This richly illustrated publication presents the Quay brothers' betterknown films as well as previously unseen moving image works and a little-known body of works on paper, including graphic design, drawings, typography and notebooks for films.

In The Cinnamon Shops and Other Stories, Bruno Schulz describes in fantastical, mythologised terms the cloth merchant's shop where he grew up and the bizarre antics of his father, such as turning the attic into an aviary and expounding strange theories on mannequins. Two sides of the Galician town of Drohobycz are seen: the old town full of ancient mystery is contrasted with newer districts that have sprung up in response to oil mining in the area. The language is poetic, heady and oneiric, employing a rich system of imagery incorporating books and labyrinths.

The complex, special power of the Quay Brothers' puppet animation poetics.

What do we mean by the term "animation" when we are discussing film? Is it a technique? A style? A way of seeing or experiencing "a world" that has little relation to our own lived experience of "the world"? In Animated Worlds, contributors reveal the astonishing variety of "worlds" animation confronts us with. Essays range from close film analyses to phenomenological and cognitive approaches, spectatorship, performance, literary theory, and digital aesthetics. Authors include Vivian Sobchack, Richard Weihe, Thomas Lamarre, Paul Wells, and Karin Wehn.

From the writer adored by the likes of García Marquez, Calvino, and Francine Prose comes a collection of Hernández's classic tales Piano Stories presents fifteen wonderful works by the great Uruguayan author Felisberto Hernández, “a writer like no other,” as Italo Calvino declares in his introduction: “like no European or Latin American. He is an ‘irregular,’ who eludes all classifications and labellings — yet he is unmistakable on any page to which one might randomly open one of his books.” Piano Stories contains classic tales such as “The Daisy Dolls,” “The Usher,” and “The Flooded House.”

Cartoons—both from the classic Hollywood era and from more contemporary feature films and television series—offer a rich field for detailed investigation and analysis. Contributors draw on theories and methodology from film, television, and media studies, art history and criticism, and feminism and gender studies.

This book combines insights from the humanities and modern neuroscience to explore the contribution of affect and embodiment on meaning-making in case studies from animation, video games, and virtual worlds. As we interact more and more with animated characters and avatars in everyday media consumption, it has become vital to investigate the ways that animated environments influence our perception of the liberal humanist subject. This book is the first to apply recent research on the application of the embodied mind thesis to our understanding of embodied engagement with nonhumans and cyborgs in animated media, analyzing works by Émile Cohl, Hayao Miyazaki, Tim Burton, Norman McLaren, the Quay Brothers, Pixar, and many others. Drawing on the breakthroughs of modern brain science to argue that animated media broadens the viewer’s perceptual reach, this title offers a welcome contribution to the growing literature at the intersection of cognitive studies and film studies, with a perspective on animation that is new and original. ‘Affect and Embodied Meaning in Animation’ will be essential reading for researchers of Animation Studies, Film and Media Theory, Posthumanism, Video Games, and Digital Culture, and will provide a key insight into animation for both undergraduate and graduate students. Because of the increasing importance of visual effect cinema and video games, the book will also be of keen interest within Film Studies and Media Studies, as well as to general readers interested in scholarship in animated media.