This work offers a number of reasons why animation had been consigned to the margins of film history and criticism. It suggests a number of models and methodologies by which animation may be understood and provides a defence of the animated film as a significant art-form.
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This work offers a number of reasons why animation had been consigned to the margins of film history and criticism. It suggests a number of models and methodologies by which animation may be understood and provides a defence of the animated film as a significant art-form.
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