Women: from outside in and inside out -- The body and the unconscious as creative elements in the work of Michèle Cournoyer / Julie Roy -- Michèle Cournoyer: comments on making The Hat -- Michaela Pavlátová: frustrated coupling / Olivier Cotte -- On Vera Neubauer / Leslie Felperin -- Vera Neubauer Wheel of Life - interview -- Truth under oppression: the films of Ruth Lingford / Simon Pummell -- Ruth Lingford: The Pleasures of War - interview -- Interrogating masculinity -- Revealing men: the Y factor / Ruth Lingford -- Extracts from Simon Pummell's notebooks -- On Simon Pummell's The Secret Joy of Falling Angels -- On Andreas Hykade's We Live in Grass and Ring of Fire -- On Igor Kovalyov's Bird in the Window and Milch / Michale O'Pray -- On Craig Welch's How Wings are Attached to the Backs of Angels -- The embodied voice: in confessional mode / Jayne Pilling -- Whose body is it? / Alys Hawkins -- Sound and emotional narrative: Annabelle Pangborn on scoring The Secret Joy of Falling Angels -- A composer at work: notebooks on The Secret Joy of Falling Angels -- Ian Gouldstone on guy101 -- Script development on guy101 -- Final script: guy 101 -- Modes of reality -- Mixing memory and desire: animation, documentary and the sexual event / Karen Beckman -- The Stain: interviews with Marjut Rimminen and Christine Roche -- The Stain: Christine Roche's Sketchbooks -- The animated body and its material nature / Ruth Hayes
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As critical interest has grown in the unique ways in which art animation explores and depicts subjective experience - particularly in relation to desire, sexuality, social constructions of gender, confessional modes, fantasy, and the animated documentary - this volume offers detailed analysis of both the process and practice of key contemporary filmmakers, while also raising more general issues around the specificities of animation. This unique collection combines critical essays with interview material, visual mapping of the creative process, consideration of the neglected issue of how the use of sound differs from that of conventional live-action, and filmmakers' critiques of each others' work