O presente artigo apresenta uma investigação sobre relações entre o cinema de animação e crítica social, que serve, por sua vez, de sustentação para um projeto de investigação prático em desenvolvimento, focado em torno de te-máticas de carácter intervencionista. With these tools, animation theorists will have a practice-informed lens by which to better understand the act of animating through 3D software, as well as strategies for locating individual animators’ contribution in 3D animation. I establish a set of parameters for non-practitioners to employ when trying to locate the contributions of individual animators within 3D animation. I employ the metaphor of “the artist’s/animator’s hand” as a means to understand the nature of this involvement. Using my experience as an animator, actor, and educator, I engage in a self-reflective analysis to interrogate how evidence of an animator’s individual contributions can be detected in 3D animation. Without this knowledge, much creative work in 3D animation is misconstrued as mere automation. While many theorists may lack the practical experience of creating animation, essential knowledge of the nature of labour in 3D animation is gained through first-hand practice alone. Animation theorist Vivian Sobchack expresses her predilection for animated films that “visibly labor”, and describes 3D animations as “effortless” in appearance.
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