Youtube is the most popular band amongst U.S. kids.
This year’s event found creators tackling the big issues of the day — discrimination, conflict, climate change — but are they going far enough?
In the tv animation industry, production techniques are reduced to a binary decision of 2d or cgi. “Undone” shows that it doesn’t need to be that way.
Do we have another “Lion King” situation on our hands?
Two-time Oscar-nominated director Kelly Asbury writes about his emotional journey in recent years after his last two animated features underperformed at the U.S. box office.
A group of industry figures has drawn up a list of prominent women in animation. They hope it will help festivals to pick more female jurors.
Is the Annecy Festival growing too big for its own good?
“The Lion King” is a big technical leap forward for the art of animation. Innovation in the art form deserves to be celebrated, not belittled and hidden from the public.
The challenge for Latin American creators: telling stories about subjects and themes particular to their identity, without sacrificing broad global appeal.
Animation production throughout Latin America is booming, but the region must overcome many hurdles to fully develop its industry.
The Academy demands that voters view films in almost every category except for animated feature. That needs to change.
Fans of Sony’s “Spider-Man: Into the Spider-Verse” overran Disney’s Twitter Oscar campaign for “Incredibles 2.”
Georgia Cano, one of the three lead plaintiffs in the animation wage-fixing lawsuit, speaks out for the first time.
The Walt Disney Company has exploited the public domain while preventing the same opportunities to other artists.
John Lasseter is an alleged serial sexual predator, and that should raise concerns for women working at Skydance.
It’s a new day in animation!
Don’t call “The Lion King” an animated film. Or a live-action film.
The Academy is honoring animated shorts by snubbing the majority of the year’s most artistic and creative animated short films.
The European Animation Awards shed light on European animation’s self-image at a time of great change.
“”I’m not happy that I don’t get to participate. Who would be?,” says Woolverton.