animatrix
English edit
Etymology edit
Noun edit
animatrix (plural animatrices)
- (rare) A female animator (one who animates something, brings something to life).
- 1997, Journal of the History of Sexuality, volume 7, page 603:
- With Foucault, Goldhill assumes that “the desiring subject” (p. 45) is male; in his learned disquisition on the importance of the act of reading (p. 45), Goldhill never addresses the gender of the reader, that curious creature who is at once the target of the text and its reanimator—or animatrix.
- 2008, “By a Tiger Writ: An Afterword”, in Joyce Mansour, Ruxandra Cesereanu, transl., Crusader-Woman, Black Widow Press, translation of Femeia-cruciat by Ruxandra Cesereanu, →ISBN, page 117:
- She is a prose writer and essayist, a professor of complit & polisci at the University of Cluj, a cultural animatrix, a historian of violence and the gulag, and, to propose this (pilgr)image to the factotum, a formidable poet who said things no one else had the guts or flair to say in Romanian lit.
- 2001, Antonia Fraser, Marie Antoinette: The Journey, Nan A. Talese, →ISBN, page 220:
- Marie Antoinette, animatrix of the Petit Trianon, had a special fancy for the cotton toiles de Jouy, introduced into France in the 1770s, for chinoiserie or pastoral scenes in the style of Boucher.
- (rare) A female animator (one who creates an animation or cartoon).
- 1983, The Canadian Forum, volume 62, page 48, column 1:
- Video Video, organized by Marien Lewis, video artist and ex-animatrix of A Space, and Monumenta, organized by Stan Denniston, Dave Clarkson and Bernie Miller, two photographers and a sculptor and presently directors of YYZ, are only further proof that such centres have been the seedbeds and forums for advanced art in Canada over the past decade either feeding the commercial or establishment systems or fulfilling the responsibilities such systems have abrogated.
- 2010, Dan Streible, “8. Media Artists, Local Activists, and Outsider Archivists: The Case of Helen Hill”, in Diane Negra, editor, Old and New Media after Katrina, Palgrave Macmillan, →ISBN, page 164:
- She conspired with Colorlab to unveil the rediscovery, which revealed a perfect continuity between the eleven-year-old’s use of film and the hand visible in her mature body of work: an animatrix with a childlike sense of joy and fun, a maker and pixilator of handmade objects, an animalier whose creatures could be monstrous as well as endearing.
- 2013, Donald Crafton, “Coda: The Shadow of a Mouse’s Tail”, in Shadow of a Mouse: Performance, Belief, and World-Making in Animation, Berkeley, Calif., […]: University of California Press, →ISBN, page 299:
- It was always God the Father who was the Animator with capital A. An argument can be made, however, for reconceiving the animator function as feminine. This animatrix model would resonate better with the medium’s long-established parthenogenesis narratives. The toons, then, become truculent children who eventually return to domesticity with the expectation that in their next incarnation they too will be life givers. Since there are many cinesthetic bodies in animation, who is to say that their genders are fixed by a priori assumptions? As readily as we may change the default genders of our avatars in video games, in virtual worlds, and perhaps in our everyday imagination, so may we shift the authorship of animation performance between animators and animatrices.