Defining experimental animation: A follow-up

References

1. Abel, Robert. ( 1975), Action on ABC, USA:: Robert Abel and Associates;.
   [Google Scholar]
2. Athanasopoulou, Katerina. ( 2019), Her Voice, UK:: AUDINT;.
   [Google Scholar]
3. Athanasopoulou, K.. ( 2020), e-mail correspondence with the author , 15 September.
4. Beams, Mary. ( 1972), Tub Film, USA:.
   [Google Scholar]
5. Bendazzi, G.. ( 2016), Animation: A World History, vol. 3, Boca Raton, FL:: CRC Press;.
   [Google Scholar]
6. Betancourt, M.. ( 2019;), 'Experimental animation and motion graphics. ', in M. Harris,, L. Husbands, and P. Taberham. (eds), Experimental Animation: From Analogue to Digital, London:: Routledge;, pp. 51–67.
   [Google Scholar]
7. Brakhage, Stan. ( 1999), Persian Series #2, USA:.
   [Google Scholar]
8. Brewer, A., and Brewer, B.. ( 2015), Where Are Ü Now, USA:: Jog Road Productions;.
   [Google Scholar]
9. Brothers Quay ( 1986), Street of Crocodiles, UK:: BFI;.
   [Google Scholar]
10. Curtis, D.. ( 2003;), ‘ Locating McLaren. ’, in N. Danino, and M. Mazière. (eds), The Undercut Reader: Critical Writings on Artists’ Film and Video, London:: Wallflower Press;, pp. 174–80.
    [Google Scholar]
11. Davis, S.. ( 2014), Variation 09, Israel:.
    [Google Scholar]
12. Dobson, N.. ( 2018), Norman McLaren: Between the Frames, New York and London:: Bloomsbury Academic;.
    [Google Scholar]
13. Fischinger, O.. ( 1933), Muratti Cigarettes, Germany:.
    [Google Scholar]
14. Fischinger, O.. ( 1952), Oklahoma Gas, Germany:.
    [Google Scholar]
15. Francis Parks, C.. ( 2016), Fluid Frames: Experimental Animation with Sand, Clay, Paint, and Pixels, London and New York:: Routledge;.
    [Google Scholar]
16. Hee Han, B., and OReilly, D.. ( 2013), A Glitch is a Glitch, USA:: Cartoon Network Studios and Frederator Studios;.
    [Google Scholar]
17. Hertzfeldt, D.. ( 2014), Future Couch Gag, USA:: 20th Century Fox TV;.
    [Google Scholar]
18. Hilton, S.. ( 1998), Six Weeks in June, UK:: BFI;.
    [Google Scholar]
19. Hiraoka, M.. ( 2015), L’Oeil Du Cyclone, Japan:: Masanobu Hiraoka;.
    [Google Scholar]
20. Husbands, L.. ( 2019a;), ‘ Craft as critique in experimental animation. ’, in C. Ruddell, and P. Ward. (eds), The Crafty Animator: Handmade, Craft-Based Animation and Cultural Value, Basingstoke:: Palgrave Macmillan;, pp. 45–73.
    [Google Scholar]
21. Husbands, L.. ( 2019b;), ‘ The “quasi-artistic venture”: MTV idents and alternative animation culture. ’, in M. Cook, and K. M. Thompson. (eds), Animation and Advertising, Cham:: Palgrave Macmillan;, pp. 229–45.
    [Google Scholar]
22. Ivins-Hulley, L.. ( 2013;), ‘ A universe of boundaries: Pixilated performances in Jan Švankmajer’s Food. ’, animation: an interdisciplinary journal, 8:3, pp. 267–82.
    [Google Scholar]
23. Lockhart, A.. ( 2012), Landscapes, USA:: Amy Lockhart;.
    [Google Scholar]
24. Lye, L.. ( 1936a), The Birth of a Robot, UK:: Len Lye;.
    [Google Scholar]
25. Lye, L.. ( 1936b), Rainbow Dance, UK:: Len Lye;.
    [Google Scholar]
26. MacDonald, S.. ( 1992), A Critical Cinema 2: Interviews with Independent Filmmakers, Berkeley:: University of California Press;.
    [Google Scholar]
27. McLaren, N.. ( 1955), Blinkity Blank, Canada:: NFB;.
    [Google Scholar]
28. Millard, P.. ( 2012), Boogodobiegodongo, UK:: Peter Millard;.
    [Google Scholar]
29. OReilly, D.. ( 2008), Please Say Something, Barcelona:: David OReilly;.
    [Google Scholar]
30. OReilly, D.. ( 2009;), ‘ Basic animation aesthetics. ’, DavidOReilly, http://www.media-arts-uts.com/aes1/wp-content/uploads/2012/01/BasicAnimationAesthetics.pdf. Accessed 9 September 2020.
    [Google Scholar]
31. Payne, S.. ( 2006), Primary Phases, UK:: Lethaby Gallery;.
    [Google Scholar]
32. Plantinga, C.. ( 2009;), ‘ Emotion and affect. ’, in P. Livingstone, and C. Plantinga. (eds), The Routledge Companion to Philosophy and Film, Abingdon:: Routledge;, pp. 86–96.
    [Google Scholar]
33. Reinke, S.. ( 2005;), ‘ The world is a cartoon: Stray notes on animation. ’, in C. Gehman, and S. Reinke. (eds), The Sharpest Point: Animation at the End of Cinema, Toronto:: YYZ Books, Ottawa International Animation Festival and Images Festival;, pp. 9–26.
    [Google Scholar]
34. Scott, R.. ( 2010), Robin Hood, USA:: Imagine Entertainment;.
    [Google Scholar]
35. Smith, V., and Hamlyn, N.. ( 2018;), ‘ Introduction. ’, in N. Hamlyn, and V. Smith. (eds), Experimental and Expanded Animation: New Perspectives and Practices, Cham:: Palgrave Macmillan;, pp. 1–18.
    [Google Scholar]
36. Sutton, G.. ( 2015), The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema, Cambridge, MA:: MIT Press;.
    [Google Scholar]
37. Švankmajer, J.. ( 2012;), ‘ Czech animator Jan Svankmajer’s creative dictums. ’, False Art, 26 September, http://www.falseart.com/czech-animator-jan-svankmajers-creative-dictums/. Accessed 21 September 2020.
    [Google Scholar]
38. Taberham, P.. ( 2019;), ‘ It is alive if you are: Defining experimental animation. ’, in M. Harris,, L. Husbands, and P. Taberham. (eds), Experimental Animation: From Analogue to Digital, London:: Routledge;, pp. 17–36.
    [Google Scholar]
39. Toccafondo, G.. ( 1989), La Coda, Italy:: Gianluigi Toccafondo;.
    [Google Scholar]
40. Toccafondo, G.. ( 1991), La Pista, Italy:: Gianluigi Toccafondo;.
    [Google Scholar]
41. Turner, P.. ( 2007;), ‘ Early connections between film and emerging media as evidenced in the animated worlds of Adam Beckett. ’, Animation Studies, 3 February, https://journal.animationstudies.org/pamela-turner-early-connections-between-film-and-emerging-media-as-evidenced-in-the-animated-worlds-of-adam-beckett/. Accessed 9 September 2020.
    [Google Scholar]
42. Virkhaus, V.. ( 2015), ISAM 2.0 Live Outside Lands, USA:: V Squared Labs;.
    [Google Scholar]
43. Wells, P., and Hardstaff, J.. ( 2008), Reimagining Animation: The Changing Face of the Moving Image, Lausanne:: AVA Publishing;.
    [Google Scholar]
44. Wittgenstien, L.,, Hacker, P., and Schulte, J.. (eds) ( 2009), Philosophical Investigations, Malden, MA:: Wiley-Blackwell;.
    [Google Scholar]
45. Wright, E.. ( 2010), Scott Pilgrim vs. the World, Canada:: Big Talk Films;.
    [Google Scholar]
46. Taberham, Paul. ( [2019] 2021;), ‘ Defining experimental animation: A follow-up. ’, Animation Practice, Process & Production, 8, pp. 11–31, https://doi.org/10.1386/ap3_00002_1
    [Google Scholar]