A continuation of 1994's groundbreaking Cartoons, Giannalberto Bendazzi's Animation: A World History: Volume III: Contemporary Times from Focal Press is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries.

Volume III catches you up to speed on the state of animation from 1991 to present. Although characterized by such trends as economic globalization, the expansion of television series, emerging markets in countries like China and India, and the consolidation of elitist auteur animation, the story of contemporary animation is still open to interpretation. With an abundance of first-hand research and topics ranging from Nickelodeon and Pixar to modern Estonian animation, this book is the most complete record of modern animation on the market and is essential reading for all serious students of animation history.

Author: Giannalberto Bendazzi    Paperback, 426 Pages    Publisher: Routledge Taylor & Francis    1st Edition, Published November 28, 2016

• Over 200 high quality head shots and film stills to add visual reference to your research
• Detailed information on hundreds of never-before researched animators and films
• Coverage of animation from more than 90 countries and every major region of the world
• Chronological and geographical organization for quick access to the information you’re looking for

The sixth Period, since 1991, features economic globalization, expansion of the television series, progress of countries like Japan, Korea, China, India, consolidation of elitist auteur animation. But it is impossible to write history while it is in its making. We'll leave the Period uncharacterized, until the day we will be witnessing its ending: these are then Contemporary Times (1991 - 2015)

The Last Days of the Wall

An Animation Notebook

AMERICA

Is TV an Art, Too?

Animation followed

Sub-Period 1: The Beginning, 1989-1998

Mike Judge

Nickelodeon's double humour

A matter of style

The extremist

Sub-Period 2: 1999-2009

Author's work

Animated channels

Limited Disney

Renaissance in Disney Features

The mantle of Walt

Working on dreams

Pixar, Character Animation in the Digital Era

Before PIXAR

From Toy Story to Disney

The PixarTouch

Computer animation

What it looked like

Storytelling

CGI and Feature Films

Tim Burton, Henry Selick, Mike Johnson

Tim Burton

Henry Selick

Mike Johnson

The Independents

Outside Animation

Duration: Long Form

Duration: Time and Space

Performance Catharsis

Documentary

New Yorkers

Out There

Digital Pulp

Women in the Limelight

Vibeke Sorensen

Deanna Morse

Joanna Priestley

Maureen Selwood

The Soloists

Bill Plympton

Igor Kovalyov

Canada

Steven Woloshen

Normand Roger

Wendy, Amanda and the others

Jacques Drouin

The evolution of Pierre Hébert

EUROPE

Great Britain: The Wonderful Years

Animation meets video art

Londoners

In Manchester

In Cardiff

Scotland

Ireland

Studios

Independents

France

The feature film

Animation and Comic Strip

3D and Infography

TV Series

The Short Film

That famous touch

Michel Ocelot

Florence Miailhe

Alain Gagnol & Jean-Loup Felicioli

Borislav Šajtinac

Belgium

Luxemburg

The Netherlands

Rosto

Michael Dudok De Wit

Germany after Reunification

The German Colleges as Origin of the Art of Animated Film

The Renewal of the Abstract Animated Film

Underground, Subversion and Animation

Reduction

Reflection and Narrative

The Art of Puppet Animation

The two young fathers

Humorous Germany? Animated movie theatre productions

New Form of 3D-rendered Computer Animations

Bärbel Neubauer

Austria

Switzerland

Georges Schwizgebel

A case of form

Denmark

Sweden

Magnus Carlsson

Norway

Finland

Iceland

The Invasion of the Elves

Estonia

Priit Pärn

Latvia

Lithuania

Belarus

Poland

Piotr Dumala

Jerzy Kucia

Czech Republic

Michaela Pavlátová

Jirí Barta

Jan Balej

Pavel Koutský

Vlasta Pospišílová

Aurel Klimt

Other Czech artists

Slovakia

Hungary

Slovenia

Croatia

Joško Marušic

Serbia

Bosnia and Herzegovina

Bulgaria

Romania

Cyprus

Ukraine

Georgia

Armenia

Robert Sahakyants

Azerbaijan

Greece

Yiorgos Sifianos

Albania

Italy

The Neo-Pictorial Current

Spain

The new era

The turning point

TV series

Shorts

Portugal

Russia

The 1990s, history

The 2000s, history

Economy

A look back, in anger

Tatarsky and Pilot, the greatest adventure

Producers, the new class

Prokhorov, from science to children films

Directors: Aleksandr Petrov

Directors: Oksana Cherkasova

Directors: Dmitry Geller

Directors: Konstantin Bronzit

Directors: Garri Bardin

Directors: Stanislav Sokolov

Directors: Ivan Maksimov

Directors: Aleksei Demin

Directors: a trio

Directors: in Saint Petersburg

Directors: in Yekaterinburg

ASIA

Japan, Asiatic Giant

A lost decade?

Studio Ghibli

Takahata Isao

Miyazaki Hayao

More animation studios

Toei Animation

Studio 4°C

Gainax

TMS Entertainment

Sunrise

Madhouse

Production I.G

Studio Gonzo

Studio Bones

Manglobe

Kawaii

Auteurs

Rintaro

Oshii Mamoru

Kon Satoshi

Otomo Katsuhiro

Kawamori Shoji

Kawajiri Yoshiaki

Morimoto Koji

A new kind of serial

Examples

Satellite channels

The main directors of new serial animation

Anno Hideaki

Watanabe Shinichiro

Yuasa Masaaki

Hosoda Mamoru

Shinkai Makoto

Internet and CG anime

Visual art + anime and manga

Murakami Takashi

Tabaimo

Ishida Takashi

The Superflat world

Independent animation

Shôjo Tsubaki by Harada Hiroshi

Kurosaka Keita

Yamamura Koji

More independent animators

Yokosuka Reiko

Yonesho Maya

Sato Dino

Murata Tomoyasu

Kato Kunio

Totchka

Sakakibara Sumito

Oyama Kei

Wada Atsushi

Mizue Mirai

Nakata Hideto

Tsuji Naoyuki

Conclusions

Challenges

Israel

Israeli/American Tatia Rosenthal

Turkey

Arabian Middle East

Palestine

Jordan

Syria

Lebanon

Iraq

Kuwait

Saudi Arabia

Bahrain

Qatar

Emirates - Dubai

Oman

Yemen

Iran

Kazakhstan

Zhaken Danenov, the master

Younger Kazakhs

Uzbekistan

Kyrgyzstan

New period, new horizons

Tajikistan

Bakhtier Kakharov

Turkmenistan

Mongolia

South Korea

China

Short Chinese animation 1990-2000

Investment and a new mainstream

Animation studios

Taiwan

Taiwan Independent

Hong Kong

India

Nepal

SOUTHEAST ASIA

Vietnam

Thailand

Malaysia

Singapore

Indonesia

The Philippines

AFRICA

Morocco

Algeria

Tunisia

Libya

Egypt

Mali

Niger

Sudan

Ethiopia

Senegal

Ivory Coast

Ghana

Benin

Burkina Faso

Nigeria

Camerun

Kenya

Democratic Republic of Congo (DRC)

Mozambique

Madagascar

Zimbabwe

The JAAG group

South African Republic

Frame-by-frame Animation Studios

Klaybow Films

Lindsay van Blerk and XYZoo

Triggerfish Studios

Commercial Studios

William Kentridge

LATIN AMERICA

Mexico

Feature films

Cuba

English-Speaking Caribbean Area

Jamaica

Saint Lucia

Barbados

Trinidad and Tobago

Guatemala

Honduras

El Salvador

Costa Rica

Panama

Colombia

Venezuela

Ecuador

Peru

Brazil

Bolivia

Paraguay

Chile

Argentina

Features

Short films

Appearence of schools

Uruguay

OCEANIA

Australia

Volumetric Leunig

Death becomes him

Adam Elliot

Anthony Lucas

And many more

New Zealand

ISSUES

Music videos

Stereoscopy

The audience's literacy

Optical perception and film language

Machinima, real-time animation

A former professor at the Nanyang Technological University of Singapore and the Università degli Studi of Milan, Italian-born Giannalberto Bendazzi has been thoroughly investigating the history of animation for more than forty years. A founding member of the Society for Animation Studies, he authored or edited various classics in various languages, and has lectured extensively on every continent.

Related Questions and Answers

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A: Yes, the Canon R6 ii has a Red Frame that blinks while recording. You can set that up in the menu to be on or off.

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A: I apologize in advance for the vague answer, but "better" will very much depend on the kind of photographs you make and the kind of compositions you enjoy. Typically, 35mm/40mm are seen as more "traditional" for street photography, but the 45mm might offer you tighter, slightly more intimate perspectives during everyday shooting. Truthfully, there isn't a significant difference between them, and you should be able to enjoy making photographs with either!

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Q: 10. I see from the photos that the aperture rings move in 1/3 stops. Will it give the same effect as de-clicked aperture of a cine lens? Or will the jumps be noticeable? Thanks

A: From our tests in the store using the Sigma 35mm f/2 DG DN C, the effect is not quite similar to a de-clicked aperture ring. Firstly, there is an audible click when rotating the physical aperture ring. Secondly, there is a split-second latency even in Aperture Priority where the exposure adjusts and the shutter speed/ISO raises in order to compensate for the change. We had a much more seamless effect when the lens is set to "A" and we adjusted the aperture via the dials as we did not hear the click nor did we see any visible exposure change.