Chris Pallant is a Senior Lecturer at Canterbury Christ Church University, UK. His research includes animation, filmmaking production practices and technologies, and videogames. He has published on a range of topics, including Disney feature animation, the ‘cartoonism’ of Quentin Tarantino, performance capture, and Rockstar Games.

• List of IllustrationsAcknowledgementsIntroductionI – History: Formal Traditions1. Seeing in Dreams - The Shifting Landscapes of Drawn AnimationBryan Hawkins, Canterbury Christ Church University, UK2. The Stop Motion LandscapeChris Pallant, Canterbury Christ Church University, UK3. Pixar, ‘The Road to Point Reyes’, and the long history of landscapes in new visual technologiesMalcolm Cook, Birkbeck, University of London, UKII – History: National Perspectives4. Australian Animation – Landscape, Isolation and ConnectionsSteven Allen, Winchester University, UK5. Environmentalism and The Animated Landscape in Nausicaä of the Valley of the Wind (1984) and Princess Mononoke (1997)Melanie Chan, York St John University, UK6. Animating Shanshui: Chinese Landscapes in Animated Film, Art and PerformanceKiu-wai Chu, The University of Hong Kong7. Latvian Animation: Landscapes of ResistanceMihaela Mihailova, Yale University, USAIII – Form: Journeys Through Animated Space8. The Landscape in the Memory: Animated Travel DiariesMaría Lorenzo Hernández, Universitat Politecnica de Valencia9. Off the Rails: Animating Train JourneysBirgitta Hosea, University of the Arts, London, UK10. Between Setting and Character: A Taxonomy of Sentient Spaces in Fantasy FilmFran Pheasant-Kelly, University of Wolverhampton, UKIV – Form: Peripheral Perspectives11. The Metamorphosis of Place: Projection-Mapped AnimationDan Torre, RMIT, Australia12. Plasmatic Pitches, Temporal Tracks and Conceptual Courts: The Landscapes of Animated SportPaul Wells, Loughborough University, UK13. The Zombiefied Landscape: World War Z (2013), ParaNorman (2012), and the Politics of the Animated CorpseJames Newton, University of Kent, UKV – Function: Interactivity14. Evoking the Oracle: Visual Logic of Screen WorldsTom Klein, Loyola Marymount University, USA15. Beyond the Animated Landscape: Videogame Glitches and the SublimeAlan Meades, Canterbury Christ Church University, UKList of ContributorsBibliographyAnimation/Filmography/Other MediaIndex

This collection provides a rich and lively discussion on one of the most overlooked areas of animation—animated landscape, which, just as Pallant wants it to be, is to rebalance the long-term bias existing between character and landscape, which is related to the centrality of studies on character design and interpretation over reflections about landscapes. It ably explores the multivalent nature of animated landscape with an interdisciplinary and cross-disciplinary approach, which also deepens the reader’s understanding of what animation is.

Chris Pallant is a Senior Lecturer at Canterbury Christ Church University, UK. His research includes animation, filmmaking production practices and technologies, and videogames. He has published on a range of topics, including Disney feature animation, the ‘cartoonism’ of Quentin Tarantino, performance capture, and Rockstar Games.

• List of IllustrationsAcknowledgementsIntroductionI – History: Formal Traditions1. Seeing in Dreams - The Shifting Landscapes of Drawn AnimationBryan Hawkins, Canterbury Christ Church University, UK2. The Stop Motion LandscapeChris Pallant, Canterbury Christ Church University, UK3. Pixar, ‘The Road to Point Reyes’, and the long history of landscapes in new visual technologiesMalcolm Cook, Birkbeck, University of London, UKII – History: National Perspectives4. Australian Animation – Landscape, Isolation and ConnectionsSteven Allen, Winchester University, UK5. Environmentalism and The Animated Landscape in Nausicaä of the Valley of the Wind (1984) and Princess Mononoke (1997)Melanie Chan, York St John University, UK6. Animating Shanshui: Chinese Landscapes in Animated Film, Art and PerformanceKiu-wai Chu, The University of Hong Kong7. Latvian Animation: Landscapes of ResistanceMihaela Mihailova, Yale University, USAIII – Form: Journeys Through Animated Space8. The Landscape in the Memory: Animated Travel DiariesMaría Lorenzo Hernández, Universitat Politecnica de Valencia9. Off the Rails: Animating Train JourneysBirgitta Hosea, University of the Arts, London, UK10. Between Setting and Character: A Taxonomy of Sentient Spaces in Fantasy FilmFran Pheasant-Kelly, University of Wolverhampton, UKIV – Form: Peripheral Perspectives11. The Metamorphosis of Place: Projection-Mapped AnimationDan Torre, RMIT, Australia12. Plasmatic Pitches, Temporal Tracks and Conceptual Courts: The Landscapes of Animated SportPaul Wells, Loughborough University, UK13. The Zombiefied Landscape: World War Z (2013), ParaNorman (2012), and the Politics of the Animated CorpseJames Newton, University of Kent, UKV – Function: Interactivity14. Evoking the Oracle: Visual Logic of Screen WorldsTom Klein, Loyola Marymount University, USA15. Beyond the Animated Landscape: Videogame Glitches and the SublimeAlan Meades, Canterbury Christ Church University, UKList of ContributorsBibliographyAnimation/Filmography/Other MediaIndex

This collection provides a rich and lively discussion on one of the most overlooked areas of animation—animated landscape, which, just as Pallant wants it to be, is to rebalance the long-term bias existing between character and landscape, which is related to the centrality of studies on character design and interpretation over reflections about landscapes. It ably explores the multivalent nature of animated landscape with an interdisciplinary and cross-disciplinary approach, which also deepens the reader’s understanding of what animation is.

Chris Pallant is a Senior Lecturer at Canterbury Christ Church University, UK. His research includes animation, filmmaking production practices and technologies, and videogames. He has published on a range of topics, including Disney feature animation, the ‘cartoonism’ of Quentin Tarantino, performance capture, and Rockstar Games.

• List of IllustrationsAcknowledgementsIntroductionI – History: Formal Traditions1. Seeing in Dreams - The Shifting Landscapes of Drawn AnimationBryan Hawkins, Canterbury Christ Church University, UK2. The Stop Motion LandscapeChris Pallant, Canterbury Christ Church University, UK3. Pixar, ‘The Road to Point Reyes’, and the long history of landscapes in new visual technologiesMalcolm Cook, Birkbeck, University of London, UKII – History: National Perspectives4. Australian Animation – Landscape, Isolation and ConnectionsSteven Allen, Winchester University, UK5. Environmentalism and The Animated Landscape in Nausicaä of the Valley of the Wind (1984) and Princess Mononoke (1997)Melanie Chan, York St John University, UK6. Animating Shanshui: Chinese Landscapes in Animated Film, Art and PerformanceKiu-wai Chu, The University of Hong Kong7. Latvian Animation: Landscapes of ResistanceMihaela Mihailova, Yale University, USAIII – Form: Journeys Through Animated Space8. The Landscape in the Memory: Animated Travel DiariesMaría Lorenzo Hernández, Universitat Politecnica de Valencia9. Off the Rails: Animating Train JourneysBirgitta Hosea, University of the Arts, London, UK10. Between Setting and Character: A Taxonomy of Sentient Spaces in Fantasy FilmFran Pheasant-Kelly, University of Wolverhampton, UKIV – Form: Peripheral Perspectives11. The Metamorphosis of Place: Projection-Mapped AnimationDan Torre, RMIT, Australia12. Plasmatic Pitches, Temporal Tracks and Conceptual Courts: The Landscapes of Animated SportPaul Wells, Loughborough University, UK13. The Zombiefied Landscape: World War Z (2013), ParaNorman (2012), and the Politics of the Animated CorpseJames Newton, University of Kent, UKV – Function: Interactivity14. Evoking the Oracle: Visual Logic of Screen WorldsTom Klein, Loyola Marymount University, USA15. Beyond the Animated Landscape: Videogame Glitches and the SublimeAlan Meades, Canterbury Christ Church University, UKList of ContributorsBibliographyAnimation/Filmography/Other MediaIndex

This collection provides a rich and lively discussion on one of the most overlooked areas of animation—animated landscape, which, just as Pallant wants it to be, is to rebalance the long-term bias existing between character and landscape, which is related to the centrality of studies on character design and interpretation over reflections about landscapes. It ably explores the multivalent nature of animated landscape with an interdisciplinary and cross-disciplinary approach, which also deepens the reader’s understanding of what animation is.