"Contributors." Global Animation Theory: International Perspectives at Animafest Zagreb
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"Contributors." Global Animation Theory: International Perspectives at Animafest Zagreb. Ed. Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji# and Hrvoje Turkovi#. New York: Bloomsbury Academic, 2019. 253–258. Bloomsbury Collections. Web. 30 Sep. 2021. <http:// dx.doi.org/10.5040/9781501337161.0005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 05:04 UTC. Copyright © Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji#, Hrvoje Turkovi#, and Contributors and Cover image Zlatka Salopek 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. CONTRIBUTORS Midhat Ajanovi´ c -Ajan is a writer, fi lm scholar, cartoonist and fi lmmaker born in Sarajevo in 1959. He studied journalism in Sarajevo and practised animation in Zagreb Film Studio of Animation. Since 1994 he has lived in Gothenburg where he obtained a PhD in Film Studies. He teaches theories of visual communications as well as fi lm and animation history at University West in Trollh ä ttan and has published a number of literary and scholarly books. Some of his most prominent books on animation are The Man & the Line (2014, Croatian and English), Life in a Cartoon (2010; Croatian and English), Den r ö rliga sk ä mtteckningen (2009; Swedish), Caricature and Movement (2008, Croatian) and Animation and Realism (2004, Croatian and English). He worked as the organizer and artistic director on several festivals, and was a member of a number of international juries. At the 20th World Festival of Animated Film, Animafest Zagreb 2010, he received the Award for Outstanding Contribution to Animation Studies. Giannalberto Bendazzi , currently an independent scholar, is a former Visiting Professor of History of Animation at the Nanyang Technological University in Singapore and a former professor at the Università degli Studi di Milano. Bendazzi started his career as a journalist and an independent, self- funded scholar. He turned to full- time academic teaching in the late 1990s and has lectured extensively in all continents. An Italian by birth, Bendazzi’s best efforts are devoted to international projects. An acclaimed author in his sphere, his best-known book is Cartoons: 100 Years of Cinema Animation , a world history of the medium published in Italian, English, French, Spanish and Persian. In 2016, he continued this research with the three- volume work Animation: A World History. He was the recipient of the Animafest Zagreb Award for Outstanding Contribution to Animation Studies in 2002. Olga Bobrowska (1987) is a PhD candidate in Film Studies at Jagiellonian University, Krak ó w and an author of academic articles on the subjects of Polish and Chinese animation. She is the director and co-founder of StopTrik International Film Festival (Maribor, Slovenia; Ł ó d´ z , Poland), a festival dedicated to stop motion animation. She frequently collaborates with other festivals, among them Animateka (Ljubljana), Etiuda&Anima (Krakó w) 253 254 CONTRIBUTORS and Krakow Film Festival. Film programmes she curated have been presented at various festivals and events in Poland, Slovenia, Croatia, The Netherlands, Finland and China. Her reviews and critiques have been published in the Polish magazine Kino and international animation magazine Zippy Frames . In 2016, she co-edited the monograph Obsession. Perversion. Rebellion. Twisted Dreams of Central European Animation . Micha ł Bobrowski (1981). In 2010, he obtained a PhD in Film Studies at the Jagiellonian University in Krakó w. He is the author of the book, Akira Kurosawa: The Artist of the Borderlands . Currently he teaches in the Faculty of Philosophy at Jagiellonian University in Kraków. He is the Programme Director of the StopTrik International Film Festival, an event dedicated to stop motion animation, held in Slovenia and Poland. He is a curator, a cultural activist and an author of over thirty articles devoted to classic Japanese and American cinema as well as animation. In 2016, he co-edited a monograph Obsession. Perversion. Rebellion. Twisted Dreams of Central European Animation . Franziska Bruckner (1981, Salzburg, Austria) studied theatre, fi lm and media studies at the University of Vienna as well as painting and animation at the University of Applied Arts Vienna. From 2009 to 2013 she was a university assistant at the department of Theater, Film and Media Studies in Vienna and on the editorial board of the e- journal rezens.tfm . From 2013 to 2017 she worked as a lecturer for animation theory and practice at the University of Vienna, University of Tü bingen and University of Applied Sciences Upper Austria. Since 2017 she has been Head of the Research Group Media Creation at the St. Poelten University of Applied Sciences. She is co- coordinator of the AG Animation within the German- speaking Society of Media Studies and board member of ASIFA -Austria. Dirk de Bruyn is Associate Professor of Screen and Design at Deakin University, Melbourne, Australia. As well as sustaining his own creative experimental animation and multi-screen performance practice for over 40 years he has written about this area in Cantrills Filmnotes and Senses of Cinema . His book The Performance of Trauma in Moving Image Art was published in 2014. He is committed to documenting, promoting and presenting Australian animation in his teaching practice and at national and international forums. Edwin Carels is a teacher and researcher in the arts at the School of Arts KASK /HoGent. He holds a PhD in the arts, for which he wrote the dissertation Animation beyond Animation – a Media- archeological Approach to the Use of Animation in Contemporary Art . He is currently working on a post- doctoral project under the title ‘Counter- archives’. Edwin CONTRIBUTORS 255 Carels is also active as a fi lm programmer and curator for the International Film Festival of Rotterdam. As a writer, he publishes essays on media- archeology, visual arts, fi lm and animation. His most recent publication is a monography on the Quay Brothers (The Black Drawings , Ludion publishers, 2018). Recent exhibitions have involved collaborations with Chris Marker, The Quay Brothers, Robert Breer, Jan Š vankmajer, Zoe Beloff and Ken Jacobs, among many others. Nikica Gili´ c (1973, Split, Croatia) Film theorist (PhD) and historian, works as associate professor and Chair of Film Studies at the Department for Comparative Literature, Faculty of Humanities and Social Sciences in Zagreb. He also teaches at the Academy of Drama Art in Zagreb. Member of the Council of Animafest Zagreb, he is also an Associate Research Fellow at Graduate School for East and Southeast European Studies in Regensburg and M ü nich. Editor- in-chief of the fi lm journal Hrvatski fi lmski ljetopis / Croatian Cinema Chronicle , he is a member of editorial board of Germany- based online journal Apparatus . He has published three books in cinema studies and numerous articles in journals and books. He was editor of Filmski leksikon (Film Lexicon, 2003, with Bruno Kragi c´ ), which also deals with animation. Marcin Gi z˙ ycki is an art and fi lm historian, critic and fi lmmaker. Professor at Polish-Japanese Academy of Information Technology in Warsaw, Poland. Artistic Director of ‘Animator’ International Animated Film Festival in Poznan, Poland. Senior Lecturer at Rhode Island School of Design, former Editor- in-Chief of Animafi lm magazine (1979–81). He is the author of seven books and over 300 articles on fi lm and art, including Avant-Garde and Cinema: Film in Polish Avant-Garde Circles Between the Wars (1996), Disney Was Not the Only One (2000), The End and What Next? Essays on Postmodernism, Contemporary Art, and the End of the Century (2001) and Wenders Go Home! (2006). His interests range from history of Avant-Garde movements in the twentieth century to history of animated, experimental and documentary fi lm to the theory of Postmodernism. He has made a number of documentary, experimental and animated fi lms, among them The Island of Jan Lenica (1998), Travels of Daniel Szczechura (2005), Panta Rhei (2008), Aquatura (2010), A Magic-Lantern Life (2014) and Monument (2016). He received the Animafest Zagreb Award for Outstanding Contribution to Animation Studies in 2016. Chunning Guo (Maggie) teaches at Art School at Renmin University of China. She was a visiting artist at Central Saint Martins of UAL and she was also a resident artist at Centre Intermondes in France. Recently she gained her PhD with a paper about Independent Animation. She has presented papers at Animafest Scanner II and III in Zagreb, Twisted Dreams of History 256 CONTRIBUTORS Forum I and II in Poland, and 2015 BFX Conference and APES 2015 in the UK . She worked as a visiting scholar at the Vancouver Film School. She received a Jury Award at the 11th Chinese Independent Film Festival, the NETPAC Award at the Busan Short Film Festival. Her collaborative work Ketchup was selected by the Stuttgart Animation Festival, FANTOCHE Animation Festival, Animafest Zagreb etc. Recently she has worked as a visiting scholar in Radboud University in the Netherlands for a year. Mikhail Gurevich , independent scholar and critic, was born in Moscow, Russia. He writes on literature, theatre and fi lm, with special interest in animation, puppetry and experimental theatre and cinema. From the late 1970s he was contributing to major cultural publications in Russia and later edited independent periodicals. He worked as a consultant for professional associations in theatre and cinema and served as a board member and an adviser at Soiuzmultfi lm and Pilot animation studios. From 1992 he has lived in the USA . He has written on animation for ASIFA magazine, and festival and academic publications. He has recently contributed extensively to the history of world animation by Giannalberto Bendazzi. He was a guest lecturer in a number of universities internationally and participated in many festivals as curator, juror and discussant.