How animation can reconnect us with bodily experiences
 

Film and media studies scholarship has often argued that digital cinema and CGI provoke a sense of disembodiment in viewers; they are seen as merely fantastic or unreal. In her in-depth exploration of the phenomenology of animation, Sandra Annett offers a new perspective: that animated films and digital media in fact evoke vivid embodied sensations in viewers and connect them with the lifeworld of experience. 

Starting with the emergence of digital technologies in filmmaking in the 1980s, Annett argues that contemporary digital media is indebted to the longer history of animation. She looks at a wide range of animation—from Disney films to anime, electro swing music videos to Vocaloids—to explore how animation, through its material forms and visual styles, can evoke bodily sensations of touch, weight, and orientation in space. Each chapter discusses well-known forms of animation from the United States, France, Japan, South Korea, and China, examining how they provoke different sensations in viewers, such as floating and falling in Howl’s Moving Castle and My Beautiful Girl Mari, and how the body is mediated in films that combine animation and live action, as seen in Who Framed Roger Rabbit and Song of the South. These films set the stage for an exploration of how animation and embodiment manifest in contemporary global media, from CGI and motion capture in Disney’s “live action remakes” to new media installations by artists like Lu Yang.

Leveraging an array of case studies through a new approach to film phenomenology, The Flesh of Animation offers an enlightening discussion of why animation provides a sensational experience for viewers not replicable through other media forms.

"The most sensational, perpetual teenager in the world.” —Jim Henson

"To know him was to love him, and we do." —Mark Hamill
 
Funny Boy: The Richard Hunt Biography tells the life story of a gifted performer whose gleeful irreverence, sharp wit and generous spirit inspired millions. Richard Hunt was one of the original main five performers in the Muppet troupe. He brought to life an impressive range of characters on The Muppet Show, Sesame Street, Fraggle Rock and various Muppet movies, everyone from eager gofer Scooter to elderly heckler Statler, groovy girl Janice to freaked-out lab helper Beaker, even early versions of Miss Piggy and Elmo. Hunt also acted, directed and mentored the next generation of performers. His accomplishments are all the more remarkable in that he crammed them all into only 40 years. 

Richard Hunt was just 18 years old when he joined Jim Henson’s company, where his edgy humor quickly helped launch the Muppets into international stardom. Hunt lived large, savoring life’s delights, amassing a vivid, disparate community of friends. Even when the AIDS epidemic wrought its devastation, claiming the love of Hunt’s life and threatening his own life, he showed an extraordinary sense of resilience, openness and joy. Hunt’s story exemplifies how to follow your passion, foster your talents, adapt to life’s surprises, genuinely connect with everyone from glitzy celebrities to gruff cab drivers – and have a hell of a lot of fun along the way.