WEKO3
アイテム
初期テレビアニメーションにおける「リミテッド・アニメーション」：『Crusader Rabbit 』の場合
https://kougei.repo.nii.ac.jp/records/2000224
https://kougei.repo.nii.ac.jp/records/2000224aec7f4f5-6ca6-4db0-b873-cad9412aa9e0
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
32-11.pdf (1.4 MB)
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| アイテムタイプ | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2026-03-31 | |||||
| タイトル | ||||||
| タイトル | 初期テレビアニメーションにおける「リミテッド・アニメーション」：『Crusader Rabbit 』の場合 | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | "Limited Animation" in Early Television Animation: The Case of Crusader Rabbit | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 言語 | ja | |||||
| 主題Scheme | Other | |||||
| 主題 | リミテッド・アニメーション、初期テレビアニメーション、バンクシステム | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Crusader Rabbit 、Baby Weems | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_93fc | |||||
| 資源タイプ | report | |||||
| アクセス権 | ||||||
| アクセス権 | open access | |||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||
| 著者 |
権藤, 俊司
× 権藤, 俊司 |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | This study attempts to reevaluate "limited animation," a style of animation production, through analysis of early American television animation. It focuses on the earliest television series, Crusader Rabbit and NBC Comics (both 1950), as well as the former 's technical roots, Baby Weems (In terms of movement, all three works feature very little animation, with NBC Comics in particular being composed almost entirely of still images. While the other two works also feature limited movement, primarily through cutouts, Crusader Rabbit employs a "bank system" that reuses the same cells for "walk" cycles. Narratively, Crusader Rabbit and NBC Comics differ from the mainstream of later television series in that they feature "cliffhanger" serial episodes. The analysis reveals that the visuals of these three works are more appropriately considered as still images with added movement, rather than works with less movement than "full animation." This differs from the general understanding of limited animation and the Hanna Barbera films that established the standard format for television animation production. and the Hanna Barbera films that established the standard format for television animation production. These three films are located at the extreme end of the stillness spectrum on the "spectrum concept of movement" proposed by Gan (2009), and the concept of limited animation can be considered more expanded. |
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| 言語 | en | |||||
| 書誌情報 |
ja : 東京工芸大学芸術学部紀要 en : Bulletin of Faculty of Arts, Tokyo Polytechnic University 巻 32, p. 97-109, 発行日 2026-03-31 |
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| 出版者 | ||||||
| 出版者 | 東京工芸大学芸術学部 | |||||
| 言語 | ja | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 13493450 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN10507753 | |||||
