The Society for Animation Studies Newsletter

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Volume 19, Issue 1 Summer 2006

ISSN: 1930-191X

In this Issue: Letter from the Editor Perspectives on Animation Studies Greetings! 2 ● To Animate in a Different Key As a new SAS member, I have found the Jean Detheux Society to be an active, welcoming, and 5 ● Simple Pivot Hinges for Cut-Out stimulating place where experienced and Animations young scholars alike can share their Mareca Guthrie passion for Animation Studies. 9 ● Czech Animation in 2005, An Artist's The SAS Newsletter represents a Journey supportive and convenient forum for our Brian Wells community to contribute to this growing News and Publications academic field and to get to know each other better. It offers an opportunity for 19 • Introductory Issue of Animation: an members to voice our ideas (Perspectives Interdisciplinary Journal on Animation Studies), to promote our Suzanne Buchan recent accomplishments (News and 22 • The Illusion of Life II and New Essays Publications), to learn what the SAS is Alan Cholodenko working to achieve (SAS Announcements), 24 • Between Looking and Gesturing: and to stay in touch with other members Elements Towards a Poetics of the (Membership Information). Animated Image Having no prior editorial experience, I am Marina Estela Graça deeply grateful to SAS president Maureen 25 • Frames of Imagination: Aesthetics of Furniss, webmaster Timo Linsenmaier, Animation Techniques each of this issue’s contributors, and many Nadezhda Marinchevska others for their indispensable help as I SAS Announcements navigated this exciting learning curve. As the Newsletter is only distributed to SAS 27 ● Animation at the Crossroads: 18th members, it can and ought to be tailored to SAS Conference, 7-10 July 2006 fit the needs of its select readership: you. Suzanne Williams-Rautiola So as you enjoy this issue, please 33 ● Report from the Treasury consider how futures issues can be André Eckardt improved and send me your comments: I Membership Information appreciate it! 34 ● Current Members 36 ● Incoming SAS Board and Contact Sincerely, Victoria Meng The articles in the SAS Newsletter are licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/2.5/ or send a letter to Creative Commons, 543 Howard Street, 5th Floor, San Francisco, California, 94105, USA. Contributions are copyrighted by authors and remaining information is ©2006 Society for Animation Studies.

To Animate in a Different Key other projects. These decisions put in danger the status of author and don’t Jean Detheux respect the NFB’s mandate to produce and distribute distinctive, A few thoughts on how commercial daring and pertinent audiovisual agendas influence the creative potential works that reflect on the cultural of an extraordinary art form: animation. diversity and which represents Canada to the world from an Even the National Film Board of Canada is authentic Canadian viewpoint. making huge changes in the way it

approaches animation film production: the We, citizens who love cinema, situation is serious when one hears rumors demand that the authorities change that there will be fewer original and in- this script and give back viability and house productions, and a lot more buying autonomy to the production studios, of shares of outside productions historically leaders of the Canadian supposedly in order to have the NFB logo author cinema. on as many films as possible. Certainly this decision will result in more visibility but I really don’t want to enter the world of less original content. politics, but having just had the opportunity

Full-time NFB directors have been recently to make two films (“Liaisons” and let go and only a few remain, on a “Rupture”) with the NFB, I feel very much contractual basis. Many of the excellent compelled to throw in my two cents. technicians and support people have also The commercial system of production been let go, with the few remaining being imposes many constraints on creative spread across the English and French work. Such constraints greatly reduce the studios. reach of the animation work, gnawing at its

artistic potential. A "Coalition Cinema" was created a while ago in order to try to rally independent While art would demand one take risks (an filmmakers and start to contest what the absolutely necessary condition as far as I Canadian federal government continues to am concerned), the commercially driven do to the arts in general, and to the cinema work has to be predictable, on time, and in particular: on budget. I have often accused most animators The Coalition circulated a petition involved in linear uni-level storytelling of addressed to Beverley J. Oda, the current being mere "plumbers," not artists, and I Canadian Heritage Minister (akin to posit that the works done in this manner “Minister of Culture”), and to Jacques are mere products manufactured for fast Bensimon, Government Film consumption, the "fast food" of animation. Commissioner and NFB Chairperson. The The production houses, big and small, petition reads: that abide by the commercial set of The National Film Board of Canada priorities are doing us all a great at the point of ruin disservice. Instead of aspiring to Paul The NFB has decided to heavily cut Cézanne's "Art is about the elevation of productions grants in order to invest in thought," we cater to the lowest common denominator. Society for Animation Studies © 2006 SAS Newsletter, v19n1, p.2

Much too often, the animators who are even such animation films are too often doing genuinely original work are doing so approached as product-oriented ventures. in precarious situations. They have to The most important aspect of the creative finance their own work even if, as is so journey is too often resisted, even fought often the case, what they unearth will against. eventually be exploited by commercial studios for the making of commercial I have written at length about my sense products. that animation, in its habitual form, is stuck. And I submit that until the art form I have written at length on these topics for undergoes a “positive disintegration” akin Animation World Magazine (see my six to what painting went through several “Notes from the Underground” articles, times already (Impressionism, Cubism, ). I don’t need to and possibly most importantly, Abstract repeat all that here. Expressionism), we will continue to drown But I can expand a bit on one aspect of the in linear cute/cynical/juvenile works that creative work that is too often swept under are far from doing justice to an art form the carpet in commercial productions: with a fabulous potential, a potential that artists have known, for a very long time, has barely been touched. that the best work comes through when I believe that most independent the doer no longer knows what to do but directors/animators are merely trying to do carries on, doing his/her best what the major studios are doing, only with nevertheless. less money.

These moments of reaching the point of I posit that it is high time to “animate “not knowing what to do” I have called different” and to explore, “à la Picasso,” “little deaths.” More often than not, these that which has never been seen, that moments bring about a very different look which needs us to become visible. to the work being attended to, often driving it to unpredictable vistas. I do not believe for a moment that this renewal will be possible under the “boot” of This need/obligation to be available for the the commercial animation dictatorship, I unpredictable when it manifests itself has even doubt it will be possible under the been very well summed up by Pablo dictates of “representational imagery.” Picasso when he said: “What saved me is that I became more interested in what I In order to be reborn, animation has to go found than in what I was looking for.” through a positive disintegration, and I can’t think of a better way to do that than This pivotal moment in the creative to allow our images to go through one or process is precisely the one that is to be several cycles of “de-differentiation – re- avoided if one works in the confines of differentiation,” the likes of which will never commercial animation. It is understandable be permitted in works driven by that within the parameters of a commercial storyboards and commercial operation, one can’t change the looks and considerations. aim of a project too often (that is bad for the bottom line). In auteurist animation, Auteur animation has never been more this should not be the case. However, essential and yet, it very often seems to fall short of its potential. Too many directors/animators could but won't let the Society for Animation Studies © 2006 SAS Newsletter, v19n1, p.3

work make itself through them, their Jean Detheux was born in Belgium, desire/need to make it into festivals is still where he received his academic training at more important than their commitment to the Académie royale des beaux-arts de create what they alone can create, to Liège and Institut supérieur d'architecture serve what needs them in order to become de Liège. In 1971, Detheux immigrated to visible. Canada. He taught at Alberta College of As long as animation festivals continue to Art, Concordia University in Montreal, cater to the predictable agenda of habitual Algonquin College in Ottawa, New York linear storytelling animation, there will be University, Parson School of Design inNew no audience for the animation that needs York and the New York Studio School of to be. Completed works that could renew Drawing, Painting and Sculpture until the genre will not gain necessary 1984. exposure. Since then, Detheux has devoted himself I doubt that the token “non-narrative” or primarily to his own work. Since the 1960s “abstract” categories we see popping up in he has exhibited his work in solo and in various festivals will do the trick. I believe group shows, in Europe and North a change of expectations on the part of America. His passion for philosophy led those making the selection is what is most him to be elected member of the Husserl required. As long as “habitual animation Circle in 1981. Detheux has given fare” drives both the process of selection numerous talks about the phenomenology and the public’s expectations, we will not of vision and the process of creation. see much renewal take place. In 1996, as a result of serious allergies There are two preconditions to renewing from his use of painting materials, he gave animation art. On the one hand, we require up natural media for digital technology. truly original work and the settings that This shift brought on about intense period make such work possible. On the other of creativity that has led Detheux to hand, we need to create conditions for animated film and live performances. His showing such work and the political will to work now appears regularly at major support these institutions. international film and animation festivals, As long as commercially driven agendas and his "happenings" are performed in an remain the main influence of all things increasing number of venues. animated, neither of these conditions can Detheux also writes on animation and has be met. presented numerous lectures across Canada ("Animating in a Different Key," ©2006 Jean Detheux "Fortuitous accidents in Digital Abstract Expressionist Animation," etc…) For more information please see:

Simple Pivot Hinges for work you should look at? There is a woman named Laura Heit who is coming Cut-Out Animations to teach in the spring and she does Mareca Guthrie excellent cut-out films.” Heit’s visit was still several months away, and in the We live in an age when information has meantime, I was fortunate to be part of a become more accessible than ever. A visiting artist workshop with Chris Sullivan. quick internet search can give us Sullivan has been teaching at the Art instructions for removing blueberry stains Institute of Chicago since 1988. While he from a favorite shirt (treat with boiling has made many drawn animation films, he water) or provide the last verse of that recently branched out into cut-out song we can’t quite recall. However, some animation. In fact, during our workshop, search keywords still draw a blank. Let us Sullivan was working on a feature cut-out say a person is interested in animation film titled Consuming Spirits to be shot on techniques using cut-out paper puppets on 16mm film. He kindly showed the a multi-plane animation stand. As of 2006, workshop participants a few scenes from there are few readily available internet the film, and I was particularly struck by resources on this topic. the animation of a deer in one of the shots. Sullivan’s puppets were elaborate and My interest in cut-out animations was expressive, and their movements were inspired by The Red Book, a cut-out film noticeably smooth. He told us he had a by Janie Geiser. Geiser heads the magical secret to share: a special Puppetry program at CalArts and directs technique for making joint hinges out of the Cotsen Center for Puppetry and the glue and paper. He didn’t invent it, he said, Arts. She also makes excellent films using and he must give credit where credit is many of her puppetry skills. The Red Book due. It was a kindergartener who came up was made by manipulating paper puppets with the idea. frame by frame directly under the camera. I was so inspired by her work that I Sullivan was doing an art project with a decided to make a similar animated film. class of kindergarteners when one child came up with this novel method of using The only way I knew for connecting the glue as a pivot point. The method is paper joints of my puppets was using relatively simple but can be surprisingly brass fasteners or “brads”. These proved difficult to describe, so I have included to be bulky and awkward for animation. A illustrations. All that is needed in addition fellow student suggested a needle and to the pieces you intend to hinge together thread, which was more complicated than I is a hole punch, a circle of paper slightly imagined. The paper would crumple, the larger than the punched hole, white school joints would be too loose, or worse yet, rip glue and a finely pointed object such as a out all together. I eventually settled upon toothpick, pen, sharpened pencil, or dull taping the string to the paper, although the exacto knife. contraption would inevitably come apart and a limb would be set flying. But Begin by deciding where the hinge point unaware of a superior method, I made do. will be on your two joining pieces and which piece will be on top (figure 1). Use a When I presented the film to my hole punch on the lower piece to create a professors I was told, “You know whose hole at the pivot point and cut out a circle Society for Animation Studies © 2006 SAS Newsletter, v19n1, p.5

of paper slightly larger than the punched firmly in the center with a pointed object hole (fig. 2). Turn both puppet pieces face (fig. 4). Hold it firmly for 5 to 10 seconds down with the hole (now on top) correctly (fig. 5). By now the glue should be dry and positioned at the pivot point. Put the you can test your puppet’s new pivoting tiniest dot of glue in the center of the paper joint. that shows through the hole made by the This technique has several advantages hole punch (fig. 3) Now cover the hole and over the traditional brads or sewn joints. glue with the paper circle and press it First, it is quick to make. Second, the joints

are very secure and long lasting. Third, California. I wish I could meet that former this joining method allows smooth kindergartener and let them know how movement since the part in which you much they have made my, and so many have punched a hole is free to rotate 360 others’ lives, or at least animations, degrees. Fourth because the glued hinge smoother. lies flat, it is possible to animate the It is not hard to imagine why both Heit and puppet directly on a background, thus Sullivan are enormous fans of Yuri avoiding the awkwardness of additional Norstein, the Russian animator whose planes of glass and pesky shadows. Tale of Tales is consistently ranked one of This technique, which I learned through the best animations of all time. Norstein the creativity and generosity of a interestingly prefers not to hinge his kindergartener and Chris Sullivan, has puppets, but to leave the pieces indeed played the role of a magic key in completely separate so that their my filmmaking: I wanted to share it with movements are as freeform and fluid as others. When I eventually met with Laura possible. Also, unlike any other animator I Heit and showed her this exciting have seen, he sometimes crafted his procedure, she laughed and asked where I puppet components out of clear animation had learned it. It turns out she was an cells so that he could layer images without undergraduate student at the Art Institute showing distinct edges. On the other hand, of Chicago, and she had worked with Norstein, like Lotte Reiniger, Bertold Sullivan in the mid 1990’s. Heit had agreed Bartosch, Sullivan, Heit and Geiser, to test out the technique of paper cut-outs painted the back, and if necessary, the for his upcoming film and she became so edges of his puppets black so as not to involved in cut-out animation that her reflect off of the other planes of glass. testing project turned into a 17-minute film Another animation technique that these called Parachute. Since our meeting I artists share is to use a sharp object, such have been lucky enough to see Parachute as a needle or fine scissors, to control the and it remains one of my favorite cut-out paper while animating. films. I also discovered that Heit had Sullivan has developed other techniques animated the sequence with the deer that I that appear to be his own inventions, liked so much in Sullivan’s film. I have which he shares freely in his workshops. since learned of other interesting One is the use of free floating embedded connections, for example, that Heit and eyes (fig. 7), which can be moved such Geiser are longtime friends. that the pupils move in symmetrical unison I suppose I should not have been (fig. 8). Sometimes Sullivan even includes surprised: experimental animation is a eyelids, which can be drawn up to make small world and the world of cut-out the character blink and then pushed back puppet films is even smaller. Perhaps it is down so as to be invisible. Mouths can be natural that good techniques do spread. made using a similar technique (fig. 9); Nonetheless it is still hard to fathom that a even replacement mouths or movable discovery from a kindergarten classroom tongue can be included (fig. 10). Pockets in Chicago should appear so quickly in can be created to register replacement London (where Heit received her MFA at heads or limbs (fig. 11 & 12). Sullivan the Royal College of Art) and in Southern offered a final tip on how to organize and

Figures by Mareca Guthrie store all those tricky little pieces: a simple creativity that other artists have so envelope! generously shared with me. Ideas and techniques spread through the ©2006 Mareca Guthrie art world just as they do from the kindergarten classroom. They arise from a Mareca Guthrie hails from Fairbanks, love of the medium, a delight in art making Alaska. She recieved her BA degree in and a desire to make the process easier Fine Art from Carleton College and is and more fun. In describing what I have currently a Masters Student at California learned about making cut-out pivot hinges, Institute of the Arts. Contact Mareca at I hope to pass on magical keys to [email protected]

Czech Animation in 2005, returned from Brno Czechoslovakia, Capital of Moravia, and were recruiting An Artist’s Journey English teachers for a private language Brian Wells school where they had taught. We hit it off right away, and they told me that if I could come up with enough money to get there, I In December of 2005, I was fortunate to go was assured a full time teaching position. on a short, two-week visit to the Czech So, enamored by the idea and very Republic. I am smitten by the film, idealistic, I sold my 64 Volkswagen animation, and design work that is created microbus, found a good home for my there, and I had been wondering how the Cocker Spaniel “Nelson,” reduced all of my Czechs have been doing since their worldly belongings to cash, and booked “Velvet Revolution” in 1989. Before I talk my flight. about what I learned, it feels appropriate I spent the better part of a year during that I provide some context for my 1990-1991 in Czechoslovakia, and the exploration of the topic. experience there changed my life forever I. in profound ways. I discovered a country that had been overtaken by a centralized I first visited Czechoslovakia in 1990, economic system that served its citizens when the small country (about the size of poorly, and an innovative, intellectual and North Carolina) was still named cultured people who refused to allow this Czechoslovakia, and a long time before I system to quell their spirit. Despite the considered myself an animation artist. omnipresent police “supervision towers” at Having dropped out of college temporarily, traffic intersections, the holes in the afflicted with a bad case of brain overload ground in which the Soviets poured from studying the physical sciences, I viscous waste oil, and the alarmingly moved to Seattle and took a job in radioactive water supply (the Czechs commercial landscaping. As it turns out, stood in line in Brno’s city square to get spending a couple of months on the end of clean water for the children from a large a shovel is a great way to convince a truck), I felt in awe of what I had person to question the merits of dropping discovered there. In spite of the almost out of college. One weekend in 1990, completely run down industrial while sitting in the Allegro café in Seattle’s infrastructure, barely working University of Washington district, I noticed telecommunications systems, and myriad a flier on a bulletin board: “WANTED: of other standard-of-living issues (too English Teachers for Czechoslovakia, many to mention really), I felt a giddiness Leave Immediately.” Recalling the recent similar to that experienced while in the election of Vaclav Havel, I thought, “Jeez, presence of a new love. I felt saddened by in what sort of culture, in this day and age, the downtrodden environment, yet swept would the people elect a dissident social off my feet by the nature of the people, philosopher and playwright to be whose sense of humor and appreciation of President?” I was intrigued, so I called the irony was not lost in the brown and yellow number on the flier. coal smoke of the bellowing local Russian The young couple who agreed to interview car factories. In short, I had found, what me for the teaching position had just seemed to me, one the most magical

places in the world. I made some lifelong limited success as a political cartoonist, I friends, tasted some fantastic foods and resolved to be admitted to an animation wines, and respectfully imbibed of the school in Los Angeles with the intent to romantic European splendor offered by make animated films conveying poignant 12th century stone craftsmanship and socio-political comment. I graduated with a countless medieval cathedrals crowned BS in General Science from PSU in with weathered copper spires. I returned a August of 1993, and I moved to LA. much richer person for having experienced During the course of my animation studies Czechoslovakia during that time, despite at the Character Animation Department at the airline losing all of my baggage on the CalArts and later at the UCLA graduate flight over, and despite having spent every film school, I learned a great deal about cent I had in the world while I was there. It the animation filmmakers that lived and was worth it. worked in the Czech Republic. I learned II. about Gene Deitch, an ex-patriot who has After returning to America in 1991 (I been a very successful independent borrowed the money for a return flight), I animation filmmaker there since 1960. I enrolled at Portland State University to learned about Jan Svankmajer and his continue my undergraduate studies. surrealist animation, about Jiri Trnka’s Somehow, though, I had become a very profound and amazing puppet animation, different person. No longer interested in and I discovered the long standing studying the physical sciences, I was traditions of fairytales and puppetry in the fascinated by the social sciences and Czech culture. I thought about what I humanities. In retrospect, I think I needed considered to be the Czech people’s to make sense out of what I had just “healthy distrust for authority” and subtle experienced, and I sought some sense of irony, which I attributed to their congruency in my mind between what I culture being oppressed by several had been told about Soviet Block countries successive authoritarian regimes, and I and what I had seen and experienced learned about the Czechs’ wonderful while I was there. sense of innovation and their ability to adapt to challenging cultural influences It wasn’t long before something and circumstances. In short, I grew to love tremendously creative within my spirit and respect Czech culture from both what began to stir. My experience in the Czech I had learned during my previous visit, and Republic, complemented by my newfound what I was learning during the course of interest in the humanities, had somehow my graduate studies in film and animation. inspired and unlocked my creativity. Like a compressed spring suddenly unfastened, Now, fifteen years later, as an Assistant my creative energies sprang forth with a Professor with a research agenda focused passion I had never felt before. I began on animation and my sights set on a insatiably drawing and writing in my spare positive tenure evaluation, I took an time. I simply could not stop. Within a few opportunity to revisit the Czech Republic. months, I showed some of my ideas and Before the journey, as I pondered the sketches to the PSU student newspaper upcoming adventure, I felt a renewed editor and I was hired as their editorial sense of excitement. I wanted to see how cartoonist. After about a year, with some the Czechs were adapting to their new

democratic government, how the new cables, brand new tram coaches and capitalistic economic system was affecting sparkling automobiles sped busily about. the people’s lives, and how it was affecting Traffic jams were a relatively new the animation created and produced there. phenomenon to the Czechs. I made some contacts via email, updated It was the holiday season in Prague, my son’s and my passports, and complete with the hustle and bustle one scheduled our flight. would expect at this time of year in any I went on the two-week visit during well-off Western European country. In the December 2005 with specific questions in evening the shops were open late, full of mind: quality clothing and toys; the streets were “Changes in Czech Animation Since well-lit; and crowds of people were out Glasnost and The Velvet Revolution.” shopping and spending money. I heard Christmas bells and music, and smelled An evaluation of several different aspects the enticing aromas of roasted chestnuts of Czech animation, including both its spirit and cooked sausages throughout the and its industry, during the Communist Christmas market booths in Wenceslas Regime, compared to the Czech animation Square. Instead of hiding their faces in spirit and industry now, with attention paid weathered grey and olive-drab wool to following sub-topics: clothing, like some I had seen in 1990, the A. Content: Humor, Ethos and Pathos people held their chins up, smilingly and B. Sub-Genres, Structure, Innovation and joyfully, and were clad in colorful and Trends festive attire. I felt a sense of wellbeing C. Production Process from them as they sauntered past, couples D. Funding (Studio and Independent) arm in arm. Indeed, the change from 1990 E. Labor Force, Education and Training. to 2005 presented a stark contrast. I no F. Politics, Censorship and the longer felt the extreme pressure of Government's Role Communist oppression on my chest, but G. Media Outlets and Dissemination rather the opposite felt true. I took a deep In retrospect, I found out that was a very breath of fresh Prague air in awe of the lofty agenda for a two-week visit. change as I sipped my cup of hot wine and took in the scents of warm sweet breads III. and spit-roasted meats on that crisp When my four-year-old son and I arrived in December evening. I bought my son Prague after several days of air and train Donovan a large pink frosted cookie travel, I was amazed at the changes that shaped like a pig. Pigs are considered had taken place since 1990. The stately very good luck in the Czech Republic. and romantic buildings were no longer Good fortune indeed! layered with a dusting of brown coal soot A couple of days later, my son and I met or colored a non-descript mortar gray, with Gene Deitch at the Savoy Café near dilapidated and badly neglected. Where his studio in Prague. A confident man of the dimly lighted tram cars, with chipped 81 years who possessed twice the energy and rusty paint, clickety-clacking down the and vigor of someone twenty years his narrow foggy cobblestone streets had junior, he was more than happy to meet once produced eerie blue arcs from their and discuss Czech animation. We had poorly maintained electric overhead

time to become briefly acquainted over IV. coffee and chocolate cake, but my little Through Petr I was introduced to boy was having a “toddler episode” that Professor David Korinek (pronounced Kor- day, so Donovan and I left the Savoy een-ek), faculty and media production about an hour later with plans to meet emphasis leader in the Department of Gene again at his studio sometime during Media Studies and Journalism at Masaryk the next two weeks. Before we left Prague University. David was justifiably proud of however, I delivered the two jars of the new facilities and computer labs, and I “Adams” natural peanut butter I had enjoyed a tour. Afterwards, I was gave a agreed to bring for Gene. Peanut butter, I one-hour lecture/presentation which I found out, was a rare commodity in the prepared with reference to Paul Wells’ Czech Republic. There were some things excellent text, Understanding Animation. one cannot buy, at any cost, in the heart of Europe. The students at Masaryk University seemed to enjoy my informal and From Prague we traveled to Brno, which is energetic teaching style, even though my a city of about 400,000, two hours south of presentation was in English. The students Prague and an hour north of Vienna, in the were also particularly interested in my Southern Czech steppes. In this region experiences working at Film Roman on they arguably grow and make some of the The Simpsons, a series that had become finest wines in Europe, which I have on quite well known in the Czech Republic (it several occasions, taken the opportunity to was much less expensive to buy and dub taste. I have never experienced anything voices onto an existing animated TV series as romantic: a brick wine cellar full of than to produce an original one). One immense oak casks, a lighted candelabra student even asked to videotape me acting filling the air with its waxy smoke, inviting out the (apparently) world famous Homer tables of holiday food, and a viola and Simpson “DOH!”, which I naturally saxophone played in the background to accepted. They chuckled at the fact that warm conversation. Homer’s “DOH” is now in the Oxford When we arrived in Brno, I saw my old English Dictionary. friend Petr Spila (pronounced Shpee-lah), After the lecture I had lunch with David at whom I had met in 1990 over red wine and his favorite Chinese restaurant. The Czech a spirited discussion of the international animation industry, according to David, political ramifications of the first Gulf War. was somewhat depressed: during When we met Petr was a partner in the Communism, animation was government development of the very first FM radio funded and therefore fiscally secure, yet station in the Czech Republic, “Radio production was also inefficient because of Hady;” now Petr was a sales manager for the low expectations from the managing The Universal Music Group. Petr helped Communist officials. Apparently the me to contact faculty and administrators at primary purpose of Communist supervision several university media departments and was censorship, and not efficiency or design centers. productivity. As I understood it, if only one film per year was made and broadcast on Czech television, the Communist Oversight Committee’s obligations were

met. Whether one or ten films were made original floors and ceilings and doors and per year was of no consequence; hinges reconstructed from original everyone’s salaries were paid despite designs, the Klimes Castle was a priceless minimal output. “But things are very treasure, as well as a renovation project different now,” David pointed out. Now that spanning two generations. During a walk- was an understatement! through tour, Pavel showed me some Under a new capitalistic economic system, glass and ceramic artifacts found on the grounds. At one point he handed me a the Czechs have been struggling to find th ways to fund animation, film, television and ceramic cup made in the 12 century. I media production, in many of the ways that was much relieved when Pavel took the Americans have. Media production was, chalice from me and placed it carefully however, starting to increase in the Czech back onto its solid oak shelf. After a few Republic. Mr. Korinek, himself a freelance hours touring the Klimes Castle, we drove director for Czech Television, told me that down to a lakeside resort where many opportunities are growing. Independent private wine cellars were located. The day media production companies were was amazing! apparently springing up, and I was told The next day, back in Brno, I walked that one 3D animator made 90,000 Czech through the narrow cobblestone Crowns (Kc) for two day’s work. Although passageways of the old city center with my salaries like that were not commonplace, son, emotionally recalling my experiences the anecdote seemed significant, from 1990 and recording new ones from considering that the average monthly 2005. In 1991, I openly signed a petition to salary was between 10,000 and 30,000 Kc Free Lithuania in Freedom Square while (academics made about 15,000 Kc). suspicious Czech nationals stood about, Indeed, based upon reports like these, scratching their chins and discussing the animation and media production clearly concept. Soon afterward, some onlookers seemed to be on the rise. With high cautiously approached the table, perhaps definition television (HDTV) slated to begin believing that the police were not going to broadcasting in about one year, the come to arrest them after all. During this Czechs were looking forward to positive recent visit, however, Freedom Square changes in their media production and its was the honored site of the city’s 30-foot associated industries. This prediction was Christmas tree and was packed with consistent with a radio news report I heard charming seasonal booths selling local while there, which stated that the Czech crafts. The square, where I could not even economy grew 3% during 2005. There are find an espresso in 1990, now brimmed concrete signs of a healthy, vibrant, and with modern coffee houses and echoes steadily growing economy. with festive music. During my days off, I took time to take in I was reminded of one of my favorite sights and revisit memories. I toured an Czech stories, a poignant example of the 11th Century “castle” in one of Brno’s small Czechs’ distrust of authority, at the Brno outlying villages named Pozdrany City Hall. The Hall’s delicate façade rose (pronounced Poz-draw-nee), home to the to form three spires, and one cannot help famous art restorer Pavel Klimes but notice that the central, and highest (pronounced Klee-mesh). With some spire, curves off at about 30 degrees to the

right. Petr had told me that the 14th century video screens on which to view the un- artist was promised a fair sum in exchange subtitled Czech film selection. For a few for his work. Years later, as the sculpture extra Crowns, one may also buy hot tea neared completion, he was told that there and snacks. I decided to study my notes was no money to pay him. In retaliation, and prepare for my meeting. The bus ride the artist skewed the central spire, making was over in no time at all. his creative statement for all to see in Gene’s studio was located in one of the stone. What really struck me was that the most sought after locations in Prague, and facade of this government building has not for good reason. From the window of the been reconstructed: it has been left as a new flat he was renovating in the same monument to the story and the artist. building, I could see both the Charles Bridge over the Vltava River, and the Prague Castle (Prazsky Hrad). Before we began the interview, I looked at the art on Gene’s office walls. I saw original drawings by Jiri Trnka and an original ceramic vase made by Jan Svankmajer before he was a successful filmmaker. I peeked into Gene’s studio and it looked tidy but busy. Gene impressed me as a professional independent filmmaker who possessed substantial business savvy. At one point he told me that my questions were “pretty idealistic.” Nevertheless, he humored my youthful pontifications with a smile, providing his many years of insight and experience making animated films in the Czech Republic. Gene’s wife, Zdenka Najmanova (pronounced Niy-man-ova), is the managing producer at “Kratky Film Praha”, the most famous animation studio in Prague and the studio of Jiri Trnka. She has, according to Gene, “Worked in only

this one job in her whole life,” and I found Brno City Hall façade. Photograph by Brian Wells that pretty amazing. Between the two of V. them, I wonder if there is a married couple I finally received the message I had been in the whole world with more combined waiting for: it was time to get back to work. professional animation experience. Anticipating an opening in Gene Deitch’s Gene confirmed everything I had learned busy schedule, I was invited back for a about Czech animation and media second meeting with him. I arranged an production during my visit: in short, that English-speaking sitter for Donovan, and the climate was a little depressed but was the next morning I boarded a “Video Bus” defiantly improving. I left Gene by asking – complete with headsets and pop-down for a job, and with him asking me to beg

for it, which I think I did. I also asked him if detergent) during Communist times, but I could send him a couple of my scripts: he that is a story for another time. told me that if I sent them, I would also VI. have to send money in order to convince him to read them, which I did not. All in all, Zlin is a small, comfortable-feeling city with it was great meeting Gene. He is a great a population of about 80,000 in East animation director and a gem in the Moravia, within an hour’s drive of Slovakia. animation community. Our first stop in Zlin was Filmova Skola (pronounced Film-oh-vah Shkoh-la), a The next day I met with Milan Kabat quaint private film school in the mountains (pronounced Ka-baht), Executive Director overlooking the city. It was apparently in for the Czech Republic Design Center in part owned by an American company, Brno. Mr. Kabat, a robust and sturdy man although I did not ask which one. I who wore a cowboy hat and a Western understood, however, that this might soon rancher’s rain coat, generously offered not be the case, as it was rumored that the Petr and me a tour of their facilities, which th film school may soon be more formally is located in a romantic 13 century associated with Bata University. building near Freedom Square in Brno’s old city center. The Design Center exhibits At Filmova Skola, I was introduced to Mr. innovative designs for diverse products Richard Vodicka (pronounced Vohd-eech- such as furniture, clothing, accessories, ka), an administrator at the school. Mr. housewares, and other creative artifacts Vodicka was a young and enthusiastic by Czech designers. Mr Kabat also told us man who was genuinely excited about the of plans for the construction of a development of Filmova Skola’s curriculum sculpture/exhibit garden with a view of one and daily schedule. He spoke English of the most majestic 14th century church quite well, having spent a year teaching in spires in Brno. I was very impressed with Maryland in 2004, and we enjoyed lunch their exhibits and the space, as well as together as I asked him many questions. with Mr. Kabat’s generosity in introducing He took me on a comprehensive and me to more contacts. delightful tour of the facilities and I was introduced to some of the students who Within a couple of days, Mr. Kabat told me, I would have the opportunity to meet Pavel Skarka, Professor and Associate Dean of the Multimedia Communication Department at Tomas Bata (pronounced Baht-ya) University in Zlin (pronounced Zleen). Dean Skarka is also the Director of the world-famous film school Filmova Skola in Zlin, which I was also invited to tour. I felt much honored to be introduced to these distinguished scholars and community leaders. In the Czech Republic, I was told, making contacts is very important. Apparently, that is how one acquired necessary goods (like laundry Student at work. Photograph by Richard Vodicka

Set and stage for puppet animation series “Rats.” Photograph by Richard Vodicka were working there. I was completely animation “cubby holes” with heavy black amazed by the spirit and creativity of the curtains. Inside the cubbies were student spaces throughout the school. In one 2D stop-motion stages, sets, lights and animation classroom/lab, the students camera setups. The armatured puppets were sitting together with a hearty loaf of were in various positions and poses, dark bread and a bottle of red wine, frozen mid-thought and mid-stride, ready studying animation on TV. The fluorescent to act for the potential of the next frame. In tubes under their light tables created a some cubbies, groups of students were familiar radiance in the room, and the setting up for the next shot, discussing the space felt like a place where I would feel intricacies of the shot and the acting. quite content to make my own films, just Some cubbies were completely dark, as if like my alma mater the UCLA Animation the students would return soon after Workshop. There’s no substitute for the resting from the previous night’s feeling I get while in a truly creative and exhausting work around those hot lights. welcoming space; it inspired me to want to The top floor of Filmova Skola was a live up to my true potential as an artist, a working puppet animation studio that scholar and a teacher. produced several well-known children’s On the third story of the film school, in a animated fairy tale series, including a new space the size of the building’s whole floor series called “Rats.” There I was treated to the walls were painted black and the cabinets full of miniature props built for the space was cordoned off into private little series. The technician pulled out box upon box of gadgets and gizmos built over the

years for the series episodes. There were website for more information including an miniature chainsaws and cel phones and English version and online application: just about everything one could imagine. http://www.filmovaskola.cz They were fashioned from wood, wire, VII. plastic and every other material. Each prop was meticulously painted and sculpted in After a full day at Filmova Skola, I was exact miniature replica, and each was a invited to join Mr. Kabat, Dean Skarka, and tiny work of art in its own right. my friend Petr Spila, for dinner, and then for a tour of the Multimedia Next to the prop room and workshop was Communication Department at Bata a hallway full of original models and sets University. Outside, after eating a made for the series over the years. Some traditional and satisfying Czech meal, my characters and models were on tables, attention was directed across the and some in glass cases for display and thoroughfare to the very large glass office protection. I was extremely impressed with building of Tomas Bata. An entrepreneur the exquisite craftsmanship. Some from the early 1930’s, Bata built an puppets were posed on the sets and they immense shoe factory in Zlin that is still in seemed to be ready to come to life at any full production today. Dean Skarka told me moment from their static, yet motion-full of Mr. Bata’s office in the building, which is positions. Despite the fact that they were actually a large elevator in the center of sculptures of wood and foam, their facial the structure. Mr. Bata rode his ‘office’ up expressions were completely alive and and down from floor to floor in the building, true works of artistry. during the course of his day, to personally I received only a brief introduction to a few supervise the factory operations. Now, of the master animation teachers at that’s innovation! Filmova Skola, but I understood from Mr. The Multimedia Communication Vodicka that they were not “credentialed Department at Bata University was academics,” but rather very experienced similarly exhilarating. Dean Skarka, also a professional film directors and animators. full professor and an industrial designer, The instructors were quite busy talking was a tall and distinguished-looking man amongst themselves and to students with a warm demeanor who laughed and passing through the narrow school smiled often. I noticed a few small hallways. I left Filmova Skola that sculptures behind his office chair, but by afternoon with a sense of magic and far the most interesting artwork was drawn wonder about animation that I had not felt in marker on a large piece of newsprint since graduate school. taped high on the wall behind his desk. It costs about 1,300 Euros (2,500 USD) The piece was a masterful, yet quick and per year to attend Filmova Skola, which is childlike, rendering of a young person very reasonable for the training and pulling a toy wagon; below which one read experience received during their intense the caption, “Do not be scared of the two-year programs in animation and live- university, because it is the university that action filmmaking. If your film idea is good is scared of you.” This seemed to me to be enough, the school may pay for its a profound realization for an academic production, which I think is an outstanding administrator, one that is seldom opportunity. Check out Filmova Skola’s acknowledged, let alone posted for all to

see. I was very impressed with the adapting to their new way of life, and busy honesty of the drawing, which was doing it with the passion, commitment and obviously taped in place for a student to innovation they were famous for. There read while waiting, perhaps uncomfortably, was absolutely no doubt in my mind that for a meeting with the Associate Dean. Czech animation and media production A tour of the Department revealed would soon take their rightful and excellent samples of student design work prominent places on all of the world’s large displayed both on the walls and inside and small screens. glass cases throughout the halls. Students Crossing the border through the Bohemian were bustling about, working on their Black Forest into Germany, I pulled a projects in the various design rooms and tourist brochure from my backpack and computer labs, and the faculty were in mulled it over. Written at the bottom of one their offices after 6 pm, doors fully open, paragraph was the claim: “The Czech for students to gain access to their Republic is a fairytale land moving considerable expertise. This access would headlong into the future”. “So true”, I be quite often, in my experience, difficult to thought to myself. The Czech Republic is a find in an American university. culture richly steeped in traditional tales of I had an opportunity to speak with students yore which take place in a mythical land of and look at some of their work. I saw romantic medieval castles, encircled by student animation on brand new narrowly winding cobblestone streets Macintosh computers, I saw student through which a very thoughtful and graphic designs in various stages of cultured Central European people make completion, and I saw graduate students their way. The term “headlong” implied to setting up a new, very large format graphic me “destined and committed, with one’s printer that had recently been acquired mind leading the way.” with a technology grant. I was impressed I could not agree more. by their work, and that the students spoke ©2006 Brian Wells and understood English much better than I understood Czech. Upon completion of the tour, we all agreed that it was time for us Brian Wells attended CalArts and earned to head back to Brno. The following day an MFA from the UCLA Animation my son and I would arise very early to Workshop. Before becoming an Assistant catch our train back toward home. Professor in the Mass Communication Department at Idaho State University, he During the beautiful countryside journey gained professional Hollywood animation from Prague to Munich, while my son was experience from Film Roman, Spumco, lulled asleep by the rocking of the train, I and Vivendi Universal Interactive. Wells realized that I didn’t even come close to lives in Pocatello, Idaho; and while he is answering most of the questions I had set not mentoring future young artists, he and out to answer. Once again, I simply his son Donovan roam the Pacific became overwhelmingly enamored with Northwest’s temperate rainforests, and the the people I met, and with my experience Great Basin’s watersheds, fly fishing for in the Czech Republic as a whole. What I elusive wild trout. think I found out was that the Czechs were very busy building their future, busy http://www.isu.edu/~wellbri2

Introductory Issue of animation: festivals. Animation-related practice, theory and digital-based sciences are on an interdisciplinary journal the move, yet writings on the aesthetic, Suzanne Buchan philosophical and cultural impact of these developments are minimal and most are scattered in a plethora of discipline- specific journals and publications. In its With its unlimited potential for visually offerings, animation: an interdisciplinary representing events, scenarios and forms journal will provide a resource for all that have little or no relation to our interested in animation-related forms of experience of the ‘real’ world, animation is visual culture, ranging from advertising increasingly implemented in many ways in and digital filmmaking to architectural many disciplines. It can depict imagined design programmes and scientific ‘worlds’ and fantastic beings, from The visualization tools. Matrix blockbusters or indie production Waking Life and the Oscar-winning The scope of animation: an Spirited Away to risk-taking shorts like City interdisciplinary journal is very Paradise or the Oscar-winning Ryan. Yet comprehensive, yet its focus is clear and especially since the digital shift, the uses simple. Through its editorial aims, it and definitions of animation have become addresses and includes all animation permeable and animation is infiltrating a made using all known (and perhaps yet to wide range of visual culture to an astonishing degree. Artists increasingly incorporate animation in installations and exhibitions, and star architects use computer animation software to visualize interactive architectural ‘walk-throughs’ or to create narratives of space in time. Creative output also finds its way into avant-garde high-tech computer sciences too in a breadth of industries ranging from biomedicine to structural engineering. And, of course, independent and commercial animators continue to astound us with their humorous, poetical and philosophical narratives of the human condition, using both lens-based and digital animation. The impetus for animation: an interdisciplinary journal is clear: animation has become the most powerful and seductive time-based medium. Its increased popularity and accessibility in cinemas, on DVD, on VHS, on the internet and in broadcast media attest to this as does an increase in specialist animation Provided by Suzanne Buchan

be revealed) techniques since the late • generate debates around the 18th century up to the digital shift and animated form beyond, reveals its implications on other • support curriculum and research in forms of time-based media expression – educational and academic past, present and future – and illuminates programmes how these affect our lives. While • inform a wide readership about the continuing to support animation studies, contexts and innovations of the journal will also challenge traditional animation divisions between animation and other Although the journal is essentially forms of moving image culture, aspiring to conceptualized to serve an academic become an essential forum for debate, community, animation: an interdisciplinary innovation and developments in journal has a utilitarian nature and will established and emerging animation satisfy a wide range of interests. It will communities. feature contemporary scholarly debates One of the editorial objectives is to and issues that are as at home in research encourage collaboration and exchange projects, university curricula and libraries between cultures and disciplines. To as they are in internet discussion sites, guarantee this, the Editorial Board is animation studios and digital design composed of experts from the major company staff rooms. The discipline animation-producing countries, individuals coverage of animation: an interdisciplinary who are leaders in their field and who journal relates to its anticipated core share with the Editor the conviction that readership: Film Studies, Visual & Digital there is a need for an interdisciplinary Culture, Art & Design, and Media Studies. journal on animation that also reflects on Subdisciplines include: Cultural Studies, the diversity of European and global Critical Theory, Architecture, Digital animation to correct the Anglo-American Design and Computer Sciences (i.e. hegemony of commercial feature and Microsystems Technology and Software television series productions, which tend to Research). animation: an interdisciplinary dominate existing publications. animation: journal will thus provide a collective an interdisciplinary journal will also platform for authors, researchers, illuminate the rich histories and culturally practitioners, educators, curators and diverse aesthetics of productions from filmmakers engaging with animation in all throughout the world. Core editorial aims its forms. are to: New generations of graduate students are • provide a coherent publishing receiving educations that increasingly platform for established and embrace concepts with wider spectral emerging scholars implications and interdisciplinary methods • reveal the multidisciplinary nature of investigation. animation: an and cultural impact of animation interdisciplinary journal anticipates the • support interdisciplinary approaches outputs of these emerging scholars and is and methodologies also forward-looking in that it encourages • foster collaboration between a wide range of approaches and critical disciplines and cultures methodologies. In the many fields that commingle with animation, researchers

and scholars are reflecting on the issue of animation: an interdisciplinary aesthetic, technological and cultural journal mirrors our editorial aspirations: impact it has when combined with their Essays own field of specialization. A key element of the journal is its plan to foster and "Ub Iwerks’ (Multi)Plain Cinema", J.P. encourage scholars, critics and artists Telotte working between disciplines. In its "Image Future", Lev Manovich interdisciplinary approach, the journal "Platonic Sex: Perversion and Shôjo addresses both practice and theory. Anime (Part One)", Thomas Lamarre In the past 20 years, digital technologies "Critique of the New Historical Landscape have increasingly encroached upon of South Korean Animation", Joon-Yang traditional forms of non-representational Kim moving image-making, and because much of this technology came from animation "Comics and the Critique of practice, digital animation enjoys an Chronophotography, or ‘He Never Knew increased prominence in these discourses. When It Was Coming’" Scott Bukatman Yet writings on pre-digital animation were Interstices eclipsed by this emphasis on the digital, "The Cathedral Is Alive: Animating and there are many histories and contexts Biomimetic Architecture", Dennis Dollens that still need to be revealed. Analogous to Film Studies’ later engagement with Silent Book Reviews Cinema, animation: an interdisciplinary Richard Fleischer, Out of the Inkwell: Max journal aims to foster understanding of Fleischer and the Animation Revolution, these histories and illuminating animation’s Reviewed by Gordan Calma formal and aesthetic characteristics that are essential to filling significant gaps in Russian Labyrinths, Natalia Krivulja, our comprehension of how pre-digital Labyrinths of Animation, Reviewed by animation, in terms of its development and Timo Linsenmaier its relationships to other art forms, is part David E. James, The Most Typical Avant- of an ongoing continuum of animation Garde, Reviewed by Victoria Meng production. We hope you enjoy this first issue of the animation: an interdisciplinary journal will journal and welcome your comments be published twice a year in 2006, then . The next three times a year from 2007 onwards(see issue will include essay by Aylish Wood on below for a free online subscription). Each re-animating space, and Jessica Aldred on issue will contain four to six theoretical and The Polar Express and CG blockbusters. critical articles, three to five reviews of new In other essays, Andy Darley posits some English and foreign language publications, bones of contention about animation conferences and exhibitions, with studies and Paul Ward investigates substantial review essays. The practice- practice-theory relationships in animation. oriented Interstices section will be Sage Publications is offering a free online dedicated to radical, emerging and trial to Volume 1 (Issues 1 and 2). To sign innovative crossovers between disciplines up follow the link at and to the artist practitioner’s working http://www.sagepub.co.uk/animation methods and explorations. This launch Society for Animation Studies © 2006 SAS Newsletter, v19n1, p.21

The Illusion of Life II: More Essays on Animation and Other Publications Alan Cholodenko

Editor: Alan Cholodenko Publisher: Power Publications ISBN: 0 909952 345 Book size: 210 x 148 mm Description: Paperback, includes index

In his review in Film Quarterly, Summer 1993, Richard Leskosky, then President of the Society for Animation Studies, declared that The Illusion of Life: Essays on Animation “heralds (and argues) the arrival of animation studies as a valid discipline equal to and separate from cinema studies but with a wealth of critical practice relevant to cinema scholars as well as animation scholars.” Provided by Victoria Dawson The Illusion of Life was the world's first across the spectrum – from the humanities book of scholarly essays theorizing to the physical sciences and technology. animation. The Illusion of Life II: More The sixteen essays composing The Essays on Animation continues and Illusion of Life II engage with post-World extends the work of its predecessor in the War II film animation in Japan and the theory of animation. It provides a wealth of United States, as well as with the understandings, approaches, ‘expanded’ field of animation, including the qualifications, correctives and challenges relation of live action and animation; video to scholars not only in Animation Studies and computer games, the electronic, but in Cinema Studies. It proceeds on the digitally animated mediascape, the city, supposition that Animation Studies and flight simulation, the military and war; and Cinema Studies are not separate, and that animation in the entertainment complex. In the relations of one to the other call for addition, it contains essays of a more intense, rigorous, scholarly theoretical general theoretical nature on animation “as inquiry, especially as film, under the such.” Like its predecessor, it brings increasing impact of computer generated poststructuralist and postmodernist animation, reveals itself to be what it perspectives to that enterprise, thereby arguably was never not—animation! helping to redress the neglect of not only Indeed, The Illusion of Life II, like its animation but ‘philosophy’ in the theorising predecessor, offers rewards to disciplines of film in late ’60s Film Studies.

The Illusion of Life II Table of Contents 5 More General Theoretical Pieces on Animation Introduction, Alan Cholodenko Porky’s Stutter: the Vocal Trope and 1 Japan Lifedeath in Animation, Annemarie Jonson The Long Flight of Manga and Anime: The Animation 1: the Control-Image, William History of Comics and Animation in Japan, Schaffer Kosei Ono Speculations on the Animatic Automaton, When Velvet Gloves Meet Iron Fists: Alan Cholodenko Cuteness in Japanese Animation, Pauline Moore Appendices: Hybridity and the End of Innocence, Jane Fred Patten’s Annotated List of Pertinent Goodall Works and Chronology of Publications De Anime, William Routt Relevant to The Lion King and to the Sonic-Atomic-Neumonic: Apocalyptic Controversy Echoes in Anime, Philip Brophy Ordering information: 2 The United States The Illusion of Life II will be launched in Pronoun Trouble II: The Missing Dick, Australia in October 2006. It will be Richard Thompson distributed in the USA by University of Between the Legs of the Mermaid, Edward Illinois Press beginning Spring 2007. Colless Power Publications The Infinite Quest: Husserl, Bakshi, the RC Mills Building, A26 Rotoscope and the Ring, Freida Riggs University of Sydney NSW 2006 Australia 3 Japan and the United States T: 61 2 9351 6904; F: 61 2 9351 7323 Simba Versus Kimba: The Pride of Lions, E: [email protected] Fred Patten University of Illinois Press 4 The “Expanded” Field 1325 South Oak Street a Live Action and Animation Champaign, IL, 61820-6903 USA Allegories of Animation: Schindler’s List, T: (217) 333-0950 ; F: (217) 244-8082 E.T. and The Lion King, Rex Butler E: [email protected] b Video and Computer Games, the http://www.press.uillinois.edu Electronic, Digitally Animated Mediascape, Other publications by Alan Cholodenko: the City, Flight Simulation, the Military and 'The Crypt, The Haunted House, of War Cinema', Cultural Studies Review 10:2, Animating Architectures: Panic Styles for September 2004. Troubled Cities, David Ellison 'Still Photography?', Afterimage 32:5, Logistical Space: Flight Simulation and March/April 2005. Virtual Reality, Patrick Crogan ‘The Nutty Universe of Animation, The c Animation in the Entertainment Industry "Discipline" of All "Disciplines", And That's Intertextual Personae: Character Licensing Not All, Folks!', International Journal of in Practice and Theory, Ben Crawford Baudrillard Studies 3:1, January 2006.

Entre o Olhar e o Gesto, Table of Contents (English translation):

Elementos para uma Poética da Animated Film and Cinema Imagem Animada 1. What is Cinema? (Between Looking and The filmic representation of real space and time: conceptual device Gesturing, Elements Towards a The collaboration of the interested Poetics of the Animated Image) spectator The philosophy beneath the animation Marina Estela Graça gesture

A specific author: Norman McLaren

2. Poetics (Manipulations) Publisher: Editora SENAC, São Paulo, Dynamization of space Brasil 'Spatialization of time' (after Panofsky) Publication date: February 2006 Conclusion ISBN 85-7359-470-5

Language: Portuguese

Number of pages: 222 Table of Contents (Portuguese):

This book explores the analytical aspects 1. Filme animado e cinema of the animator’s relationship with the O que é cinema? means and results of her/his work as A representação fílmica do espaço e do author: perception and expression of tempo reais: dispositivo conceptual movement using technologies, the A colaboração do espectador interessado articulation of signs and the physical body. A filosofia que sustém o ato de animar

Um autor específico: Norman McLaren

Marina Estela Graça is a lecturer, 2. Poética (manipulações) researcher and animator. She is currently Dinamização do espaço developing research as an Assistant “Espacialização” do tempo Professor at Aalborg University

(Denmark). Her film Interstícios (Filmógrafo, 2001, 6') has obtained three international prizes and has been chosen several times to represent Portuguese Cinema. She is now finishing another short film, Claro Azul (Ausente), which has been commissioned by Faro Capital Nacional da Cultura 2005 (Portugal).

Frames of Imagination: Aesthetics of Animation Techniques Nadezhda Marinchevska

ISBN: 954-90486-7-5 Publisher: TITRA Alexander Yanakiev 3, Stara planina Str. Sofia, 1000 Bulgaria Price: 14 Bulgarian lev (approximately 7 Euro) Description: 296 pages; more than 90 colored and 80 b/w illustrations In Bulgarian only

English Summary The book looks at the artistic potential of animated images in various techniques Provided by Nadezhda Marinchevska and examines the advantages and limits of animation modes of production. The dominant forms of expression and the departures from mainstream practices are • the visual potential of various animation analyzed aesthetically and technologically. techniques; The examples include classical studio • statics or dynamics of form and colour. films and works of independent animators, Susceptibility to deformation or "hardness" Bulgarian and international. The artistic of form. Degree of human-body distortions tools and ideas of animation and the as a sign of animation in live-action film; modes of production are analyzed from the • artistic impact of various materials and point of view of: textures; • artistic dimensions of space in 2D and 3D • the illusion of "plausibility" in hyper- animation techniques. Simulation of realistic styles and the artistic liberties in "depth" and expressiveness of "flat" styles; "animation auteurism"; • kinetic parameters and character motion. • mimetic and abstract approaches; Dynamics and hyper-dynamics. • camera functions, etc. Transformations of time;

Chapter 1: Animation as Yet Another Chapter 5: Direct-Camera Techniques is World is a comparison between the about painting on glass, sand animation modes of "frame-by-frame" films and the and pinscreen. Creating the image directly chrono-photographic cinema. The chapter under the camera gives the impression of is an overview of basic concepts of "improvisation". The ever-changing animation aesthetics such as the visual colours, the fluid transfusion of splashes paradoxes of space and forms, time and and spots are seen as a new category of motion. The focus is on "the motion or movement, irrespective of the plasmaticness" of animation imagery, body way the character struts on stage. The metamorphoses and the drawn simulation nuances of the grey shades in sand and of the "moving eye" of the camera. pinscreen animation can have the look of an ancient engraving. Chapter 2: Traditional Techniques on Cels is about the technology and visual Chapter 6: Cut-Out Techniques. The cut- expression of classical animation. The out techniques are based on the flat two- chapter discusses the aesthetic tension dimensional image and its specific stylistic between the fine-art backgrounds and the effect. Silhouette and collage films are characters enclosed in contour. The sharp juxtaposed to the unique Juri Norstein's contour of the figures and the "stiff" colour exploration of the illusion of depth. The of the moving characters seem to be a chapter looks in detail at ways of moving limit to the free expression of style. cut-out figures on a flat surface and Disney‘s principle of realism is juxtaposed focuses on the stylistic potential of "hard", to other authors and approaches. non-elastic bodies. Chapter 3: Paper-Drawn Animation is Chapter 7: Three-Dimensional about artistic styles in drawing. The Animation examines puppet and clay emphasis is on pulsating graphic strokes animation and pixillation. Three- and vibrating colours. The visual laconism dimensional techniques record on film real and the elaborated individual styles are space and forms. Camera, lights, and the seen as different versions of the other accessories of filmmaking-in- technology. space are real and present. They are not simulated through perspectival drawing. Chapter 4: Drawing on Film. The technique's miniature image determines Different ways of moving the puppet (pose the domination of abstract and non- to pose, substitution) are described. The narrative film. The main feature of this qualities of hard and soft materials are technique is the effect of "boiling". The examined in connection with their artistic unstable image and the intense colors are impact. Pixilation as a form of animating typical for cameraless film. Scratched the human body is connected with the images or non-registration motions seem visual manipulations of actors in live- to be "spontaneous". An experimental cinema. version of this technique is drawing sound synchronized with visual music of abstract forms.

Chapter 8: A Quick Portrait of Nadezhda Marinchevska is a senior Computer Animation explores the researcher in the Institute for Art Studies at capacity of computer-generated images to the Bulgarian Academy of Sciences, create alternative worlds in animation and Cinema and TV Department. She also feature films. The hyper-realistic teaches the courses History and Theory of simulations of nature seem to form the Animation and Scriptwriting for Animation mainstream in 3D computer works. at the National Academy for Theatre and Nevertheless, various films based on Film Arts in Sofia. In addition to her new "squash and stretch" are on the increase. work Frames of Imagination, The digital effects in live-cinema are a Marinchevska has authored Bulgarian recent and powerful trend in contemporary Animation 1915-1995 (Colibri, Sofia, 2001, film. The chapter ends with some 366 pages), a history of Bulgarian philosophical and aesthetical discussions animated films with a full filmography as of digital transformation of the human well as146 black and white and 46 colored body. photos. References Film index Name index Filmography

Animation at the Crossroads: describes San Antonio, because it is a city with a long history that revolves around the 18th Annual Society for intersection of cultures of Latin America Animation Studies Conference and the United States. There will be a variety of panels and to be Held at San Antonio, TX; screenings at the conference; however, of 7-10 July 2006 particular interest is the special program to Suzanne Williams-Rautiola be held at the Magic Lantern Castle, the only museum in the world dedicated solely to the history of the magic lantern. The The 18th Annual Society for Animation owner and curator, Jack Judson, has an Studies Conference will be held in San extensive collection (75,000 items) from Antonio, Texas, at Trinity University from which he has developed informative noon 7 July to noon 10 July 2006. The displays that provide an historical overview theme for the 2006 conference is of the magic lantern from the 1700s to the "Animation at the Crossroads." Over the 1900s. He writes, "Until movies came last couple of decades animation has seen along, in the mid-to-late 1890's, the magic the intersection of the computer with hand- lantern was the sole projection device drawn techniques, animation from Asia available. Though glass slides would with that of the West, independent indicate a still image, many innovations in animation with that of commercial interests magic lantern design and construction, as among many other intersections. Also, well as slide design (moving layers of Animation at the Crossroads aptly glass images), allowed dissolving images,

movement, and special effects." On display is his collection of magic lantern projectors, examples of slides, and items that relate to magic lantern performances. Mr. Judson has been generous enough to offer a Sunday evening visit to the museum and a demonstration of the magic lantern by limelight. Trinity’s Department of Communication will host a wine and cheese reception at the museum. Other events include an Opening Night Mexican Fiesta Dinner and a Saturday evening reception hosted by the Michael Fischer, Vice President of Academic Affairs. Trinity University is a small, liberal arts university, located 15 minutes south of the airport and 15 minutes north of the city, making it an easy cab ride from the airport and a short bus ride from downtown. The campus is situated on the rim of an old limestone quarry, providing a panoramic view of the city. The grounds are tree- Design by Evan O’Neil covered with a variety of outdoor sculptures and walks that make it unnecessary to have a car on campus. 1:00 to 2:45 PM (For more information, go to Animation Auteurs – Part One http://www.trinity.edu). Since summer classes will be ending, campus "Words that Move: The presence of text in accommodations will be available for the the films of Robert Breer and Stuart Hilton" conference. However, if you plan to stay Miriam Harris, Unitec, New Zealand off campus, you will probably need a car, “Focus on and in the Films of The Brothers because there are few restaurants close Quay" by and no hotels within walking distance. Ethan de Seife, Wesleyan University, There are a variety of hotels on or near the Middletown, CT, USA RiverWalk (downtown) and even cheaper alternatives near the airport for those with "An Update on Gaston Quiribet, That automobiles. There is also plenty of Clever Frenchman" parking on campus. David Williams, University of Teesside (Retired), Middlesbrough, Tees Valley, UK Conference Program Screening: "The Fugitive Futurist" (1921) (subject to change) Gaston Quiribet Friday, July 7, 2006 12:00 Noon 2:45 PM Registration Coffee/Tea Break

3:00 to 5:00 PM 10:30 to 11:45 AM 2D Animation at the Crossroads Crossroads of Television and Animation

Coordinator: “The Fall and Rise of the Anicom: The Suzanne Williams-Rautiola, Trinity Sitcom Genre in US TV Animation (1960 - University, San Antonio, TX, USA 2003)" Nichola Dobson, Independent Scholar Discussion Panelists: “'Scooby-Doo: Where Aren't You?': Bruce Barnes, University of Texas at Cartoon Network's Branding of a Saturday Dallas, TX, USA Morning Icon” Mark Langer, Carleton University, Ottawa, Kevin Sandler, University of Arizona, Canada Tucson, AZ, USA J. J. Sedelmaier, Sedelmaier Productions "He was Zapped to Cyberspace" - Inc., White Plains, NY, USA Freakazoid! and the Internet” Amy Ratelle, Carleton University, Ottawa, 5:30 PM Canada Opening Gala Dinner, Holt Center 12:00 Noon President's Address: Ton Crone, Lunch President, Society for Animation Studies Presentation of the McLaren/Lambert 1:30 to 3:00 PM Scholarly Book Award Crossroads of Traditional and Computer Animation

Saturday, July 8 "John Whitney: The Early Years" Maureen Furniss, California Institute of the 9:00 to 10:15 AM Arts, Valencia, CA, USA Crossroads of History and Technique "Machinima: Duplication and Distortion" "The Fleischer WWI Military Films" Mark Menga, Regent University, Virginia Mark Langer, Carleton University, Ottawa, Beach, Virginia, USA Canada "Machinima and the Personal Filmmaking "Voices of Authority(?): Educational Revolution: A Case Study of Red vs. Blue" Entertainments, Comedies of Instruction, Kimberly Owczarski, University of Texas at and Spot Gag Reels" Austin, Texas, USA Richard Leskosky, University of Illinois at "Nano-Mation: Animating the Micro Small" Urbana-Champaign, Urbana, Illinois, USA Dan Torre, RMIT University, Melbourne, "Animation, 'Caricature' and the End of Australia and Lienors Torre, Deakin Animation History" University, Melbourne, Australia Harvey Deneroff, Savannah College of Art and Design, Savannah, GA, USA 3:00 PM Coffee/Tea Break 10:15 AM Coffee/Tea Break

3:15 to 5:00 PM 10:15 AM Teaching Animation: At the Crossroads of Coffee/Tea Break Production & Studies 10:30 to 11:45 AM Coordinator: Robert Musburger, University Crossroads of Culture and Animation of Houston (Retired), Houston, TX, USA "What is (not) so French in Les Triplettes Discussion Panelists: de Belleville" Dana Driskel, University of California at Pierre Floquet, ENSEIRB, Bordeaux l Santa Barbara, CA, USA University, France Midori Kitagawa, University of Texas at “'Soviet sailors don’t behave like that!' The Dallas, TX, USA Dream as Means of Censorship in Soviet Pam Turner, Virginia Commonwealth Animation" University, Richmond, VA, USA Timo Linsenmaier, Staatliche Hochschule Paul Wells, Loughborough University, fur Gestaltung Karlsruhe, Germany Loughborough, UK “Iranian Animation Today: New Horizons” Fatemeh Hosseini-Shakib, The University 5:30 PM College for the Creative Arts, Farnham, Vice President’s Reception UK 7:30 PM 12:00 Noon Pizza and a Screening Lunch and Business Meeting Animation at the Crossroads of History 2:00 to 3:15 PM and Technology – Screenings of Rare Asian Animation Animation "Found" on DVD or VHS Through Unlikely Sources “An Eastern Fairy Tale" Coordinator: Tze-yue Gigi Hu, University of Oklahoma, Richard Leskosky, University of Illinois at Norman, Oklahoma, USA Urbana-Champaign, Urbana, Illinois, USA "Transformation from Comic to 2D, then the 3D approach – Old Master Q" Sunday, July 9 Ann Leung, Hong Kong Polytechnic University, Hong Kong 9:00 to 10:15 AM Theoretical Crossroads “Globalized Girlpower: The Magical Girls of Japanese Animation” “'There is Nothing Else': Thin-Slicing the Melissa Johnson, Trinity University, San Animated Absurd" Antonio, Texas, USA Paul Wells, Loughborough University, Loughborough, UK 3:15 PM "The Frame in Practice and Theory in New Coffee/Tea Break Media Animation" Victoria Meng, University of California, Los Angeles, CA, USA "Dialogical Animation and its Future" Michael A. Genz, Edinboro University of Pennsylvania, USA Society for Animation Studies © 2006 SAS Newsletter, v19n1, p.30

3:30 to 4:45 PM “What has happened to 2D animation?: Crossroads of Animation and Artifact Contrasting Anime to Disney” Bruce Barnes and Midori Kitagawa, "A Decade of Early Animation: James University of Texas at Dallas, Texas, USA Stuart Blackton's Animated Films 1900- 1910" 11:15 AM Michael Frierson, University of North Concluding Remarks: The Future of SAS Carolina at Greensboro, North Carolina, USA Conference Costs and Contacts "From Puppetry to Computer Animation: Conference Fee and Meals The Puppet as Human-Machine-Interface (Includes opening night dinner, lunch on Or Why didn’t the skeleton cross the road? Saturday and Sunday, all breaks and Because she didn’t have the guts!" reception and admittance to the Magic Lucy Childs, National Centre for Computer Lantern Castle): Animation, Bournemouth University, UK $ 110.00 Regular "Animation in the Gallery: Between Artifact $ 95.00 Student and Moving Image”, Suzanne Buchan, Conference Fee, Meals and Campus University College for the Creative Arts, Accommodations Farnham, Surrey, UK (Include accommodations for Friday through Sunday evening; opening night 5:30 PM dinner; breakfast on Saturday, Sunday, Magic Lantern Castle Museum and Monday; lunch on Saturday and Sunday; and reception and admittance to Monday, July 10 the Magic Lantern Castle): 9:00 to 10:00AM $ 225.00 Regular Women Animating $ 210.00 Student For those arriving on Thursday, July 6th or "A Quiet Renaissance: Australian Women staying over Monday evening, July 10, Animators" room charge will be $35, but there will be Marian Quigley, Monash University, no meal service. Victoria, Australia "'Steadier, happier and quicker at the Online Registration Form: work'? Women in Canadian Animation" http://www.trinity.edu/departments/confere Lynne Perras, University of Calgary, nces/SAS_conference.htm Calgary, Canada For more information contact: Dr. Suzanne Williams-Rautiola 10:00 AM [email protected] Coffee/Tea Break Trinity University 10:15 to 11:15 AM Department of Communication Crossroads of Asian Animation One Trinity Place San Antonio, TX 78212-7200 “Hong Kong Animation as Uncanny +1 210/999-8152 Office Representation in Wuxia Film” +1 210/999-8355 FAX Kenny Chow, The Hong Kong Polytechnic University, Hong Kong Also see conference website at: http://crossroads.animationstudies.org/ Society for Animation Studies © 2006 SAS Newsletter, v19n1, p.31

Information about San Antonio elsewhere in Latin America. To come from Although San Antonio is a major city with Europe, Asia, Australia, etc., you will have over one million residents, it has the feel of to arrive through another US international a much smaller city. That is perhaps city, such as Dallas, Houston, New York, because the city itself is rather compact Los Angeles, etc. However, there are and clusters around the RiverWalk or frequent flights from these cities to San Paseo del Rio. The San Antonio River Antonio. One of the low cost options that flows through the heart of downtown (near you might explore is Southwest Airlines, the historic Alamo), and over the years the which is a major carrier to San Antonio. walkway along its banks has developed The SA Chamber of Commerce website into a 2 l/2 mile stretch of hotels, notes that a taxi ride from San Antonio restaurants, clubs, and stores. This is International Airport to any downtown hotel perhaps the best-known feature of San (and the campus is close to downtown) Antonio and makes it a destination city for takes around 15 minutes and costs a variety of conferences. For more approximately $18. There are no extra information, please refer to charges for additional passengers or www.sanantonioriverwalk.com/history.html luggage. Up to 4 passengers can "Share- However, San Antonio is also a city with a a-Cab" and divide the fare by the number history of intersection with other cultures. of passengers. There are also minivan Within or close to the downtown area is taxis with a 6-passenger capacity. the Alamo, La Villita (a historic site for Trinity has a local Via Bus Stop at the shops), the Spanish Governor's palace, edge of campus. A trip downtown is only the luxurious homes of early German 80 cents; however, the bus does not run settlers in the King William area, and San past 9:30 in the evening. Fernando Cathedral built in 1731 - one of the country's oldest churches in If you care to rent a car, all major car continuous use. Also, from the Alamo rental agencies have locations near the there is a string of four missions that airport, and shuttle service to their stretch across the south side of the city. agencies from the airport. Just outside the city are two theme parks - Special Trinity University Rates from Sea World and Six Flags Fiesta Texas – Local Hotels: and good restaurants abound. Amerisuites San Antonio Airport Temperatures in the summer are often in $79 per night; 210/930-2333; the mid 90s, so cool clothing is a must. https://www.trustinternational.com/mBoo However, San Antonio tends to be “laid ker/amerisuites/4Z back,” so few places require you to be dressed up, and those areas where there Holiday Inn San Antonio-RiverWalk is a lot of walking or outdoor dining – such $125 per night; 210/224-2500; as the RiverWalk – you can usually wear http://www.ichotelsgroup.com/h/d/hi/1/e casual clothing, like shorts and t- shirts. n/hd/satrw Transportation The Sheraton Gunter $99 per night; Although the San Antonio airport is an Contact Kathleen Keefer, 210/227-3241, international airport, most of its X-1788; http://www.gunterhotel.com/ international flights are from Mexico or Society for Animation Studies © 2006 SAS Newsletter, v19n1, p.32

Report from the Treasury for the regional SAS conference “A Divided Art? Animation in Germany and André Eckardt Europe” in Dresden, Germany, made up

2150 €. Further money was spent on

translation, office material, website The SAS currently has as many as 78 maintenance and account fees. The USA members. Through recent activities and bank account had income of $1113 ($980 direct contacts a number of young in membership fees and $33.22 in bank researchers have been interested in interest). It transferred $1500 to the Euro joining the SAS and, by extension, in account in support of the European SAS actively supporting the field of Animation conference and had a $12 bank account Studies. fee. The amount of money in SAS's USA bank In the course of the changes in the SAS account is $7020.24. The recently opened board, Jeanpaul Georgen and Michael PayPal account holds an additional Frierson resigned from their position as $1583.33, which will be deposited in the SAS treasurers. André Eckardt (German US account, and a recent check for Institute for Animation Film) took over the $275.33 from the University of Illinois (a position of the SAS treasurer for the Euro refund of leftover money from the region on 1st January 2006; a new conference there) has yet to be deposited. treasurer for the Dollar region will be That brings the total US funds to $8800. appointed in the near future. The new The Euro account holds 890 €. These board thanks Jeanpaul Goergen and totals include $1790 and 710 € in Michael Frierson very much for their work subscription fees for 2006. On the basis of for the SAS over the last years. the available funds and recent proposals from members on how to spend the As payments for 2006 showed, many money, the board will compile a list of members welcomed the introduction of priorities and present possible budgets for PayPal beginning 2006 as a very practical the year 2007 in the online discussion list additional way to subscribe. For budgeting and at the 18th Annual SAS Conference in reasons and in order to avoid late July in San Antonio, TX. payments, subscribed members will receive an invoice at the end of the year. During the year of 2005, the budget of the We would like to remind you that annual SAS account for the Euro region had payments are always due by 1st February. membership income of 766.86 € and expenditures of 2783 €, of which the costs

Nicola Dobson Current Members: A Directory [email protected]

Otto Alder Dana Driskel [email protected] [email protected] Laurence Arcadias Kerry Drumm [email protected] [email protected] Jerry Beck André Eckardt jbeck6540@aol.com [email protected] Giannalberto Bendazzi Pierre Flouquet [email protected] [email protected] Janet Benn Micheal Frierson [email protected] [email protected] Rose Bond Maureen Furniss [email protected] [email protected] Karl Armen Boudjikanian Jeanpaul Goergen [email protected] [email protected] John Canemaker Marina Estela Graça [email protected] [email protected] Lucy Childs Ruth Hayes [email protected] [email protected] Alan Cholodenko Burnes Hollyman [email protected] [email protected] Loren Cocking Hee Ok Holmen [email protected] [email protected] Ton Crone Fereshteh Hosseini-Shakib [email protected] [email protected] Charles DaCosta Gigi Hu [email protected] [email protected] Ethan De Seife M. Thomas Inge [email protected] [email protected] Sybil DelGaudio Suzanne Kaufman [email protected] [email protected] Harvey Deneroff Utako Kurihara [email protected] [email protected] Jean Detheux Richard Leskosky [email protected] [email protected] *Deut. Inst. für Animationsfilm (DIAF) Ingo Linde [email protected] [email protected] Terence Dobson Timo Linsenmaier [email protected] [email protected] Society for Animation Studies © 2006 SAS Newsletter, v19n1, p.34

Maria Carmen Lorenzo Hernandez Emru Townsend [email protected] [email protected] Nadezhda Mihaylova Marinchevska Pamela Turner [email protected] [email protected] Victoria Meng Valentijn Visch [email protected] [email protected] Richard Neupert Paul Ward [email protected] [email protected] *NIAF Pat Raine Webb [email protected] [email protected] Lisbeth Kruse Nielsen Karin Wehn [email protected] [email protected] Kimberly Owczarski Paul Wells [email protected] [email protected] Lynne Perras David R. Williams [email protected] [email protected] Mette Peters Johannes Wolters [email protected] [email protected] Marian Quigley Weihua Wu [email protected] [email protected] Amy Ratelle Barry Young [email protected] [email protected] Suzanne Rautiola Uldis Makulis [email protected] [email protected] Thomas Renolder Celia Mercer no email provided [email protected] Annegret Richter P Leake [email protected] [email protected] Jeremy Schwartz Harvey Deneroff [email protected] [email protected] Jj Sedelmaier Jeremy Moorshead [email protected] [email protected] Gunnar Strøm Randall Wyatt [email protected] [email protected] Leah Ann Sullivan Eugene Yan-Ching Harng [email protected] [email protected] Jean Théberge Mikkel K L Nielsen [email protected] [email protected] Kirsten Thompson Didier Ghez [email protected] [email protected] Society for Animation Studies © 2006 SAS Newsletter, v19n1, p.35

Incoming SAS Board and Incoming SAS Board: Maureen Furniss, President Contact Information California Institute of the Arts

Paul Wells, Vice President Loughborough University Founded by Dr. Harvey Deneroff in 1987, Richard Leskosky, the Society for Animation Studies (SAS) is Secretary/Parliamentarian an international organization dedicated to University of Illinois, Urbana the study of animation history and theory. André Eckardt, Treasurer German Institute for Animation Film SAS Websites: Timo Linsenmaier, Webmaster http://www.animationstudies.org University of Arts and Design Karlsruhe http://www.sas-in-europe.com Victoria Meng, Student Representative http://crossroads.animationstudies.org University of California, Los Angeles Paul Ward, Member at Large Temporary SAS discussion group: Brunel University http://groups.yahoo.com Linda Simensky, Member at Large PBS Kids SAS Membership Publications Editors: Benefits to members include: Animation Studies – Nichola Dobson • Annual conferences. SAS Newsletter – Victoria Meng • Publication of peer-reviewed conference proceedings in the Society's Website Development: online journal, Animation Studies. Ingo Linde • Listing in the 'SAS Animation Experts' directory (forthcoming). SAS-in-Europe Webmaster: • The SAS Newsletter, an internal news Jeanpaul Goergen publication. • Members-only discussion list. SAS Newsletter • Discounts to festivals and other events Submissions, suggestions, corrections, with participating organizations. address changes and all other Newsletter- related correspondence should be Regular Membership: addressed to: USD 35.00 / 35.00 Euro Victoria Meng Student Membership 11140 Rose Ave. #302 USD 20.00 / 20.00 Euro Los Angeles, CA 90034 USA Institutional Membership T: 001 310 398 2387 USD 60.00 / 60.00 Euro E: [email protected] SAS Newsletter subscriptions are free with membership in the society.