By Paul Wells (auth.)
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Extra info for Animation, Sport and Culture
On the other hand, the latter used sport to perfect the human body, for competition, and simply for pleasure, and was not as practically or ritually oriented in sports activities (Blanchard 1999:14). Additionally, Dunning notes in the popular consciousness of Western societies in the nineteenth and twentieth centuries the term ‘sport’ has been increasingly withdrawn from the hunting and killing type activities . . Correlatively [it has] been applied to more competitive leisure activities involving physical exertion which either do not involve violence as a legitimate component .
As well as apprehending what might be termed the exterior nature of sporting personas and practices, then, I wish to suggest that it also has the capacity to illustrate and exemplify complex interior states, and to examine and reimagine the representation of the external execution of sporting motion and the codes and conventions of its presentation. Like Didinger and Macnow, Bergan marginalises animation, and frustrates by mentioning cartoons – mostly disparagingly – but not advancing the presence or implications of his comments.
In the case of animation, of course, this could be the appeal of a range of techniques – drawing; painting; 3D stop motion animation with clay, puppets or objects; 2D stop motion collages using images, materials, and artefacts; ‘under the camera’ manipulations of sand, ink or other malleable ﬂuids and substances; pixilation; and in recent years, 3D and 2D digital computer applications and so on. This seemingly more hand-crafted, vernacular approach, also determines different kinds of production contexts 34 Animation, Sport and Culture from large-scale studios to low-rent back-bedroom set-ups for independent auteurs.