| Edition |
First edition. |
| Description |
1 online resource (xx, 387 pages) : illustrations |
| Physical Medium |
polychrome |
| Description |
text file |
| Bibliography |
Includes bibliographical references and index. |
| Contents |
Part I: The Story of Actors & Acting in Animation -- chapter 1. Time for Creation: Homunculi -- chapter 2. Chalk-Talking on a Vaudeville Stage -- chapter 3. Magicians and Masquerades -- chapter 4. An Actor's Vision of Optical Poetry -- chapter 5. Shadow Plays and Silhouette Films: The Adventures of / Prince Achmed -- chapter 6. Rotoscoping: Dave Fleischer as Ko-Ko the Clown -- chapter 7. The Peak of Character Animation: Walt Disney -- chapter 8. Shamanism and Totemism -- chapter 9. Famous Cartoon Animals -- chapter 10. Animators to Become Actors and Actresses (Sort of)? -- chapter 11. The Flintstones and the Age of Television -- chapter 12. Reason & Emotion -- chapter 13. Theories of Acting -- chapter 14. Voice Actors -- chapter 15. Pixilation: Animating Actors or Becoming Animation -- chapter 16. Dancing with Animation -- chapter 17. Acting with Animated Characters -- chapter 18. The Puppet Masters -- chapter 19. Animated Characters around the World -- chapter 20. Of Heroes, Antiheroes, Villains, and Men -- chapter 21. Comedy and Comedians -- chapter 22. Acting Against the Odds of Visual Effects and Animation -- chapter 23. Avatar and Beyond: The Idiosyncrasies of 3D Animation and the Art of Performance Capture -- chapter 24. A Nod to Computer Games -- Part II: Creativity Training for Writers, Producers, and Animators--A Practical Guide -- chapter 25. Surprise Me! -- chapter 26. Writing Animation: Role Profiles -- chapter 27. Contradictions: The Key to Great Characters and Stories -- chapter 28. Intercultural Differences between East and West -- chapter 29. Preconceived Characters -- chapter 30. Animals and Anthropomorphism -- chapter 31. Animation, Toys, and Merchandising -- chapter 32. Design, Posing, and Facial Expression -- chapter 33. Undiferstanding Body Language -- chapter 34. The Eyes Have It! -- chapter 35. It's Personality That Wins -- chapter 36. The Score -- chapter 37. Psychological Projection -- chapter 38. The Role of Producer and Director -- chapter 39. Feel at Ease While Animating -- chapter 40. Computer Graphic Characters, Performance Capture Techniques, and the Future of Acting in Animation -- chapter 41. Perceptions Exercises -- chapter 42. Game of Imagination -- chapter 43. Visualization Techniques: Creatures of the Mind -- Part III: Q & A -- chapter 44. The Animation Film Historian: Giannalberto Bendazzi -- chapter 45. The VFX Artist: Robert Blalack -- chapter 46. The Creator from Italy: Bruno Bozzetto -- chapter 47. The Replacement Animators from Argentina: Alberto / Couceiro and Alejandra Tomei -- chapter 48. The Spanish Animation Producer: Manuel Cristóbal -- chapter 49. The Stop-Motion Animator and VFX Director: Jim Danforth -- chapter 50. The Belgian Animation Director: Piet De Rycker -- chapter 51. The Game Expert: Thomas Dlugaiczyk -- chapter 52. The Artist from the Zagreb School of Animation: Borivoj Dovnikovic' -Bordo -- chapter 53. The Animation Scholar from Hong Kong: Daisy Yan Du -- chapter 54. The Disney Expert: Didifer Ghez -- chapter 55. The 3D Animator from Germany: Felix Goennert -- chapter 56. The European Producer: Gerhard Hahn -- chapter 57. The Stop-Motion Historian: Mike Hankin -- chapter 58. The Late Stop-Motion Legend Himself: Ray Harryhausen -- chapter 59. The World's Leading Performance Capture Expert: Joe / Letteri -- chapter 60. The German Animation Producer: Tony Loeser -- chapter 61. The American Expert in 3D Scans: Karl Meyer -- chapter 62. The Managing Director from Hungary: Ferenc Mikulás -- chapter 63. The German Puppet Animator: Heinrich Sabl -- chapter 64. The Animation Student from Romania: Veronica Solomon -- chapter 65. The Czech 3D Producer: Jan Tománek -- chapter 66. The Experimental Stop-Frame Animator: Grigori Zurkan. |
| Summary |
"Animation has a lot to do with acting. That is, character animation, not the standardized, mechanical process of animation. Acting and animation are highly creative processes. This book is divided into two parts: From film history we learn about the importance of actors and the variety of acting that goes into animation; then, we will turn to the actor's point of view to describe the various techniques involved. Through exhaustive research and interviews with people ranging from the late Ray Harryhausen, Jim Danforth, Joe Letteri, and Bruno Bozzetto, this book will be the primary source for animators and animation actors."--Provided by publisher. |
| Access |
Concurrent user level: 1 user |
| Subject |
Motion picture acting.
|
|
Motion picture acting. |
|
Characters and characteristics.
|
|
Characters and characteristics. |
|
Voice-overs.
|
|
Voice-overs. |
|
Dialogue in motion pictures.
|
|
Dialogue in motion pictures. |
|
Animation (Cinematography)
|
|
Animation (Cinematography) |
| Genre/Form |
Electronic books.
|
| Added Author |
Khan, Anna, author.
|
| Other Form: |
Print version: Giesen, Rolf. Acting and character animation : the art of animated films, acting and visualizing. Boca Raton, Florida ; London, [England] ; New York : CRC Press, ©2018 xx, 387 pages 9781498778633 |
| ISBN |
9781315155036 (electronic book) |
|
1315155036 (electronic book) |
|
9781138069817 (hardcover acid-free paper) |
|
1138069817 (hardcover acid-free paper) |
|
9781498778633 (paperback acid-free paper) |
|
1498778631 (paperback acid-free paper) |
|
9781351651073 |
|
1351651072 |
|
