From ‘Trucfilm’ to ‘Animatiefilm’: How the Emergence of Animation as a New Artistic Form Is Reflected in Dutch Terminology

Mette Peters

doi:10.1177/17468477221085411

From ‘Trucfilm’ to ‘Animatiefilm’: How the Emergence of Animation as a New Artistic Form Is Reflected in Dutch Terminology

Research output: Contribution to journal › Article › Academic › peer-review

Abstract

Before 1940, the influence of foreign films, filmmakers and film networks on film culture in the Netherlands was substantial. This article investigates how various Dutch professionals within the fields of film production, distribution, exhibition and reception referred to animation film, in a period when this term was not part of the Dutch language. From early on, animation film was recognized as being ‘intrinsically different’ from live-action film and, along with the gradual emergence of this new artistic form, a corresponding language to support it evolved, influenced by language contacts in various contexts in the multilingual landscape in Europe. From the first singular appearances in 1913, a more form-specific terminology had gradually developed by 1940. During the same time, animation film steadily proceeded to occupy its permanent place in Dutch film culture.

Original language	English
Pages (from-to)	49–69
Number of pages	21
Journal	Animation
Volume	17
Issue number	1
DOIs	https://doi.org/10.1177/17468477221085411
Publication status	Published - Mar 2022

Bibliographical note

Funding Information:
An earlier version of this article was presented at the 18th Interdisciplinary Conference on Netherlandic Studies, organized by the American Association of Netherlandic Studies at the University of Michigan, Ann Arbor, June 2016. Special thanks to Ton Broos, Colin Nawrot, Frank Kessler, Ann-Sophie Lehmann, Erwin Feyersinger and Rada Bieberstein for their encouragement and helpful suggestions. The author received no financial support for the research, authorship and publication of this article, and there is no conflict of interest.

Publisher Copyright:
© The Author(s) 2022.

Keywords

Dutch animation
Dutch language
Europe
film history
language contact
nomenclature
terminology
the Netherlands
transnational

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10.1177/17468477221085411

17468477221085411Final published version, 0.99 MBLicence: Taverne

Cite this

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abstract = "Before 1940, the influence of foreign films, filmmakers and film networks on film culture in the Netherlands was substantial. This article investigates how various Dutch professionals within the fields of film production, distribution, exhibition and reception referred to animation film, in a period when this term was not part of the Dutch language. From early on, animation film was recognized as being {\textquoteleft}intrinsically different{\textquoteright} from live-action film and, along with the gradual emergence of this new artistic form, a corresponding language to support it evolved, influenced by language contacts in various contexts in the multilingual landscape in Europe. From the first singular appearances in 1913, a more form-specific terminology had gradually developed by 1940. During the same time, animation film steadily proceeded to occupy its permanent place in Dutch film culture.",

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note = "Funding Information: An earlier version of this article was presented at the 18th Interdisciplinary Conference on Netherlandic Studies, organized by the American Association of Netherlandic Studies at the University of Michigan, Ann Arbor, June 2016. Special thanks to Ton Broos, Colin Nawrot, Frank Kessler, Ann-Sophie Lehmann, Erwin Feyersinger and Rada Bieberstein for their encouragement and helpful suggestions. The author received no financial support for the research, authorship and publication of this article, and there is no conflict of interest. Publisher Copyright: {\textcopyright} The Author(s) 2022.",

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AB - Before 1940, the influence of foreign films, filmmakers and film networks on film culture in the Netherlands was substantial. This article investigates how various Dutch professionals within the fields of film production, distribution, exhibition and reception referred to animation film, in a period when this term was not part of the Dutch language. From early on, animation film was recognized as being ‘intrinsically different’ from live-action film and, along with the gradual emergence of this new artistic form, a corresponding language to support it evolved, influenced by language contacts in various contexts in the multilingual landscape in Europe. From the first singular appearances in 1913, a more form-specific terminology had gradually developed by 1940. During the same time, animation film steadily proceeded to occupy its permanent place in Dutch film culture.

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From ‘Trucfilm’ to ‘Animatiefilm’: How the Emergence of Animation as a New Artistic Form Is Reflected in Dutch Terminology

Abstract

Bibliographical note

Keywords

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