“Tracing the Multiplane: Toward a Genealogy of Animation Apparatuses” Journal of the Society for Cinema and Media Studies, dossier on animation studies (Forthcoming, Fall 2021).
“Homeworkers: Independent Animation and the Feminization of Creative Labor, 1970-1990,” Feminist Media Histories (Forthcoming, Fall 2021)
“Ėsfir’ Shub on Women in the Editing Room,” Apparatus, No. 6 (Summer 2018), open access. Link here.
“Perceptual Cells: James Turrell’s Vision Machines Between Two Paracinemas,” Leonardo Journal, 49.4 (2016, Special SIGGRAPH Issue): 306 – 316. Link Here.
“Assembling Movement: Scientific Motion Analysis and Studio Animation Practice,” Discourse, 37.3 (Fall 2015): 269 – 297. Link Here.
“Anticipation of Contact: Pina 3D and Stereoscopic Cinematography.” PUBLIC: Art, Culture, Ideas, 47 (Spring 2013): 174-185. Link Here.
“A National Filmmaking without a Home: Home and Displacement in the work of Amir Naderi.” Comparative Studies of South Asia, Africa, and the Middle East, 31. 2 (Fall 2011): 474-486.
“Anthologizing ‘Davandeh’ (The Runner).” Quarterly Review of Film and Video, 27.5 (Fall 2010): 358-359.
“At a Loss for Words: Televisual Liveness and Corporeal Interruption.” Journal of Dramatic Theory and Criticism, 24.4 (Spring 2010): 117-134.
“A Skillful Isis: Esfir Shub and the Feminization of Film Editing,” in New Studies in Documentary Film, ed. Joshua Malitsky (Forthcoming, Wiley-Blackwell, 2021).
“Twenty Four Signatures per Second: Direct Animation and Gestural Repetition,” in Process Cinema: Handmade Film in the Digital Age, Ed. Janine Marchessault and Scott MacKenzie (McGill-Queen’s University Press, 2019): 21-39. Link Here.
“Independent Animators and the Artisanal Mode, 1949-1989,” in Animation, Ed. Scott Curtis (Rutgers, 2019): 103-130. Link Here.
“Trade Tattoos: Len Lye’s Animation Stencils and Programmed Movement,” in The Long Dream of Waking: New Perspectives on Len Lye, Ed. Paul Brobbel. (Auckland: Canterbury University Press, 2017): 184- 203. Link Here.
“Comics (as) Journalism: Teaching Joe Sacco’s Palestine to Media Students” [Co-authored with Sarah Henstra], in Critical Approaches to Teaching Graphic Narratives, Ed. Lan Dong. (McFarland, 2012): 243-260. Link Here.
“Ghosts in the Machine: The Body in Digital Animation,” in Popular Ghosts: The Haunted Spaces of Everyday Culture, Ed. Esther Peeren and Maria del Pilar Blanco. London: Continuum (2010): 225-238. Link Here.
Exhibition and Catalog Essays:
“Lens on Lye: Turn on, Turn in” (Govett-Brewster Art Gallery, New Plymouth, 2020). Link here.
“Robert Breer’s Blazes: Animation on Fire” (Carnegie Museum of Art, Pittsburgh, 2018). Link here.
“Spotlight on Len Lye’s Filmmaking Tools: The Stencil” (Govett-Brewster Art Gallery, New Plymouth, 2017). Link here.
“How the Sausage Gets Made: Recent works by Weronika Stepien and Stephen Wichuk” (Grunt Gallery, Vancouver, 2016). Link to exhibition page.
“Oskar Fischinger’s Wax Experiments” for Defining Experimental Animation film exhibition (Cinema Borealist, Chicago, 2013). Link to post.
Dr. Alla Gadassik is a media scholar, curator, and lifelong cinephile, defining “cinema” very broadly. Her research and writing investigates the history of filmmaking techniques and philosophies. While her main area of expertise is the history of animation, she is also interested in the history of cinematography and film editing. Alla currently lives, works, and commits to decolonial futures on the unceded territory of Coast Salish people, officially known as Vancouver, Canada. She is Assistant Professor of Media History and Theory at Emily Carr University of Art + Design.