#SAS2015 / @sas2015beyond Conference Team Chris Pallant Conference Chair Craig Smith Siobhan Greaves Abstract Review, Conference Assistant Graphics, and Web Special Mention (alphabetical): David Bradshaw Head of School Felicity Clausen-Sternwald Events Management Nichola Dobson President, SAS Sarah Jeans UCA Support Max Letts Online Store Management Terri McManus Graphics Gavin Myers Head Chef Aylish Wood Abstract Review/UKC Support AND: our wonderful UG/PG student volunteers!! Welcome On behalf of the Vice Chancellor, I’m delighted to welcome all ‘Beyond the Frame’ conference delegates to Canterbury Christ Church University, hosted by the School of Media, Art & Design (Faculty of Arts & Humanities). The Faculty combines excellence in research and teaching and learning: all programmes of study are research led, focused on employability and student oriented. Colleagues from across the Faculty contributed to the REF 2014 with 90% of the Faculty’s research recognised as world leading or internationally significant. For the School of Media, Art & Design, these teaching and learning and research contexts literally have animation at the heart of their ‘storyboards’ (no pun intended). The School brings industry and academia together to teach, to learn and to research the various forms of animation, producing graduates who have equal facility in practice and scholarship. I wish the conference every success over its three days as it grapples animatedly with the practice-scholarship nexus in animation. Dr Keith McLay Dean of the Faculty of Arts & Humanities President’s Address Welcome to the 2015 Society for Animation Studies Conference. This years’ conference, in beautiful, historic Canterbury sees us back in the UK after five years and we are lucky to be in such a wonderful setting with great links to local institutions, all key areas of animation education in the UK. I extend my thanks to our hosts, Canterbury Christ Church University, and hope that they enjoy having the SAS in town! That the bumper program is our biggest yet, reflects the growth and increasing diversity in animation studies as a discipline over the last few years. It is very exciting to see so many topics presented, though it will be a struggle to choose what to attend! It is great to see so many new members on the delegate list and I hope that they, along with our established members, will continue to support the SAS through the coming years. We have a lot planned! Special thanks of course go to chair Chris Pallant and his conference team, particularly as he is not only organizing this massive conference (no easy task!) but has recently joined the SAS board as Vice President, a role which he has embraced. The program Chris and his team have put together consists of a wide range of paper sessions, roundtable discussions, micro talks, keynote speeches and special events! I look forward to catching up with you all and wish you a wonderful conference. Best wishes, Dr Nichola Dobson University of Edinburgh, UK President of the Society for Animation Studies #SAS2015 / @sas2015beyond 2 Conference Chair’s Welcome It is a serious undertaking hosting the Society for Animation Studies, and I owe a great debt of thanks to the many individuals who have helped to make this week possible. I would also like to formally thank both the Faculty Dean and my Head of School, Prof. David Bradshaw, for supporting this conference. My thanks also goes to our sponsors whose names (and fancy logos) are printed on the back of this programme. We have a packed conference schedule ahead of us and I am just as excited as you to soak up as much of this animation goodness as humanly possible! Having said that, Canterbury is a beautiful city, and I will understand if you sneak off for a breather at some point during all the hustle and bustle of conferencing – you may be pleased to learn that your Delegate Pass grants you free access to the Cathedral for the full week (religious or not, it is worth a visit – it’s a UNESCO World Heritage Site). Have fun!! Dr Chris Pallant Canterbury Christ Church University, UK Vice-President of the Society for Animation Studies Twitter: @cjpallant #SAS2015 / @sas2015beyond 3 Contents Beyond the Frame: Exhibition and Presentation 5 Schedule 8 Keynote Speakers/Special Guests 11 Panels 17 Delegate Speaker Information 36 Floor Plans 180 Blank Pages… for note taking! 185 #SAS2015 / @sas2015beyond 4 Beyond the Frame Following this year’s conference theme, there will be a number of animated/animation-related works positioned in the Augustine Arts Centre (the building next to the main conference building where panel number 1 takes place). These works have been produced by conference delegates and, as well as encouraging viewers to explore beyond the framework of the traditional conference programme, they also encourage contemplation regarding the conceptual and material boundaries of animated spaces and objects. Large Scale Exhibition/Presentation Augustine Arts (AA) ‘Animation on Wheels’ AAg Courtyard (The Vardo Project Space) A vardo is the Romany word for a wagon or caravan. The Romany vardo owned and maintained by Canterbury Christ Church University is a ‘Marriage Wagon’, constructed c. 1908. Selected by Chris Pallant ‘Libretto’ AAg04 A new D-Scope® installation by TROPE, where flocks of books burst from the darkness and fly past in a riot of knowledge. TROPE is a collaboration between contemporary artists Carol MacGillivray and Bruno Mathez. The Anglo-French team celebrates motion as a metaphor for being, through breathing life into inanimate objects. The artworks are playful and hybrid, made using an immersive system of concrete animation called the D-Scope® where time is literally choreographed. TROPE create audio-visual, kinetic worlds where an audience can move freely, encountering the art in a synaesthetic and immersive way. These are mixed reality, embodied artworks that cannot be understood viewed on a computer screen; ‘You have to be there’. #SAS2015 / @sas2015beyond 5 ‘Home Cinema’ AAg01 Home Cinema consists of three pieces, altogether presented in approx. 40 min. The presentation focuses on the work of Czech visual artist Milada Maresova (1901 – 1987). Organised by Eliška Děcká Between Shadow and Light AAg01 This animated installation is framed by the historical use of sand that was spread across the floors of Jewish houses in order to muffle the sound of movement inside during times of persecution. Commissioned by the Museum of Jewish culture in Braganca, north of Portugal, the installation is located at the heart of the final exhibition room and projected onto one of the side surfaces of a tall monolith, 1.60m wide by 4m high. This non-narrative sand animation was designed to not only create an atmospheric interpretation of the sense of displacement and concealment that defined long periods of Jewish history, but also to represent the plight of “the outsider” throughout history. “Between Shadow and Light” was created and designed by Pedro Serrazina, animated by Isabel Alves, and with sound design by Fernando Mota. Produced by Modo Imago, June 2015. Vitrine Installations Augustine House (AH) – SAS Zone, Second Floor 1. Dr Mermaid and the Abovemarine Mark Eliott and Jack McGrath 2010 Narration and script editing: Tim Eliott, Soundtrack music: Michael Kennett, Compositing and creative assistance: Vanessa White. #SAS2015 / @sas2015beyond 6 Screened Animation, cabinet of glass models and sketches from the project. Along with its marine environmental messages, this otherwise whimsical work produced at Sydney college of the Arts and set at Bondi Beach has as its subtext the perception of a need to create local mythology as a way of finding connection to place. 2. Slow Growth Improvisation #2 Jack McGrath and Mark Eliott 2011 Screened animation, Glass object. This piece, begun at Canberra Glassworks, references the growth of corals as well as ice crystals. To exhibit the static glass object together with the process of its evolution is to ‘have your cake and eat it’. 3. Experiments in living Glass #1 Jack McGrath and Mark Eliott 2009 Soundtrack: Michael Kennett Projected animation, revolving glass object, sound. A coral-inspired sculpture, illuminated by a projection of imagery generated by its making, is also a revolving intervention – casting a shadow on to the screen as if in dialogue with its digital offspring. 4. Experiments in Living glass #2 Jack McGrath and Mark Eliott 2015 Projected animation, glass objects on sand, sound. This work is an animated life cycle of the glass object in a still-life installation through which it is projected. It grows from a blip and heals after accidents during the course of its making. Life continues in bubbles, which break loose and drift ‘beyond the frame’. 5. The Magic Lantern Bryan Hawkins A collection of original artefacts related to the Magic Lantern tradition. #SAS2015 / @sas2015beyond 7 MONDAY 13 JULY #SAS2015 / @sas2015beyond 8 TUESDAY 14 JULY #SAS2015 / @sas2015beyond 9 WEDNESDAY 15 JULY #SAS2015 / @sas2015beyond 10 Maureen Furniss - Keynote Speaker 1 Animation History beyond the Frame Animation studies literature has been growing steadily for the last twenty years. However, we have not documented very much of animation history. This presentation asks us to consider which histories we are researching and which histories remain un-documented—and how these divisions have been set. When we discuss the creative process in relation to animation, we generally focus on the productions themselves, but I will be focusing on the creative process related to the writing of animation history. Today, what we think of as animation history in many ways has been defined by the very first animation historians, who published books that are considered standard references in our field. What we scholars publish now will significantly define the scope of history in years to come, by informing our students and emerging historians about what we see as the most significant examples of animation, the productions most worthy of documentation.