Chris and Alex take a look at animation’s historical and troubling relationship to race with this examination of the Censored Eleven, a collection of controversial Looney Tunes and Merrie Melodies cartoons produced during the 1930s and 1940s removed from syndication since 1968 for their inclusion of harmful and offensive racist stereotypes.
Read MoreThe Fantasy/Animation Footnotes reach their half-century as Chris and Alex are once again joined by Dr Eve Benhamou, teaching fellow in Film Studies at the University Paul-Valéry Montpellier 3, France to examine the contradictory cultural and political space of postfeminism. A much-debated topic, postfeminism typically pivots on gendered discourses of agency, autonomy, potency, and physical empowerment.
Read MoreFootnote 49 looks at the fascinating figure of the cyborg as an embodiment of hybridity, resistance, and rebellion, interrogating the role of cyborgs as surrogate figurations that representing disparate forms of identity within both popular media culture and social reality.
Read MoreFresh from their discussion of hyper-realism in the previous Footnote episode, Chris and Alex discuss ‘photorealism’ in this latest instalment - a term that denotes the aesthetic mimicking of lens-based media to create the appearance of a world as viewed through a camera.
Read MoreThe podcast's first engagement with questions of ‘realism’ in animation takes centre stage in Footnote #24, where Chris and Alex historicise and interrogate the function of realism and hyper-realist traditions within a multitude of media and aesthetic traditions.
Read MoreWhat makes a Christmas film, and why are fantasy and animated films so popular during this festive period? How is cinema consumed and ‘used’ at Christmas by both the popular film industry and families as a source of comfort? How is Christmas is narratively and thematically presented in our favourite festive-themed films?
Read MoreThe business of talking animals is the focus of Footnote #6, as Chris (with a bit of Alex) takes listeners through the shared histories of anthropomorphism and animation, and the acquisition of humanlike qualities (sentience, subjectivity, and selfhood) by non-human animated characters.
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