he first chapter of this section traces Marcin Giz ̇ycki’s personal animation journey since 1980.As editor- in-chief of the ASIFAquarterly Animafilm,he published the now infamous definition on animation,which was agreed to at the Board’s meeting,taking place at the Animafest Zagreb in the same year: ‘The art of animation is the creation of moving images through the manipulation of all varieties of techniques apart from live action methods.’ The author recounts the relevance of that definition today,as well as the way animated film has proceeded since that time.Paul Wells explores the work of recently rediscovered Cold War Hungarian animator,György Kovásznai in comparison with the famous South African artist William Kentridge.The discussion addresses the individual works of both artists,and how this is understood as directly affiliated to art and art’s culture,and animation’s presence in the gallery context.Further,it will seek to situate both works within a broader understanding of the gestalt of ‘The Animation Spectrum’,and with the presence of animation both in the academic and the public sphere.