Conclusion

Abstract

At the conclusion of a book it is to be expected that the questions posed at the outset have been roundly addressed and all the outstanding issues resolved. In certain respects it is hoped that at least some degree of clarity has been achieved with regard to two objectives that were outlined at the beginning: on one level we have arrived at an illustration of what could be achieved if we attempted to thoroughly review anime cinema on the basis of a particular kind of aesthetic philosophy. Considerable space has been devoted to developing an exposition of Collingwood’s theory of art, and despite some perhaps seemingly “obsolete” observations and examples being raised directly from Collingwood’s own analysis, it is hopefully clear that Collingwood, for all of his at times arcane and even dogmatic polemics, provides a framework that works well for animation. It is perhaps even possible to suggest that in certain regards he was ahead of his time.