"A wide-ranging inquiry into an important area of contemporary scholarly interest, and also an engaging, well written and intelligently conceived collection." -Eric Smoodin, author of Animating Culture: Hollywood Cartoons From the Sound Era
Despite the success of Bugs Bunny, Daffy Duck, and their Looney cohorts, Warner Bros. animation worked in the shadow of Disney for many years. The past ten years have seen a resurgence in Warner Bros. animation as they produce new Bugs Bunny cartoons and theatrical features like Space Jam as well as television shows like Tiny Toon Adventures and Animaniacs. While Disney's animation plays it safe and mirrors traditional cinema stories, Warner Bros. is known for a more original and even anarchistic style of narration, a willingness to take risks in story construction, a fearlessness in crossing gender lines with its characters, and a freedom in breaking boundaries. This collection of essays looks at the history of Warner Bros. animation, compares and contrasts the two studios, charts the rise and fall of creativity and daring at Warner's, and analyzes the ways in which the studio was for a time transgressive in its treatment of class, race, and gender. It reveals how safety and commercialization have, in the end, triumphed at Warner Bros. just as they much earlier conquered Disney.
The book also discusses fan parodies of Warner Bros. animation on the Internet today, the Bugs Bunny cross-dressing cartoons, cartoons that were censored by the studio, and the merchandising and licensing strategies of the Warner Bros. studio stores. Contributors are Donald Crafton, Ben Fraser, Michael Frierson, Norman M. Klein, Terry Lindvall, Bill Mikulak, Barry Putterman, Kevin S. Sandler, Hank Sartin, Linda Simensky, Kirsten Moana Thompson, Gene Walz, and Timothy R. White.
Based on work the author has carried out with survivor groups in Northern Ireland and South Africa, Recording Memories from Political Violence draws on written and audiovisual texts to describe and analyze the use of documentary filmmaking in recording experiences of political conflict. A variety of issues relevant to the genre are addressed at length, including the importance of ethics in the collaboration between the filmmaker and the participant and the effect of location on the accounts of participants. Cahal McLaughlin draws on the diverse fields of film and cultural studies, as well as nearly twenty years of production experience, in this informed and instructive contribution to documentary filmmaking and post-conflict studies.
Resolutions 3 explores the wide-ranging implications of video art and video-based production in contemporary media culture. It is the third volume in a series composed of Resolution: A Critique of Video Art (1986) and Resolutions: Contemporary Video Practices (1996). While Resolution was one of the first critical texts on video art in the United States, Resolutions was one of the first books to address video as a medium across disciplines from theoretical, activist, and transnational perspectives.
Resolutions 3 articulates this legacy as a challenge to reengage with the explosive viral reach of moving image–based content and its infiltration into and impact on culture and everyday life. The contributors to this work analyze what is now a fourth decade of video practices as marked within and outside the margins of art production, networked interventions, projected spectacle, museum entombment, or 24/7 streaming. Intending to broaden, contest, and amplify the mediated space that was defined by its two predecessors, this volume investigates the ever-changing state of video’s deployment as examiner, tool, journal reportage, improvisation, witness, riff, leverage, and document.
Contributors: Kathleen Ash-Milby, Smithsonian National Museum of the American Indian; Myriam-Odile Blin, Rouen U, France; Nancy Buchanan, California Institute of the Arts; Derek A. Burrill, U of California, Riverside; Sean Cubitt, U of Melbourne; Faisal Devji, New York U; Jennifer Doyle, U of California, Riverside; Jennifer Friedlander, Pomona College; Kathy High, Rensselaer Polytechnic Institute; Lucas Hilderbrand, U of California, Irvine; Nguyen Tan Hoang, Bryn Mawr College; Kathy Rae Huffman; Amelia Jones, McGill U; David Joselit, Yale U; Alexandra Juhasz, Pitzer College; Jessica Lawless, Santa Fe Community College; Hea Jeong Lee; Jesse Lerner, Pitzer College; Akira Mizuta Lippit, U of Southern California; Lionel Manga; Laurence A. Rickels, U of California, Santa Barbara; Kenneth Rogers, U of California, Riverside; Michael Rush, Eli and Edythe Broad Art Museum, Michigan State U; Freya Schiwy, U of California, Riverside; Beverly R. Singer, U of New Mexico; Yvonne Spielmann, U of the West of Scotland; Catherine Taft, Getty Research Institute; Holly Willis, U of Southern California.
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