' effects in computer animation – Second-order realism and post-modern aesthetics in computer animation Andy Darley – Text and context: Analyses of individual films – The Quay brothers' The Epic of Gilgamesh and the 'metaphysics of obscenity' – Narrative strategies for resistance and protest in Eastern European animation – Putting themselves in the pictures: Images of women in the work of Joanna Quinn – An analysis of Susan Pitt's Asparagus and Joanna Priestley's All My Relations – Clay animation comes out of the inkwell: The Fleischer brothers and clay animation – Bartosch's The Idea – Norman McLaren and Jules Engel: Post-modernists – Disney, Warner Bros. and Japanese animation – The thief of Buena Vista: Disney's Aladdin and Orientalism – Animatophilia, cultural production and corporate interests: The case of Ren and Stimpy – Francis Bacon and Walt Disney revisited – Body consciousness in the films of Jan Svankmajer – Eisenstein and Stokes on Disney: Film animation and omnipotence – Towards a post-modern animated discourse: Bakhtin, intertextuality and the cartoon carnival – Restoring the aesthetics of early abstract films – Resistance and subversion in animated films of the Nazi era: The case of Hans Fischerkoesen – European influences on early Disney feature films – Norm Ferguson and the Latin American films of Walt Disney – Table of Contents provided by Blackwell's Book Services and R.R. Bowker. Used with permission.
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