Hollywood Flatlands: Animation, Critical Theory and the Avant-garde

Copertina anteriore
Verso, 2002 - 344 pagine
With ruminations on drawing, color and caricature, on the political meaning of fairy-tales, talking animals and human beings as machines, Hollywood Flatlands brings to light the links between animation, avant-garde art and modernist criticism. Focusing on the work of aesthetic and political revolutionaries of the inter-war period, Esther Leslie reveals how the animation of commodities can be studied as a journey into modernity in cinema. She looks afresh at the links between the Soviet Constructivists and the Bauhaus, for instance, and those between Walter Benjamin and cinematic abstraction. She also provides new interpretations of the writings of Siegfried Kracauer on animation, shows how Theodor Adorno's and Max Horkheimer's film viewing affected their intellectual development, and reconsiders Sergei Eisenstein's famous handshake with Mickey Mouse at Disney's Hyperion Studios in 1930. 10 color and 30 b/w photographs.
 

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Indice

experimental
1
drawing and the european avantgarde
33
mickey mouse utopia and walter benjamin
80
deutschamerikanische freundschaft
123
eyecandy and adornos silly sympHonies
158
siegfried kracauer dumbo and class struggle
200
eisenstein shakes mickeys hand in hollywood
219
technecolour
251
a flat ending
289
notes
301
select bibliography
331
acknowledgements
338
index
339
Copyright

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Informazioni sull'autore (2002)

Esther Leslie is a lecturer in English and Humanities at Birkbeck College, London. She is the author of Walter Benjamin: Overpowering Conformism and sits on the editorial boards of Historical Materialism, Radical Philosophy and Revolutionary History.

Informazioni bibliografiche