Coraline
portes grátis
Coraline
A Closer Look at Studio LAIKA's Stop-Motion Witchcraft
Mihailova, Dr. Mihaela
Bloomsbury Publishing Plc
03/2023
296
Mole
Inglês
9781501381430
15 a 20 dias
Descrição não disponível.
List of Illustrations
Acknowledgments
Coraline: A Twitchy, Witchy Girl in Stop-Motion Land
Mihaela Mihailova (University of Michigan, USA)
Part 1: Historical Contexts and Perspectives
Chapter 1: Drawing Coraline: Illustration, Adaptation, and Visuality
Malcolm Cook (University of Southampton, UK)
Chapter 2: Mixing it Up: Coraline and LAIKA's Hybrid World
Miriam Harris (Auckland University of Technology, New Zealand)
Chapter 3: Armatures in the Closet: Coraline and the History of Stop Motion
Mihaela Mihailova (University of Michigan, USA)
Chapter 4: The Surprising Migrations of 2 1/2 D: The Background to Coraline
Norman M. Klein (California Institute of the Arts, USA)
Part 2: Stop-Motion Technology, Process, and Spectatorship
Chapter 5: Replacing Coraline
Dan Torre (RMIT University, Australia)
Chapter 6: Coraline's 'Other World': The Animated Camera in Stop-Motion Feature Films
Jane Shadbolt (The University of Newcastle, Australia)
Chapter 7: A World within Reach: A Neuroanimatic Perspective on Themes of Threat in the Miniature World of Coraline
Ann Owen (Falmouth University, UK)
Chapter 8: Darkness and Delight: The Reception of Coraline in the USA and UK
Rayna Denison (University of East Anglia, UK)
Part 3: Puppet Politics: Ideology, Identity, Representation
Chapter 9: The Other Maiden, Mother, Crone(s): Witchcraft, Queer Identity, and Political Resistance in LAIKA's Coraline
Mx. Kodi Maier (University of Hull, UK)
Chapter 10: Becoming-Puppet: Failed Interpellation and the Uncanny Subjection in Coraline
Eric Herhuth (Tulane University, USA)
Chapter 11: The Wandering Child and the Family in Crisis in Henry Selick's Coraline
Jane Batkin (University of Lincoln, UK)
Chapter 12: Fa(r)ther Figures: Locating the Author Father in Coraline
Nicholas Andrew Miller (Loyola University Maryland, USA)
Index
Acknowledgments
Coraline: A Twitchy, Witchy Girl in Stop-Motion Land
Mihaela Mihailova (University of Michigan, USA)
Part 1: Historical Contexts and Perspectives
Chapter 1: Drawing Coraline: Illustration, Adaptation, and Visuality
Malcolm Cook (University of Southampton, UK)
Chapter 2: Mixing it Up: Coraline and LAIKA's Hybrid World
Miriam Harris (Auckland University of Technology, New Zealand)
Chapter 3: Armatures in the Closet: Coraline and the History of Stop Motion
Mihaela Mihailova (University of Michigan, USA)
Chapter 4: The Surprising Migrations of 2 1/2 D: The Background to Coraline
Norman M. Klein (California Institute of the Arts, USA)
Part 2: Stop-Motion Technology, Process, and Spectatorship
Chapter 5: Replacing Coraline
Dan Torre (RMIT University, Australia)
Chapter 6: Coraline's 'Other World': The Animated Camera in Stop-Motion Feature Films
Jane Shadbolt (The University of Newcastle, Australia)
Chapter 7: A World within Reach: A Neuroanimatic Perspective on Themes of Threat in the Miniature World of Coraline
Ann Owen (Falmouth University, UK)
Chapter 8: Darkness and Delight: The Reception of Coraline in the USA and UK
Rayna Denison (University of East Anglia, UK)
Part 3: Puppet Politics: Ideology, Identity, Representation
Chapter 9: The Other Maiden, Mother, Crone(s): Witchcraft, Queer Identity, and Political Resistance in LAIKA's Coraline
Mx. Kodi Maier (University of Hull, UK)
Chapter 10: Becoming-Puppet: Failed Interpellation and the Uncanny Subjection in Coraline
Eric Herhuth (Tulane University, USA)
Chapter 11: The Wandering Child and the Family in Crisis in Henry Selick's Coraline
Jane Batkin (University of Lincoln, UK)
Chapter 12: Fa(r)ther Figures: Locating the Author Father in Coraline
Nicholas Andrew Miller (Loyola University Maryland, USA)
Index
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List of Illustrations
Acknowledgments
Coraline: A Twitchy, Witchy Girl in Stop-Motion Land
Mihaela Mihailova (University of Michigan, USA)
Part 1: Historical Contexts and Perspectives
Chapter 1: Drawing Coraline: Illustration, Adaptation, and Visuality
Malcolm Cook (University of Southampton, UK)
Chapter 2: Mixing it Up: Coraline and LAIKA's Hybrid World
Miriam Harris (Auckland University of Technology, New Zealand)
Chapter 3: Armatures in the Closet: Coraline and the History of Stop Motion
Mihaela Mihailova (University of Michigan, USA)
Chapter 4: The Surprising Migrations of 2 1/2 D: The Background to Coraline
Norman M. Klein (California Institute of the Arts, USA)
Part 2: Stop-Motion Technology, Process, and Spectatorship
Chapter 5: Replacing Coraline
Dan Torre (RMIT University, Australia)
Chapter 6: Coraline's 'Other World': The Animated Camera in Stop-Motion Feature Films
Jane Shadbolt (The University of Newcastle, Australia)
Chapter 7: A World within Reach: A Neuroanimatic Perspective on Themes of Threat in the Miniature World of Coraline
Ann Owen (Falmouth University, UK)
Chapter 8: Darkness and Delight: The Reception of Coraline in the USA and UK
Rayna Denison (University of East Anglia, UK)
Part 3: Puppet Politics: Ideology, Identity, Representation
Chapter 9: The Other Maiden, Mother, Crone(s): Witchcraft, Queer Identity, and Political Resistance in LAIKA's Coraline
Mx. Kodi Maier (University of Hull, UK)
Chapter 10: Becoming-Puppet: Failed Interpellation and the Uncanny Subjection in Coraline
Eric Herhuth (Tulane University, USA)
Chapter 11: The Wandering Child and the Family in Crisis in Henry Selick's Coraline
Jane Batkin (University of Lincoln, UK)
Chapter 12: Fa(r)ther Figures: Locating the Author Father in Coraline
Nicholas Andrew Miller (Loyola University Maryland, USA)
Index
Acknowledgments
Coraline: A Twitchy, Witchy Girl in Stop-Motion Land
Mihaela Mihailova (University of Michigan, USA)
Part 1: Historical Contexts and Perspectives
Chapter 1: Drawing Coraline: Illustration, Adaptation, and Visuality
Malcolm Cook (University of Southampton, UK)
Chapter 2: Mixing it Up: Coraline and LAIKA's Hybrid World
Miriam Harris (Auckland University of Technology, New Zealand)
Chapter 3: Armatures in the Closet: Coraline and the History of Stop Motion
Mihaela Mihailova (University of Michigan, USA)
Chapter 4: The Surprising Migrations of 2 1/2 D: The Background to Coraline
Norman M. Klein (California Institute of the Arts, USA)
Part 2: Stop-Motion Technology, Process, and Spectatorship
Chapter 5: Replacing Coraline
Dan Torre (RMIT University, Australia)
Chapter 6: Coraline's 'Other World': The Animated Camera in Stop-Motion Feature Films
Jane Shadbolt (The University of Newcastle, Australia)
Chapter 7: A World within Reach: A Neuroanimatic Perspective on Themes of Threat in the Miniature World of Coraline
Ann Owen (Falmouth University, UK)
Chapter 8: Darkness and Delight: The Reception of Coraline in the USA and UK
Rayna Denison (University of East Anglia, UK)
Part 3: Puppet Politics: Ideology, Identity, Representation
Chapter 9: The Other Maiden, Mother, Crone(s): Witchcraft, Queer Identity, and Political Resistance in LAIKA's Coraline
Mx. Kodi Maier (University of Hull, UK)
Chapter 10: Becoming-Puppet: Failed Interpellation and the Uncanny Subjection in Coraline
Eric Herhuth (Tulane University, USA)
Chapter 11: The Wandering Child and the Family in Crisis in Henry Selick's Coraline
Jane Batkin (University of Lincoln, UK)
Chapter 12: Fa(r)ther Figures: Locating the Author Father in Coraline
Nicholas Andrew Miller (Loyola University Maryland, USA)
Index
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