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  • https://doi.org/10.17760/d20794311Copy DOI Icon

Man made machine: global animation and the modern body

  • Jan 1, 2025
  • Cailin Flannery Roles
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Abstract

This dissertation examines three different types of animation produced in three different historical contexts: traditional paper and cel animation created in the United States during the Progressive era; limited animation made for television in postwar Japan; and stop-motion puppet animation from Soviet-era Czechoslovakia. By juxtaposing major shifts in animation aesthetics and modes of production with contemporaneous cultural discourses regarding labor, embodiment, and subjectivity, I argue that the development of each of these methods attests to a co-constitutive relationship between animation as a form and the social construction of the body in modernity. Furthermore, by making legible the networks of power that connect character and artist, worker and management, and subject and state, animation reproduces and interrogates the tensions between bodily autonomy and automation that define modern life. Consequently, the form asks us to consider what it means to be in a body, to control a body, to be a body subject to control.Chapter 1 traces the development of the studio labor model in the United States, its origins in theories of scientific management, and its implications for the animator, as represented through the increasingly contentious relationship between creator and creation. Chapter 2 investigates the relationship between postwar Techno-Orientalism and the rise of Japan's mecha anime industry, showing that animators used limited animation techniques and humanoid robot characters to explore cultural anxieties regarding modernization. Chapter 3 analyzes the reconstruction of Czech animation in the postwar era, particularly the use of stop-motion puppetry to spread populist messages of resistance under the guise of folk tradition. Across different periods and nations, in its various forms and traditions, the history of animation traces the increasing commodification and industrialization of human life. Therefore, I conclude by addressing the globalized animation industry of the present day, from the rise of digital animation to the emergence of generative artificial intelligence. In doing so, I explore the implications of these forms of alienation on the already fragmented modern body, making a case for animation not only as an art form but as a way of being and thinking.--Author's abstract

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