I study how line, motion, and space create meaning.
It’s completely free, it’s about how the animation of South Park is closer to My Neighbor Totoro than Totoro is to Frozen - I know that’s crazy work & I’m sure you’ll enjoy it!
Please enjoy.
substack.com/@animationli...
It’s completely free, it’s about how the animation of South Park is closer to My Neighbor Totoro than Totoro is to Frozen - I know that’s crazy work & I’m sure you’ll enjoy it!
Please enjoy.
substack.com/@animationli...
Memoir of a Snail is powerful not because of what it animates, but because of what it restrains.
An episode on disability, stillness, and Space as ethical grammar in animation.
Listening, not compensating.
Memoir of a Snail is powerful not because of what it animates, but because of what it restrains.
An episode on disability, stillness, and Space as ethical grammar in animation.
Listening, not compensating.
Not theme.
Not message.
How motion snaps.
How space stays stable.
How individuality shows up before it’s explained.
Can plastic feel malleable?
Not theme.
Not message.
How motion snaps.
How space stays stable.
How individuality shows up before it’s explained.
Can plastic feel malleable?
Stop-motion treating pain not as a theme,
but as a condition of creation.
Line scars. Motion exhausts. Space never pushes back.
Stop-motion treating pain not as a theme,
but as a condition of creation.
Line scars. Motion exhausts. Space never pushes back.
But when the film confronts stillness, animation often shares authorship with cinematic tools.
Lumalee is to hilarious stillness when animation leads, whereas Mario shows what it looks like when animation and cinema co-author it.
But when the film confronts stillness, animation often shares authorship with cinematic tools.
Lumalee is to hilarious stillness when animation leads, whereas Mario shows what it looks like when animation and cinema co-author it.