animationstudies 2.0

Vivienne Barry’s Como alitas del chincol (2002) is an animated documentary that dramatizes the contradictory roles of the arpilleristas as women engaged in both domestic craft and politi...

For decades, the audiovisual consumption of Disney animated classics in the Spanish-speaking world was defined by a centralized dubbing model that prioritized economic profitability and private market over regional linguistic diversity (Iglesias Gómez, 2009: 499). The history of this process reveals how economic, monopolistic, and political factors delayed the emergence of Pe...

The abundance of fantastical plant life is one of the defining characteristics of the visual identity and world-building in the Hong Kong animated feature Another World 世外(Ng, 2025), which is richly rendered through hand-drawn 2D animation. This text explores how Another World reconfigures the conventional boundary between background and foreground by centri...

Indonesia prides itself on a multicultural identity that is celebrated through the national motto, Bhinneka Tunggal Ika (unity in diversity). However, Chinese Indonesians, as the largest demographic of foreign descent, often face reductive media portrayals. This tendency is mirrored in its domestic animated series that portray Indonesian everyday life, where the very...

The Legend of Hei (2019) did not begin as a stand-alone animated feature but emerged from The Legend of Luo Xiaohei (罗小黑战记), which is a web animation created by MTJJ that first aired in 2011. By the time the animation reached cinemas, the series had already built a substantial audience, as well as expanded beyond online distribution into theatrical and inter...