Acknowledgments |
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ix | |
Authors |
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xi | |
Introduction: Neverland or No End to Childhood |
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xiii | |
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Part I The Story of Actors & Acting in Animation |
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1 Time for Creation: Homunculi |
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3 | (2) |
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2 Chalk-Talking on a Vaudeville Stage |
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5 | (4) |
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3 Magicians and Masquerades |
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9 | (2) |
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4 An Actor's Vision of Optical Poetry |
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11 | (2) |
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5 Shadow Plays and Silhouette Films: The Adventures of Prince Achmed |
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13 | (4) |
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6 Rotoscoping: Dave Fleischer as Ko-Ko the Clown |
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17 | (4) |
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7 The Peak of Character Animation: Walt Disney |
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21 | (4) |
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25 | (4) |
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29 | (6) |
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10 Animators to Become Actors and Actresses (Sort of)? |
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35 | (6) |
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11 The Flintstones and the Age of Television |
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41 | (4) |
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45 | (4) |
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49 | (4) |
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53 | (6) |
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15 Pixilation: Animating Actors or Becoming Animation |
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59 | (6) |
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16 Dancing with Animation |
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65 | (4) |
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17 Acting with Animated Characters |
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69 | (6) |
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75 | (16) |
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19 Animated Characters around the World |
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91 | (8) |
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20 Of Heroes, Antiheroes, Villains, and Men |
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99 | (4) |
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103 | (6) |
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22 Acting Against the Odds of Visual Effects and Animation |
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109 | (4) |
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23 Avatar and Beyond: The Idiosyncrasies of 3D Animation and the Art of Performance Capture |
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113 | (10) |
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24 A Nod to Computer Games |
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123 | (8) |
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Part II Creativity Training for Writers, Producers, and Animators---A Practical Guide |
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131 | (4) |
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26 Writing Animation: Role Profiles |
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135 | (8) |
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27 Contradictions: The Key to Great Characters and Stories |
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143 | (4) |
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28 Intercultural Differences between East and West |
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147 | (10) |
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29 Preconceived Characters |
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157 | (6) |
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30 Animals and Anthropomorphism |
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163 | (4) |
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31 Animation, Toys, and Merchandising |
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167 | (4) |
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32 Design, Posing, and Facial Expression |
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171 | (6) |
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33 Understanding Body Language |
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177 | (8) |
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185 | (4) |
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35 It's Personality That Wins |
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189 | (4) |
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193 | (4) |
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37 Psychological Projection |
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197 | (8) |
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38 The Role of Producer and Director |
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205 | (2) |
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39 Feel at Ease While Animating |
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207 | (4) |
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40 Computer Graphic Characters, Performance Capture Techniques, and the Future of Acting in Animation |
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211 | (6) |
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217 | (2) |
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219 | (2) |
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43 Visualization Techniques: Creatures of the Mind |
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221 | (14) |
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44 The Animation Film Historian: Giannalberto Bendazzi |
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235 | (2) |
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45 The VFX Artist: Robert Blalack |
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237 | (4) |
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46 The Creator from Italy: Bruno Bozzetto |
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241 | (4) |
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47 The Replacement Animators from Argentina: Alberto Couceiro and Alejandra Tomei |
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245 | (8) |
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48 The Spanish Animation Producer: Manuel Cristobal |
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253 | (6) |
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49 The Stop-Motion Animator and VFX Director: Jim Danforth |
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259 | (4) |
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50 The Belgian Animation Director: Piet De Rycker |
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263 | (6) |
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51 The Game Expert: Thomas Dlugaiczyk |
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269 | (4) |
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52 The Artist from the Zagreb School of Animation: Borivoj Dovnikovic-Bordo |
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273 | (6) |
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53 The Animation Scholar from Hong Kong: Daisy Yan Du |
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279 | (6) |
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54 The Disney Expert: Didier Ghez |
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285 | (4) |
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55 The 3D Animator from Germany: Felix Goennert |
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289 | (6) |
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56 The European Producer: Gerhard Hahn |
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295 | (6) |
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57 The Stop-Motion Historian: Mike Hankin |
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301 | (4) |
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58 The Late Stop-Motion Legend Himself: Ray Harryhausen |
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305 | (12) |
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59 The World's Leading Performance Capture Expert: Joe Letteri |
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317 | (4) |
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60 The German Animation Producer: Tony Loeser |
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321 | (4) |
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61 The American Expert in 3D Scans: Karl Meyer |
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325 | (2) |
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62 The Managing Director from Hungary: Ferenc Mikulas |
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327 | (4) |
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63 The German Puppet Animator: Heinrich Sabl |
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331 | (8) |
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64 The Animation Student from Romania: Veronica Solomon |
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339 | (4) |
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65 The Czech 3D Producer: Jan Tomanek |
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343 | (4) |
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66 The Experimental Stop-Frame Animator: Grigori Zurkan |
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347 | (6) |
Selected Filmography |
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353 | (10) |
Bibliography |
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363 | (6) |
Index |
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369 | |