Michele Leigh – författare

Thousands of years ago Playground of the Gods (PoG) sank and settled onto the ocean floor, intact and dormant, like the city of Atlantis. Only once per century are all the planets properly aligned to raise the sleeping island from the bottom of the sea. However the light of the blue moon must shine into a witchs circle assembled with powerful elements of fire, earth, air and water.Flash forward to the twenty first century on the island of Manhattan, Jack and Gwen are anxious to leave the hustle and bustle of the city behind and travel to a secluded vacation spot known for its rich history and folklore. After fifteen years of marriage Jack knew Gwen pretty well and thats why he thought it would be easy to plan a surprise vacation to celebrate her fortieth birthday. But soon after arriving on the secluded island Gwen began having vivid dreams of supernatural creatures with sapphire blue eyes. These beings possessed the ability to shift into the shape of a deer, could breathe underwater and all six senses were wildly enhanced in both human and animal form.The more Gwen learned about these mysterious shapeshifters, the more she began to question her own unknown past.

She Animates examines the work of twelve female animation directors in the Soviet Union and Russia, who have long been overlooked by film scholars and historians. Our approach examines these directors within history, culture, and industrial practice in animation. In addition to making a case for including these women and their work in the annals of film and animation history, this volume also makes an argument for why their work should be considered part of the tradition of women’s cinema. We offer textual analysis that focuses on the changing attitudes towards both the woman question and feminism by examining the films in light of the emergence and evolution of a Soviet female subjectivity that still informs women’s cinema in Russia today.

She Animates examines the work of twelve female animation directors in the Soviet Union and Russia, who have long been overlooked by film scholars and historians. Our approach examines these directors within history, culture, and industrial practice in animation. In addition to making a case for including these women and their work in the annals of film and animation history, this volume also makes an argument for why their work should be considered part of the tradition of women’s cinema. We offer textual analysis that focuses on the changing attitudes towards both the woman question and feminism by examining the films in light of the emergence and evolution of a Soviet female subjectivity that still informs women’s cinema in Russia today.

She Animates examines the work of twelve female animation directors in the Soviet Union and Russia, who have long been overlooked by film scholars and historians. Our approach examines these directors within history, culture, and industrial practice in animation. In addition to making a case for including these women and their work in the annals of film and animation history, this volume also makes an argument for why their work should be considered part of the tradition of women’s cinema. We offer textual analysis that focuses on the changing attitudes towards both the woman question and feminism by examining the films in light of the emergence and evolution of a Soviet female subjectivity that still informs women’s cinema in Russia today.