By T. Fliessbach
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Additional resources for Allgemeine Relativitatstheorie
I do not want to lock each era, medium, and mode of globalization into a deterministic and totalizing whole, as if film animation can only be international in one way, having developed at one time. Rather, I pay attention to how discourses of, say, modernity, the international, and cinema were created in uneven yet interlinking ways in North America and East Asia at different rates of change. I then demonstrate the kinds of animation fan communities they enabled. In this way, I highlight the different communities that have crystallized in particular national, historical, and technological contexts, envisioned as moments of shift and friction.
The main title of the short features a prominent circular logo marked “Columbia” in English, with the phonetic Japanese translation “Columbia Record” appearing underneath, among images of slowly turning concentric circles and rounded flower shapes. ” The music plays on over pastoral and at times vaguely surreal paper cut-outs of human-sized dancing cherry blossoms with legs and a little boy wooing a kimono-clad girl who appears in the sky. These images are all set against a backdrop of sakura trees and the occasional Japanese flag.
When exploring animation in the early twentieth century, then, it is necessary to ask: through what structures of trade and discourses of (inter)nationalism were film images and apparatuses circulated? How did the mobile works themselves depict the relationship between audiences and media, nations and films, world and cinema? And how did such depictions change along with the changing film technologies and geopolitical conditions of the early twentieth century? This chapter aims to answer such questions by focusing on the production of animated films for international markets in the Americas and Japan before the end of World War II.
Allgemeine Relativitatstheorie by T. Fliessbach