Citations:animatophile

English citations of animatophile

Noun: "an enthusiast of animated media"

						1997 1999	2002 2006 2007 2019
ME «	15th c.	16th c.	17th c.	18th c.	19th c.	20th c.	21st c.

• 1997, Mark Langer, "Animatophilia, cultural production and corporate interests", in A Reader in Animation Studies (ed. Jayne Pilling), page 156:

  While Nickelodean was committed to children's programming, Kricfalusi and his co-workers increasingly created programming that catered to his cult following among animatophiles and allied youth taste groups addicted to the show's hip references, deliberate bad taste and trash aesthetic.

• 1999 September 7, Terrence Biggs, “Re: JC looks at: Starship Troopers, Roswell Conspiracies”, in rec.arts.animation‎^[1] (Usenet):

  Animatophiles looking for a jolly good time should check out the credits.

• 2002 December 10, Terrence Biggs, “Re: The dismal failure of Treasure Planet, and most other animated dramas at the BO... why?”, in rec.arts.animation‎^[2] (Usenet):

  Hey, animatophiles have the same problem. I've met anime fans who stand still for no noseless humanoid or nattering animal; Disney buffs who gag on static frames and anything resembling the human condition; comedy junkies who yawn if they aren't laughing derisively at on-screen personae.

• 2002 December 13, Terrence Biggs, “Re: See Treasure - No Matter the Numbers”, in rec.arts.animation‎^[3] (Usenet):

  The Cats Don't Dance Missionaries dropped their verse, convincing a skeptical, all-purpose animatophile to plunk down two bucks on a video rental years ahead of schedule.

• 2006 January 1, Terrence Biggs, “Re: What did you think of new Kong?”, in rec.arts.animation‎^[4] (Usenet):

  You know how some animatophiles always say that animated stories should be told by animators, not scriptwriters? PJ decided to let the animators work.

• 2007, Sarah Banet-Weiser, Kids Rule!: Nickelodeon and Consumer Citizenship, 206:

  The creative and economic moment of the early twenty-first century, when both SpongeBob and The Fairly OddParents are produced, is a moment in which the "wacky style" of humor and animation of these programs has been mainstreamed and no longer attracts a kind of subcultural, or even an animatophile, following.

• 2019, David McGowan, Animated Personalities: Cartoon Characters and Stardom in American Theatrical Shorts, page 242:

  Although still airing in timeslots primarily focused on children, several of the shows actively sought to attract adult audiences (and specifically animatophiles) as well.