Editorial - Animated Space

Abstract

Since early days, the moving images of animated film have suggested a spatial freedom that challenges the limits of the photographic and traditional filmic space. When, in 1914, Winsor McCay drew himself onto the landscape to interact with Gertie, he was initiating a practice of expanding the space(s) we live in through the use of the animated image that lasts until today. Animation’s wide aesthetic and technical malleability, and its innate ability to suggest metamorphosis and unrest, has led its practice to cross boundaries and engage with the space beyond the limits of the traditional screen.