Representation in animation

Maureen Furnish Issues of Representation in Animation Aesthetics.

Sean griffin the illusion of identity gender and racial representation in Aladdin in Maureen furniss' animation.

There is two sides there's representation in animation theory and animation industry and animation content, the animators themselves have not been recognised and been really represented as much through history compared to male animators. In the early history of animation 20's to 40's there was no one really the represented women animators that was a main contributor to the industry the only exception is lotte reigner and Mary Ellen bite closer to the end of the war. These were rare female presence in the industry. A number of others operated under pseudonyms/initials e.g.  Mj winkler productions by Margaret winkler. More female presence tends to pick up a lot more in the 1990's.

Females operating at big company's such as Disney and Cartoon Network and others but usually in a managerial position ususually in the production of the shows but not the designers/animators.

Many of the core animation theorists are mainly women and they include Jayne pilling and Esther Leslie.

Sarah Lucas: penetralia

two fried eggs and a kebab 1992 - idea of being true to materials your using onald Jude and industrial materials.

Truth to material associated with Henry Moore and the movement in 1930 is in the Yorkshire part of history.

Lucas the pleasure principle: it is a beautiful piece of sculpture and used very economically and you can compare it to Tracy emins my bed which is where it has had nothing done to change the look of it or a weird sculpture wasn't formed it was a literal translation.

Lucas priere de toucher shows she is aware of surrealism and she is indebted to some of these works.

In her penetralia exhibit she looks at the way she takes on British surrealism, she would plaster casts of things on wooden platforms, we argue the arrival of this exhibition should be recognised as a logical development because it engages with a movement in British art. The poster for the exhibition is provocative and takes on notion of object personage and sense of fertility of land, looks like Nash photos. It tries to literalise things and throw insults back at the audience, making it funny to try and give it a new life.