#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 at the heart of their ‘’ (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 : @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 , 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 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 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 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.

The boundaries of our history are expanding with the proliferation of online venues—including the SAS blog—that accommodate short works on various topics. But online references present their own challenges, in resource management as well as their identities and perceived value: can they or should they integrate within or linger outside expectations of traditional research? What defines a true animation historian? My talk today includes perspectives from our colleagues on the frames that have defined their writing and considerations of social and institutional forces that impact the creative process of writing animation history. What are the roles of books and journals in moving the history of our field ahead? Are we restricted by traditional ideas about what research should be? Everyone who attends is guaranteed to leave with at least one good idea for new and exciting research.

Biography: Maureen Furniss, PhD is the founding editor of Animation Journal and the author of three books on animation aesthetics and history: Art in Motion: Animation Aesthetics, The Animation Bible, and the forthcoming Animation in History (Thames & Hudson, 2016). She is the program director of the Program In at CalArts. She is also a founding member of the Society for Animation Studies, having held the positions of student representative, treasurer, president, and CEO.

#SAS2015 / @sas2015beyond 11 John Walsh - Keynote Speaker 2

Ray Harryhausen & me…

When film student John Walsh looked up his cinema film hero in the BT phone book he was amazed to find his name address and phone number on public display. As a first year student at the London Film School he wanted to find a subject for his third term documentary film. That phone call in the late 1980s lead to a twenty five year friendship. Today John is a successfully award winning documentary and drama film maker and a Trustee of the Foundation. John will discuss the challenges that lie ahead for this most unique of charities and the plans they have for Ray’s centenary in 2020.

Ray’s working practices will be discussed from his experimentation with cinemascope, his unrealised film projects to the controversial colouring of some of his earlier black and white films. John will present some never before seen photos from the 50,000 item strong collection and discuss the challenges of restoration and stainable legacy from the most complete and comprehensive fantasy cinema and animation collections anywhere in the world.

There will also be a special premiere screening of the short 1989 film school documentary Ray Harryhausen: Movement Into Life made by the then 18 year old John Walsh, now remastered in HD and with stereo sound for the first time and narrated by . This will be the first screening of this remastered and restored short.

There will be some fun facts about Ray’s films and their iconic creatures and a Q&A session for the audience to ask questions.

Biography: John Walsh is an award winning film maker with a focus on social justice. After graduating from the London Film School, he founded Walsh Bros Ltd, which is now one of the UK’s top 100 production companies. His work ranges from television series and dramas for the BBC, and Channel 5 to productions. He is a double BAFTA and double Grierson Awards nominee for his challenging and ground-breaking work. His controversial documentary feature ToryBoy The Movie, received a cinema release in 2012 and re-released again this year. It was nominated by the Grierson Trust for “Best Documentary on a Contemporary Theme”. In 2014 saw the re-release of his first feature film, Monarch, starring TP McKenna and Jean Marsh.

#SAS2015 / @sas2015beyond 12 John’s 1989 film school documentary on Ray Harryhausen (Movement Into Life) was remastered from its 16mm film elements in high definition and is now held in The Harryhausen archive. It was narrated by former Harryhausen actor and Doctor Who, Tom Baker. John is now a Trustee at The Foundation.

In 2012 he started filming and recording commentaries with Ray Harryhausen in his London home. John undertook this work when he discovered astonishingly that there had never been recordings for the majority of Ray’s work. These included Clash of The Titans, Mysterious Island, The 3 Worlds of Gulliver, First Men in the Moon with Academy Award winner Randy Cook, with Rays’ daughter Vanessa, One Million Years B.C. with Martine Beswick, The Golden Voyage of Sinbad with fellow Trustee Caroline Munro and Mighty Joe Young with John Landis. Sinbad and the Eye of the Tiger with SFX artist Colin Arthur was to be the last recording in January 2013. John donated the film and sound footage to the Foundation. Each recording contains new revelations by Ray on how his films were created and produced. www.walshbros.co.uk @walshbros

#SAS2015 / @sas2015beyond 13 Andy Frain - Keynote Speaker 3

Manga , and the marketing & commercialization of in the West

In 1991, Japanese animation or anime, and in particular Japanese animation that appealed to a “non-kid” audience, was unheard of in the UK, USA and other western markets, other than to a very select group of fans who would mostly circulate pirated, subtitled video cassettes to each other, and via a small number of small under-funded private companies. The launch of Entertainment and its first release “” changed all that. With financial backing from Chris Blackwell, the multi-millionaire founder of Island Records, Andy Frain started the company and began to build a brand that was worth over £20m within 5 years. Andy’s talk will take us on a journey from the inception of the company, through its entry into comic book publishing, US distribution and co-production, and show how Manga became one of the best known “alternative” brands of the 1990s.

Biography: Andy Frain is an animation producer and the founder & CEO of Touchwood Animation Ltd. After a career in the music industry, in 1991 Frain started the anime distribution company Manga Entertainment. Within five years Manga had almost single handedly popularised Japanese animation in western markets and Frain’s unique relationships with Japanese animation directors, producers, studios, distributors and publishers led to the first animated feature co-production between Japanese and Western companies. That film, “” has become one of the most successful and profitable films of the “anime” or “manga” and has received the unprecedented acclaim from director as “the first truly film to reach a level of literary and visual excellence”.

In 1996 Andy Frain started Touchwood Animation Ltd as well as two CGI animation studios; Slave Studios based in London and Studios in Romania. The company has been involved in the production of several animation tv series including “Spheriks” a 26 x ½ hour CGI TV series for FIFA and “Free Jimmy” a CGI Feature Film for Sarah Radclyffe Productions, as well as the BAFTA award winning “Brush Head”, a series of shorts made for The . Touchwood has also produced several music videos including U2’s “Hold Me, Thrill Me, Kiss Me, Kill Me”, which was featured in the “Batman Forever” feature film, and the company is currently in production and development on a number of animation projects including “Helter Skelter”, an animated adult comedy drama series which satirises the music business.

#SAS2015 / @sas2015beyond 14 Nichola Dobson - Keynote Speaker 4

McLaren Makes Whoopee

“So complex is McLaren that people who have worked with him for decades say that frankly they don’t understand him…His humanitarianism, which led one writer to call him “a saint,” has a touching childlike quality to it…He dresses like a college boy, looks twenty years younger than his age, and has kept a youthful innocence and enthusiasm common to great artists” (Cutler 1983 in Waugh 2006, 464).

“…one stereotype of the gay artist perfectly – not the tormented self destroyer but the sensitive, fastidious, and solitary craftsman and visionary” (Waugh 2006, p.463). The life and work of Norman McLaren has been the subject of much discussion, particularly last year, during his centenary and the many celebrations and events held in his honour. Much of this (including my own) has focused on his great and diverse body of work and those more commonly discussed influences; , dance and music. Though all of those undoubtedly played a major part of his life and his animation was an extension of all of that; it was also a creative outlet for his passion, sense of humour and whimsy, fun and love. It can be seen in his earliest work with his friends as Glasgow School of Art, his anger at the impending war in Hell UnLtd (1936); but perhaps more tellingly, though most ignored is his depiction of love and alternative relationships in his films from Love on the Wing (1938) onwards. I have touched on aspects of his personal life in a number of papers through my larger project on his life, but as the above quotes suggest, he was considered something of an enigma to many. By examining McLaren’s work through the lens of his personal life and longtime relationship with Guy Glover, this paper will consider just what was “Between the Frames”.

Biography: Dr Nichola Dobson is based in Edinburgh, lecturing part time at Edinburgh College of Art, University of Edinburgh. Founding editor of Animation Studies from 2006 until 2011 and the recently established new academic blog Animation Studies 2.0. She has published on both animation studies and television, most recently The A to Z of Animation and Cartoons (2010) and Historical Dictionary of Animation and Cartoons (2009) for Scarecrow Press. She has published in anthologies on Crime Scene Investigation and Life on Mars as well as shorter works for the online journal FLOW. She is currently working on a book on TV animation with Paul Ward for Edinburgh University Press and a book on Scottish Norman McLaren. She began a new role as President of the Society for Animation Studies in autumn 2014.

#SAS2015 / @sas2015beyond 15 Rex Grignon – Breakfast Showcase

Discussing: The Nimble Collective

Biography: Rex is head of at DreamWorks, Rex Grignon worked his way up from an animator on to Head of Character Animation on , Toy Story, , and the movies. He helped to redesign Dreamworks CG software, led their Character Animation Group, pre-production design, testing, planning, and creative oversight of all production work, and supervising as many as 80 across three studio locations. He is heading up an online venture designed to support institutions with the delivery of practice based animation curriculum.

Geoff Dunbar – Special Guest

Reflections: Grand Slam Animation

Biography: Geoff Dunbar is a world renowned animator and cartoonist. Born in Abingdon, UK on March 25th, 1944, Geoff Dunbar's interest in animated films began at an early age. He was always fascinated by the work of the Studios. He studied their early cinematic processes avidly. Geoff's debut film was based on the sketches of "Toulouse Lautrec" and was recognized for a "Palm D'or." His early successes attracted the attention of Paul McCartney who invited Geoff to collaborate on a musical short based on the beloved English character "Rupert the Bear" a daily newspaper strip. His work on "Rupert the Bear" was honoured with a BAFTA award. Today Geoff passes on his priceless knowledge to students in Oxfordshire in the UK where he teaches master classes.

#SAS2015 / @sas2015beyond 16 Panel A1: Sites of Animation Mon: 10:30 / Chair: Birgitta Hosea

Lina Ghaibeh (American University of Beirut) animation as heritage preservation: Navigating space, memory and the civil war through Stop-motion animation in abandoned buildings of Beirut

Pedro Serrazina (Universidade Lusofona) Case Study - Site-Specific Animation for Jewish Museum

Swagato Chakravorty (Yale University) Surface, Light, Animation: Toward a Genealogy of Architectural Projection Mapping

Panel A2: Perspectives on Asian Animation Mon: 10:30 / Chair: Alison Loader

Beáta Pusztai (Eötvös Loránd University) Golden Hair and Starry Eyes: Revisiting "Mukokuseki" in Contemporary Japanese Cartoon

Laura Montero Plata (Independent) Re(de)constructing Japanese Cultural Identity through ’s Princess Kaguya

Marco Bellano (Università degli Studi di Padova) The Wind Has Changed. An Update on and Joe Hisaishi’s Audiovisual Strategies for Animated Films

#SAS2015 / @sas2015beyond 17 Panel A3: Animation Pedagogy I Mon: 10:30 / Chair: Pete Sillett

Gunnar Strøm (Volda University College) Animation Workshops with Kids - How and Why?

Simon Gape (University of Lincoln) The decline of influence of the foundation course on BA Animation programmes

Pooja Pottenkulam (University of Lincoln) Criteria for Assessing the Quality and Standards of an Animation Programme

Charles daCosta(Swinburne University) Practising History: mining Animation History to engage chronically distracted students

Panel A4: Disney: Beyond/Behind the Screen Mon: 10:30 / Chair: Eve Benhamou

Amy Davis (University of Hull) Magic Made Real: ‘Meeting’ Animated Characters & ‘Visiting’ Animated Spaces at

Susan Smith (University of Sunderland) Disney, Broadway and the Contemporary Animated Film Musical

Harvey Deneroff (Savannah College of Art and Design) Professor Disney and His Animation Syllabus

Sean O'Neill (Savannah College of Art and Design) Beyond Superficiality: , More Than Just a Disney Clone

#SAS2015 / @sas2015beyond 18 Panel B1: Stop Motion Mon: 13:00 / Chair: Eliška Děcká

Cyril Lepot (University of , Sorbonne) Stop motion: towards a definition of poetic cinema

James Frost (Canterbury Christ Church University) Jan Svankmajer: Film as Theatre

Bella Honess Roe (University of Surrey) Eyes on Aardman

Mihaela Mihailova (Yale University) Beyond the Visible (Puppet) World: Self-Reflexivity in the films of

Panel B2: Animation and Revolution Mon: 13:00 / Chair: Alys Scott-Hawkins

Fatemeh Hosseini-Shakib (Tehran Art University) Human is not made of Iron, My brother; Anti-Modern, Anti-American and leftist themes and political comment in pre-revolution ‘Golden- Age’ of Iranian Animation

Reza Yousefzadeh Tabasi (Bournemouth University) Negotiating exoticism, Inter-cultural Communication and Subversive Realism: preliminary thoughts on the condition of Iranian socially- engaged animation.

George Khoury (Lebanese American University) Animation as a tool of activism in a troubled region geared towards fanatism and violence

#SAS2015 / @sas2015beyond 19 Panel B3: Fantasy/Animation: Questions of Media, Medium and Genre Mon: 13:00 / Chair: Christopher Holliday

Christopher Holliday (King’s College London) In the pursuit of liberation: animation theory as fantasy framework

Alexander Sergeant (King’s College London) A “Fantastic” Medium? Exploring Animation as an Impulse Towards Fantasy

Ewan Kirkland (University of Brighton) Children and Cartoons: Audience, Animation and Ancillary Products

Panel B4: Animated Performance and Place Mon: 13:00 / Chair: Suzanne Buchan

Birgitta Hosea (Central Saint Martins, UAL) Involuntary Animation

Vicky Smith (University for the Creative Arts) The Animator’s Body: Producing & Performing Non-Standardized Forms and Movements

Rose Bond (Pacific Northwest College of Art) Animated Installation: An Ecological Look

Edwin Carels (University College Ghent) Cinema’s Savoyards

#SAS2015 / @sas2015beyond 20 Panel C1: Women in Animation Mon: 15:00 / Chair: Amy Ratelle

Joan Ashworth () Interrogating the and texts of Sylvia Pankhurst using animation

Eliška Děcká (Film and TV School of Academy of Performing Arts in Prague) Beyond The Frame and History: Some Almost Untold Stories of Women Pioneers in (probably not just) Czechoslovak Animation

Suzanne Buchan (Middlesex University) Abjection, the Performative and Creativity in the Works of Suzan Pitt, Tabaimo and Miwa Matreyek

Chunhui Meng (Royal College of Art) The image of Chinese women in animation from changing feminist perspectives

Panel C2: French Animation Home and Abroad Mon: 15:00 / Chair: Sébastien Denis

Hervé Joubert-Laurencin (Univ. Paris Ouest Nanterre La Défense) Did really invent the cinéma d'animation (animation cinema)?

Cécile Renaud (Roehampton University) French animation dubbed: from Serge Danot’s Manège enchanté to Eric Thompson’s Magic Roundabout

Marie Pruvost-Delaspre (Univ.Paris 3) Beyond animation: transmedia storytelling strategies in Ankama’s

Sébastien Denis (Univ.Amiens) Exporting the image of France : the ‘francicity’ of French animation

#SAS2015 / @sas2015beyond 21 Panel C3: Animating Improvisation and Participation Mon: 15:00 / Chair: Ann Bridget Owen

Sara Khalili (The University of Art, ) Improvisation in Animation; Animators who speak spontaneously

Ian Grant (University of West London) Collaborative Acts of Live Animation and the 'Dance of Agency'

Jeremy Speed Schwartz (Alfred State College) Animate the Audience: Compulsory Interactive Animation

Lynn Parker and Clare Brennan (Abertay University) Tradition meets Technology: Audience Participation in the creation of a Digital Mediated Ceilidh

Panel C4: Roundtable - Within, between, or beyond the frame A discussion on student research and professional transformation in undergraduate animation programs

Mon: 15:00 / Chair: Tony Tarantini

Participants: Tony Tarantini (Sheridan College)

Paul Hilton (Arts University Bournemouth)

Rex Grignon (Founder/CCO Nimble Collective/DreamWorks)

John Lea (Christ Church University)

#SAS2015 / @sas2015beyond 22 Panel D1: Movement and Animation Tue: 09:00 / Chair: Paul Ward

Aylish Wood (University of Kent) Making Movements: Technological Imaginations of Animators and Algorithms

Peter Chanthanakone (University of Iowa) Animation – Markerless and Depth Based Modeling in Dance Pro

Pete Sillett (University of Kent) Zoetropic Performance: Taking Animated Characters Beyond The Film

Max Hattler (School of Creative Media, City University of Hong Kong) Reflection Between Abstraction and Figuration: Towards an Abstracted Heterotopia

Panel D2: Len Lye, Robert Breer, and Lis Rhodes Tue: 09:00 / Chair: Barnaby Dicker

Malcolm Cook (Middlesex University and Central Saint Martins, UAL) A primitivism of the senses: The role of music in Len Lye’s abstract animation

Andy Birtwistle (Canterbury Christ Church University) Radical Conformity: Len Lye and the theorisation of film practice

Paul Taberham (Arts University Bournemouth) Robert Breer and the Camera/ Eye Dialectic

Aimee Mollaghan (National University of Ireland, Galway) Lis Rhodes: Light Music

#SAS2015 / @sas2015beyond 23 Panel D3: Animating Narrative: Different Perspectives Tue: 09:00 / Chair: Craig Smith

Tracey Mollet (University of Leeds) 'And at last I see the light...': exploring the ideological function of music within Disney animated features

Andres Montenegro (Indiana University-Purdue University) The implementation of an interactive phenomenological narrative through real time 3D , 3D models, and virtual environments using Augmented Reality.

Dieter Declercq (University of Kent) The animated cartoon as a theoretical model for understanding satire

Panel D4: Questions of Anthropomorphosis: Plants and Animals Tue: 09:00 / Chair: James Frost

Dan Torre (RMIT University) Caricaturized Cacti and Personified Plants: Animation’s Engagement with the Botanical

Gill Bliss (Loughborough University) The Animated ‘Other’: exploring relationships between animation, and environmental aesthetics

Amy Ratelle (University of Toronto) Framework of ambivalence: Animals in animated war films

#SAS2015 / @sas2015beyond 24 Panel E1: Triple A(nimation) Studios: Disney, , DreamWorks Tue: 11:00 / Chair: Amy Davis

Lauren Maier (University of Hull) Reframing Big Hero 6: Disney’s of the Marvel Comic to the Silver Screen

Michael Shaftoe (University of Sunderland) Musical Expressivity and Vocal Duality: The Ageing of Jessie in Toy Story 2.

Helen Haswell (Queen's University Belfast) The Pixar Story: Constructed Narratives of the

Sam Summers (University of Sunderland) The Evolving Use of in DreamWorks Animation

Panel E2: British Animation: Beyond the Frame Tue: 11:00 / Chair: Nichola Dobson

Paul Ward (Arts University Bournemouth) Storyboarding, storytelling and animation labour – Aardman style

Richard Haynes (Arts University Bournemouth) When Cosgrove Hall met Toad Hall

Baffour Ababio (Nafsiyat Intercultural Therapy Centre) Psychoanalytic perspective on FRAMING INVISIBILITY: Racial Stereotyping and Selective Positioning in Contemporary British Animation, by Charles daCosta

Jane Batkin (University of Lincoln) Community of the Familiar and the Grotesque: Identity and Otherness in

#SAS2015 / @sas2015beyond 25 Panel E3: Documentary I Tue: 11:00 / Chair: Bella Honess Roe

Susan Young (Royal College of Art) Bearing Witness: Autobiographical Animation and the Metabolism of Trauma

Samantha Moore (University of Wolverhampton) Animators! In An Adventure With Scientists!

John Tyrrell (University of Sunderland) Pret-a-Dessin / Drawing-in-a-box

Panel E4: Animation Pedagogy II Tue: 11:00 / Chair: Christopher Holliday

Timothy Jones (UCLA) Thinking Beyond the Tutorial: Constructing sustained social engagement in online animation learning

Mohamed Ghazala (Effat University) Animation Workshops vs Academic courses

Janos Sitar (Emily Carr University of Art and Design) Animation isn't a medium (it's a large)

#SAS2015 / @sas2015beyond 26 Panel F1: Drawing Lines… and Beyond Tue: 13:30 / Chair: Samantha Moore

Tim McCormack (Sheridan College) The Changing Role of Figure Drawing in Animation Education

Francis Lowe (Coventry University) The Pencil Kata: Martial arts motion for line generation

Mohammad Javad Khajavi (Nanyang Technological University) The Poetry of Ink: A Practice-based Exploration of Persian Calligraphy-Painting in Animation

Mary Slowik (Pacific Northwest College of Art) The Power of the Vertical: ’s Zoom and Bored and Caroline Leaf’s The Owl Who Married a Goose

Panel F2: Animation in Context: Production/Exhibition Tue: 13:30 / Chair: Timothy Jones

Alex Charnley (Middlesex University) Combined and Uneven Spectacle of Animated VFX: World Building, Labor and Wage Relations

Ranjit Singh(The Animation Society of ) Need for Production Management in Art and Animation Curricula

Ana Mejón (Carlos III de Madrid University) The International Coproduction of Animation Films in

Kirsten Moana Thompson (Victoria University, NZ) Rainbow Ravine: Color and Animated Advertising in Times Square

#SAS2015 / @sas2015beyond 27 Panel F3: Metaphor, Mutation, and Metamorphosis: Reshaping Animation Histories Tue: 13:30 / ‘Respondent’: Craig Saper

Nicholas Andrew Miller (Loyola University) An Imp in the Inkwell: ’s Visual and Verbal Languages of Metamorphosis

Alison Reiko Loader (Concordia University) Becoming Caterpillar: Surrealist explorations in Entomology and Media Art

Lynn Tomlinson (Towson University) Animating the Transformative Self: the art and legacy of Sky David/Dennis Pies

Caroline Ruddell (Brunel University) in frame: The silhouette film and a feminine aesthetic?

#SAS2015 / @sas2015beyond 28 Panel F4: 5 Minute Micro Talks + Special Guest: Geoff Dunbar Tue: 13:30 / Chair: Aylish Wood

Peter Lay and Alastair McColl (Independent) Introducing ‘Animate Africa’

Andy Joule (University for the Creative Arts) The Perception of Time. The Coexistence of the Animator and the Animated

Katharine Nicholls (Falmouth University) A Dynamic Collaboration: An Example from the Cross Channel Film Lab

Yumi Kim (Chung-ang University) Method acting in 3D animation

Maitane Junguitu (UPV-EHU, University of the Basque Country) The Basque animated zombies approaching the outside world

April Youngok Kim (Myongji University) The “Liveness” of Animation Through the Use of Real-time Images

Dallim Park (Chung-Ang University) The Animation Festival as an Arena for Learning

Terri McManus (Canterbury Christ Church University) and Animation

Jae-Woong Kim (Chung-Ang University) Ani-Asia: The Expanded Ecologies (Asia Animation Forum)

Peng Zhijun (TianJin University) The similarities between animation art and Chinese classic art

Corrie Parks (University of Maryland Baltimore County) Shifting Sands: Hybrid animation in sand and salt

Special Guest: Geoff Dunbar (Start time – approx. 2.30pm) Reflections: Grand Slam Animation

#SAS2015 / @sas2015beyond 29 Panel G1: Documentary II Wed: 09:00 / Chair: Mihaela Mihailova

Alys Scott-Hawkins (Arts University Bournemouth) Bedford Place Map: an & transmedia project

Cristina Formenti (Università degli Studi di Milano) Walking with Corona Cinematografica through cells, stars and planets: The scientific animated documentary

María Lorenzo Hernández (Universitat Politècnica de València) Animated Dreamscapes. The Adaptation of Robert H. Barlow’s The Night Ocean by María Lorenzo Hernández

Panel G2: Graphic Communication Wed: 09:00 / Chair: Andy Birtwistle

Craig Smith (Canterbury Christ Church University) Motion Books: Animation and interaction within ‘Madefire’ digital comics.

Richard Yarhouse (Kendall College of Art and Design) Motion Comics: Experimenting with a Metamedium

Beatriz Herráiz (Universidad Politécnica de Valencia) Animated infographics in documentaries’s sequences

João Paulo Schlittler (Universidade de São Paulo) Animation in Graphic User Interface Design

#SAS2015 / @sas2015beyond 30 Panel G3: Animating the Inanimate Wed: 09:00 / Chair: Caroline Ruddell

Carol MacGillivray (Goldsmiths, UoL) Change made Manifest

Lilly Husbands (King's College London) The Evil Genius of : Paul Bush’s 'Furniture Poetry' (1999)

Alex Jukes (Edge Hill University) 3-D CGI, Emptiness and the Void: A Practical Investigation into Space and the Materiality of 3-D CGI Animation

Bryan Hawkins (Canterbury Christ Church University Seeing in Dreams – Landscapes of Drawn Animation

Panel G4: Avatars, Characters, and Stars Wed: 09:00 / Chair: Jane Batkin

David McGowan (Savannah College of Art and Design) Confessions of : The Private Lives of Animated Stars

Stéphane Collignon (Ecole Superieure d'Infographie Albert Jacquard) Counting the fingers of Pinocchio

Lisa Scoggin (Independent Scholar) Meets the Warners: Mixing Nostalgia and Contemporary Culture in Animaniacs of Early Cartoons

Sophie Mobbs (Middlesex University) Animation and the emotional avatar: Using motion capture to reflect on non-verbal communication.

#SAS2015 / @sas2015beyond 31 Panel H1: Animation on Display Wed: 11:00 / Chair: Maureen Furniss

Vibeke Sorensen (Nanyang Technological University) The Multidimensions of Vishwaroop

Marie Pruvost-Delaspre (Université Paris 3 Sorbonne Nouvelle) Pictures at an exhibition: displaying animation in Japanese museums

Cheryl Cabrera (University of Central Florida) The Animator’s Oral History Project

Millie Young (Mahidol University International College) Unseen - Shorts, Festies, Line and DIY

Panel H2: Alternative Ways of Seeing Wed: 11:00 / Chair: João Paulo Schlittler

David Mesple (Rocky Mountain College, Texas Tech University) Connecting the Dots: Fischinger, McLaren, Levin

Jungmin Lee (Harvard University) Metamorphic Animation: Plasticity and Archivability in Bauhaus Performance

Yuanyuan Chen (University of Ulster) Celebration of Fragmentation and Chaos: Postmodern Tendencies of Bu Hua’s Animated Shorts

Christine Veras (Nanyang Technological University) Silhouette , reinventing the wheel

#SAS2015 / @sas2015beyond 32 Panel H3: Animation representation of indigenous cultural identity – New Zealand, Australia and Singapore Wed: 11:00 / Chair: Gray Hodgkinson

Gray Hodgkinson (Massey University) Bro’ town – a representation of New Zealand indigenous cultures

Andi Spark (Griffith University) Who/What are/will represent/s the myriad of Australian First People's animation

Hannes Rall (Nanyang Technological University) Wayang Kulit project

Panel H4: Testing Boundaries Wed: 11:00 / Chair: Charles daCosta

Paul Wells (Loughborough University) Putting the 'Stud' back in Animation Studies: 'Sinderella', SEx and Film Form

Eric Herhuth (University of Wisconsin-Milwaukee) Animating Factishes: Animated Media in the Work of Bruno Latour

Tom Klein (Loyola Marymount University) Visual Logic

#SAS2015 / @sas2015beyond 33 Panel I1: Movement, Metamorphosis & Mind Wed: 13:30 / Chair: Harvey Deneroff

Ann Bridget Owen (Falmouth University) Lines Moving in Time: The Neuroaesthetics of Animated Movement in Hyperreal and Experimental Animation.

Andy Buchanan (RMIT University) Unstable Animation: Changeable visions of Metamorphosis

Steve Weymouth (University of New South Wales) Proprioception and Animation: Somatic Sensation and Animation Pedagogy

Panel I2: Animation and it's physical relatives; revealing the body and materials as performance and installation Wed: 13:30 / Chair: Jack McGrath

Jack McGrath (The University of Sydney) Animation and artworks: exhibiting the process, the materials and the artwork as installation

Mark Elliot (Australian National University, Canberra) A collaborative engagement with the world through stop-motion animation of flame-worked glass and other embodied crafts

Jifeng Huang (RMIT University) On using ready-made and found works in animation: from the perspective of installation art

#SAS2015 / @sas2015beyond 34 Panel I3: Hybridity as a Means of Blending and Transcending Frames Wed: 13:30 / Chair: Erwin Feyersinger

Franziska Bruckner (University of ) Beyond the Frame Within the Frame: Hybrid Images, Hybrid Montage

Holger Lang (Webster University, St. Louis) Beyond the Single Frame: Still Moving – Moving Still

Erwin Feyersinger (University of Innsbruck) Beyond Frames of Meaning: Hybridity and Image Schemas

Panel I4: Historical Perspectives: Past and Present Wed: 13:30 / Chair: Susan Smith

Jared Stanley (Texas Tech University, Bob Jones University) Laryngitic Line: TV & The American Animators loss of voice in the 1960s

Ben Shedd (Nanyang Technological University) EXPLODING THE FRAME: Seeking a New Cinematic Language

Melanie Hani (Loughborough University) and Elaine Drainville (University of Sunderland) Cultural Rivers: The use of ‘Static Animation’ and ‘Axiom Documentary’ film making processes to identify issues relating to children who are first generational immigrants in the UK

#SAS2015 / @sas2015beyond 35 Delegate Speaker Information

Baffour Ababio Nafsiyat Intercultural Therapy Centre [email protected]

Title: Psychoanalytic Perspective on FRAMING INVISIBILITY: Racial Stereotyping and Selective Positioning in Contemporary British Animation

Keywords: Animation; Marginalisation; Minority; Psychotherapy

Abstract: In his book FRAMING INVISIBILITY: Racial Stereotyping and Selective Positioning in Contemporary British Animation, Charles daCosta identified how black and other colonized people have been problematically represented in British Animation. He draws from work produced by Aardman, where the depictions have reinforced marginalized/invisible negative stereotypes of (‘the other’ and in a telling example in the On Probation set in a hostel for young male offenders. daCosta examines a young black male character called Steve who has very limited movements and expressions, who he refers to as a muted character and one that can also be referred to as Gagged by the producers of the film. The physical movement of Steve in the film he further reveals is limited by a Less developed upper body armature - evoking ideas round evolution and poses questions about Steve’s position on the evolutionary developmental ladder. This negative depiction of the other can be looked at from an object relations theoretical perspective, mobilising the psychoanalytical concepts of projection and introjection as developed by psychoanalyst and author Melanie Klein (An introduction to object relations by Lavinia Gomez)]. Employing Kleinian theory, we will argue that each person’s external world is in part a reflection of their inner universe. The depiction of these negative stereotypes reveal the disavowed parts of the inner worlds of Britishness.

Biography: Baffour Ababio is a Psychoanalytical Psychotherapist and clinical supervisor at NAFSIYAT Intercultural therapy centre, where he has also worked as Head of Clinical Services. Alongside his clinical role he also developed a career in managing mental health services within Westminster, integrating a community based response to support recovery from a broad range of mental health problems. He has over 17 years experience of working within community services in mental health and at services management level - ensuring the development and delivery of a range of services. He completed his training at University College London and The Guild of Psychotherapists. He is UKCP accredited and a member of BAPPS.

#SAS2015 / @sas2015beyond 36 Joan Ashworth Royal College of Art [email protected] @animationRCA

Title: Interrogating the Paintings and Texts of Sylvia Pankhurst Using Animation

Keywords Archives; Suffragette; Unfreezing; Working Women

Abstract: In attempting to understand the suffragette Sylvia Pankhurst I have explored her paintings, drawings and texts. My aim is to reveal hidden qualities embedded in the archive material and historical events, and test which animation methods or techniques could best be employed to enliven and reveal new understanding for a contemporary audience. As Mulvey claims, the digital re- opens a view of time between movement and the still, offering ways at looking back at the past but through an altered perspective, informed by the problems and possibilities of the present (2006). In my current project animation is used to imagine and better understand her encounters with working women. Could the time frozen in Pankhurst’s work respond to unfreezing techniques available within digital animation tools? The film explores paintings created by Pankhurst as a record of women’s working and prison conditions. She used her own images and texts to underpin the growing understanding that women were an invaluable part of the economy and therefore deserving enfranchisement as voters. Using animated film clips and Pankhurst’s art work and texts, I will explore the process of unfreezing drawings and what the resulting collision of archive voice, period artefacts and moving drawing might mean for the viewer.

Biography: Joan Ashworth is an artist /filmmaker working with animation tools and techniques to explore archives, therapy, health-states, and to make short films both fiction and documentary. Ashworth studied at the National Film and Television School graduating in 1987. Ashworth co-founded 3 Peach Animation through which she directed many commercials, title sequences and stings for TV and cinema including the opening titles for Tim Burton’s Batman. Ashworth joined the Royal College of Art in 1994 becoming professor of Animation in 1998. Ashworth’s films include: The Web 1987, based on Mervyn Peakes’ Titus Groan, Eggs, Fish and Blood, 1999, How Mermaids Breed 2002 inspired by Bronze Age Cycladic fertility figures, the drawings of Henry Moore, and Birling Gap Beach, Sussex, & Mushroom Thief, 2010, exploring a girl’s wildness. Ashworth is making a short film on Sylvia Pankhurst (Locatingsylviapankhurst.com).

#SAS2015 / @sas2015beyond 37 Jane Batkin University of Lincoln [email protected]

Title: Community of the Familiar and the Grotesque: Identity and Otherness in Wallace and Gromit

Abstract: The world of Wallace and Gromit represents plasmation in its truest sense; moulded from clay it emerges, vital and alive. Clay harnesses this realism and presents dynamic, fingerprinted characters to the audience like no other medium. This paper will address how identity and otherness lie at the heart of these films. Wallace and Gromit’s relationship is true, Park explains, through the nature of its unsentimentality. This is the familiar, from Wallace’s inept actions to Gromit’s silent hero. Identity is vibrant, comedic yet believable. Significantly, the grotesque and the other also permeate the frame. We delight in the strange creatures encountered; from sociopathic penguins to psychotic robots to ravenous were rabbits. Park embraces the conventions of horror, particularly that of Hammer House, while his community of the grotesques (Lally) reminds us of the uncanny ability of clay. Otherness is dependant on a divergence from self and it is a key theme here; the familiar social group empowered by its own structure is distinct from that which is alienated, ie rubber chicken-wearing penguin and vegetarian were rabbit (significantly Wallace journeying from self to other). These films are a circus of the familiar and the grotesque, in which society is pitted against the unknown; they are a world of light and shadow, humour and horror. Juxtapositions pervade the screen, identity, often grotesque, lies at its heart and otherness constantly threatens.

Biography: Jane Batkin is a Critical Studies Lecturer at the University of Lincoln, where she teaches the and research based modules in the School of Film and Media, as well as Design. Jane holds an MA in Creative Writing from City University and has presented her work at the October Gallery in London. Her current interests centre on the idea of life and deadness within animation and how identity is addressed. She is currently writing a book, Identity in Animation, for Routledge Publishers which is due for release in early 2016, and which explores the theme of self, of the animated and animator, within the context of culture and industry and how factors such as revolution, patriarchy and gender codes affect this.

#SAS2015 / @sas2015beyond 38 Marco Bellano Università degli Studi di Padova [email protected]

Title: The Wind Has Changed. An Update on Hayao Miyazaki and Joe Hisaishi’s Audiovisual Strategies for Animated Films

Keywords: Hayao Miyazaki; Joe Hisaishi; Music for Animation;

Abstract: The collaboration between Hayao Miyazaki and Joe Hisaishi has supposedly come to an end, at least in respect to full-length feature films, because of the director’s retirement after the release of The Wind Rises in 2013. While the event is unfortunate for the animation, now the joint production of the two authors can be examined as a finished whole. My paper will study the audiovisual strategies of The Wind Rises, in order to reassess and complete a definition of Hisaishi’s approach to Miyazaki’s animation aesthetics. The audiovisual analysis will be based on score transcriptions, the ekonte (‘’) and the film itself. My attention will focus on the following topics: (a) continuity: The Wind Rises’ audiovisual strategies as a consistent development of the ‘international’/Leitmotiv-based approach used by Hisaishi since Howl’s Moving Castle; description of The Wind Rises’ interrelated families of narrative musical motifs; (b) recollection: commentary on the restoration of pre-Howl’s Moving Castle melodic patterns pertaining to Miyazaki’s narrative and visual themes (flight in particular); explanation of from previous works by Hisaishi featured in the film;(c) a new analysis of the four-note motif usually featured in Miyazaki’s films, with a reference to formulas of Japanese popular music; (d) a reference comparison between The Wind Rises and the audiovisual strategies of The Tale of Princess Kaguya (Isao Takahata, 2013).

Biography: Marco Bellano, Ph.D., is adjunct professor of History of Animation at the University of Padova, . He formerly taught Film Music at the same University, at the Conservatory of Ferrara and, as a guest, at the University of Salamanca, Spain. He graduated in Piano and Orchestral Conducting at the Conservatory of Vicenza. In 2014 the SAS assigned him the 2013 Norman McLaren-Evelyn Lambart Award for the Best Scholarly Article; the SAS also co- funded his conference project ‘Il cinema d’animazione e l’Italia’ (Padova, May 29- 30, 2014). He is in the editorial board of the cinema journal Cabiria. He coordinates educational projects for concert societies and cultural organizations (Orchestra di Padova e del Veneto, Palazzetto Bru Zane). He wrote the books Metapartiture. Comporre musica per i film muti (2007) and Animazione in cento film (2013, with Giovanni Ricci and Marco Vanelli). He is currently co-editing (with Prof. Giannalberto Bendazzi) an Animation Journal issue on Italian animation.

#SAS2015 / @sas2015beyond 39 Andy Birtwistle Canterbury Christ Church University [email protected]

Title: Radical Conformity: Len Lye and the Theorisation of Film Practice

Keywords Len Lye, Modernism; Theory;

Abstract: This paper examines the way in which visual music practice, as exemplified by the animated films of Len Lye, has been marginalised within histories of the modernist avant-garde. The synaesthetic fusion of sound and image that characterises Lye’s work in animation largely falls outside the critical frameworks proposed by dominant theories of modernist poetics, which arguably place greater value on the inscription of difference than on figures of mutual interaction, interdependence and dissolution. Lye proposed an original theoretical framework for the interpretation of his work, based around his ideas of the old brain. In this paper I argue that while outwardly conforming to the need to theorise film practice, Lye’s interpretive schema proposed a model of theory that radically challenged dominant modernist discourse on the poetics of cinema.

Biography: I am Reader in Film and Sound in the School of Media, Art and Design at Canterbury Christ Church University, and Director of the Centre for Practice- Based Research in the Arts. While specialising in film sound, my research engages with a range of subjects, including avant-garde film, video art, sonic arts and culture, and Taiwan cinema. My book Cinesonica: Sounding film and video (Manchester University Press, 2010) explores previously neglected and under- theorised aspects of film and video sound, drawing on detailed case study analyses of Hollywood cinema, art cinema, animated films and artists' film and video. In addition to writing, my research also embraces practice-based based forms of scholarship. I am a filmmaker and sound artist, and my work has been broadcast and exhibited internationally.

#SAS2015 / @sas2015beyond 40 Gill Bliss Loughborough University [email protected]

Title: The Animated Other: Exploring Relationships Between Animation, Anthropomorphism and Environmental Aesthetics.

Keywords Animation; Animal; Anthropomorphism; Ecology

Abstract: Recent animated films have taken ecological issues into family households, and many wildlife and environmental charities now use anthropomorphic characters to attract membership and boost fundraising. However, post-modern critique has questioned this type of storytelling for being reductionist; with the portrayal of human concerns dominant, and any contributing animals rendered invisible. (Baker, 2000; Burt, 2002). The first section of this paper will examine the philosophical notion of the Other (Hegel, Lacan) and take this as a starting point for reframing the animated animal. These hybrid characters will be seen as mediators, inhabiting a world that is neither animal nor human, and this is where their potency lies (Wells, 2009). Making reference to Blending Theory developed by Fauconnier and Turner (2003), anthropomorphic imagery will be explored through the language of visual metaphor rather than a dominant text-based symbolism. In this way abstracted imaginative designs are able to flourish which do not carry the same weight of anthropocentric connotations. Relationships to environmental aesthetics are able to emerge (Brady 2003, Foster 2004). By redefining the animal elements contributing to anthropomorphic imagery, a wide range of relationships between animals, humans and their shared environments can be traced. Thus animation will be highlighted as an exemplary tool for discussing modern day ecological concerns.

Biography: Gill Bliss is a creative practitioner who works across sculpture, drawing and animation platforms. In 2000/1 she made two short animation films (Child’s Play and In the Garden), with a grant from the S4C Short-shorts scheme for independent animators. Gill worked in the animation industry as a freelance model-maker for over 12 years, on such projects as Tales of the World and The Canterbury Tales (1999, 2001); (2000); Wallace and Gromit and the Curse of the Were-Rabbit (2005); Creature Comforts and Timmy Time (2005/7, 2009). Now in her final PhD year at Loughborough University, she is developing her interests in using animation to present ecological issues.

#SAS2015 / @sas2015beyond 41 Rose Bond Pacific Northwest College of Art [email protected]

Title: Animated Installation: An Ecological Look

Keywords Ecology; Expanded; Installation; Site

Abstract: In his 1970’s classic Expanded Cinema, Gene Youngblood writes of artists trending toward the role of ecologist: one who deals with relationships among organisms and the environment. As part of her engagement with creating and presenting public animated installations, Rose Bond will reflect on her work through the lens of ecology to examine multi-channel animation that co-habitats with architecture. Illustrating the session with examples of her animated installations sited in particular buildings and communities, she will examine animation’s unique propensity to illuminate people and place with an eye towards Youngblood’s statement that, “the act of creation for the new artist is not so much the invention of new objects as the revelation of previously unrecognized relationships between existing phenomena, both physical and metaphysical.”

Biography: Rose Bond, animator and media artist, has been internationally recognized for her monumental, content driven animated installations. Rear projected in multiple windows, her themes are often drawn from the site – existing at the juncture of memory, architecture and public/private space. Since 2002 her installations have illuminated urban spaces in (2013), Toronto (2011), Exeter UK (2010), (2004), Utrecht Netherlands (2008) and Portland (2002, 2007, 2014). Bond’s direct animation films have been presented at major international festivals including: Annecy, Ottawa, Hiroshima, Sundance, New York and are held in the MoMA Film Collection. She recently completed a prototype for an installation in the Smithsonian’s Arts & Industries Building in Washington DC. Canadian born, Bond is based in Portland Oregon where she is an Associate Professor and Lead Faculty for the Animated Arts Department at Pacific Northwest College of Art.

#SAS2015 / @sas2015beyond 42 Clare Brennan Abertay University [email protected] @claredundee

Title: Tradition meets Technology: Audience Participation in the creation of a Digital Mediated Ceilidh

Keywords Animation Beyond the Frame; Experimental Animation; Interactive Animation

Abstract: Embedded in Scottish and Irish culture, the Ceilidh is a celebratory event that typically mixes traditional music, choreographed dancing and poetry performances. In Scotland, Ceilidh dancing and traditional Scottish poetry are an embedded part of primary school curricula and the Ceilidh forms an integral part of celebrations including weddings and Hogmanay. The Ceilidh calls the audience to participate in dances in pairs and small groups carrying out a series of repetitive motions that are called by the band. The Ceilidh itself depends upon interaction by attendees to bring the event to life. This need for interaction formed the inspiration for the Northern Lights Ceilidh, which invited participants to create a shared aesthetic through digital technology and interactivity. Northern Lights Ceilidh took place in Dundee, Scotland in August 2014 as part of the Dare to be Digital Festival fusing dance, 3D printing, interactive animations, music and spoken word to create a digitally mediated event. Within this paper, the authors examine Northern Lights Ceilidh firstly through exploration of digital mediation of participatory events from a historical perspective. This discussion informs analysis of conventions of Ceilidh dancing looking specifically at predictability of movement and the opportunities it affords to design technological interventions. Lastly the authors will reflect upon the role of Ceilidh participants as co-creators of aesthetic and possible future work.

Biography: Clare Brennan is a curator and artist based in the city of Dundee, Scotland. As Curator and Lecturer in Visual Arts Practice within the School of Arts Media and Games at Abertay University, she facilitates projects that disseminate the University’s complex research activity, engaging researchers, academics, students and creatives in knowledge exchange activity. Driving the core programme is digital culture, enriched by Abertay’s world-leading success in the areas of computer games, digital media and computer arts. Clare is also co- curator of NEoN Digital Arts. NEoN (North East of North) aims to advance the understanding and accessibility of digital and technology driven art forms and to encourage high quality within the production of this medium. As Scotland's only digital arts festival NEoN acts as a platform to showcase national and international digital art forms.

#SAS2015 / @sas2015beyond 43 Franziska Bruckner

Title: Beyond the Frame Within the Frame: Hybrid Images, Hybrid Montage

Abstract: Hybridization is a widespread phenomenon of moving image production. Mainstream blockbuster productions such as (1988) or Avatar (2009) rely on a combination of live-action and animation as much as shorter formats such as the Suzuki commercial "Rock the Road" (Lino Russel/Daniel Fraas, D 2007), the for A-ha's "" (Steve Barron, UK 1985) and experimental films such as Norman McLaren's "Neighbours" (CA 1952) or Virgil Widrich's "Fast Film" (AT 2003). In these and other examples, hybridization can be found both within single frames and beyond single frames. It can concern all levels of a film, and appears, for example, during the whole film, in longer sequences, short scenes or only in a few frames. Which animation techniques are suitable for hybridization and in which way? How do these techniques interact with each other? How are they connected spatially and temporally? To answer these questions, I will introduce an analytical typology called "Hybrid Image: Hybrid Montage" that sheds light on the formal characteristics of animation/live-action hybrids from various angles. The typology integrates both analog mixed films and digital hybrids. I will discuss several parameters of hybrid images, in order to explore the potential and also the limits of the typology as well as of these films. My aim is to apply the parameters to all forms of hybrid films and to all animation techniques, which I will show with a wide range of examples.

Biography: Franziska Bruckner works as lecturer for animation theory at the University of Vienna, at the Eberhard Karls University Tübingen and the University of Art and Design in Offenbach/Main. Her main research and publications focus on animation, experimental film and relations between fine arts and film. She is co-coordinator of the AG Animation as part of the Gesellschaft für Medienwissenschaft (GfM) and board member of ASIFA-Austria. She has published several books and articles on animation, including the monograph Painting in Motion: Studio for Experimental Animation at the University of Applied Arts Vienna.

#SAS2015 / @sas2015beyond 44

Suzanne Buchan Middlesex University s.buchan.mdx.ac.uk

Title: Abjection, the Performative and Creativity in the Works of Suzan Pitt, Tabaimo and Miwa Matreyek

Keywords Installation; Performance; Postfeminism; Psychoanalytic Theory

Abstract: With a focus on animation installation and performance, I first introduce a (post)feminist framework (McRobbie, Tasker & Negra) to locate a set of spatial politics. This is followed by a comparative analysis of the works of three women animation artists. I revisit a now often maligned theoretical framework, psychoanalytic theory - that was extremely generative for feminist film studies - to explore issues of creativity, desire and gender, of cultural specificity, critique and difference, and of alienation. Focusing specifically on libido and abjection, and Japanese gendered cultural behaviours, I undertake a comparative analysis of Suzan Pitt's seminal feminist work Asparagus (1979) and the young Japanese artist Tabaimo's recent animation installations. Then, after introducing Miwa Matreyek's recent Dreaming of Lucid Living (2007-) performance, in which the female figure is central, but it is not a or drawn representation, I use this analytic apparatus to establish resonances and distinctions between these three artists, proposing that the trope of inside/outside specific to their animated and gendered worlds is a postfeminist strategy. I will also examine formal and aesthetic convergences and distinctions in their works, a set of dichotomies and tensions, that relate to observations about feminist concerns, concluding with brief reflections on the viewer's response to the works.

Biography: Professor of Animation Aesthetics and Director of the Art and Design Research Institute, Middlesex University London, UK. Editor of animation: an interdisciplinary journal and also active as a curator. Recent publications include Pervasive Animation. An AFI Film Reader (2013) and The Quay Brothers: Into a Metaphysical Playroom (2011). Her research explores animation operating outside conventional, hegemonic and commercial entertainment canons, including fine art practice, architecture and the sciences. Currently preparing an exhibition for the Museum of Design Zurich.

#SAS2015 / @sas2015beyond 45 Andy Buchanan RMIT University [email protected]

Title: Unstable Animation: Changeable Visions of Metamorphasis

Keywords Animation; Metamorphasis; Perception; Vision

Abstract: Studies in the neuroanatomy of the visual cortex have shown that specialised vision activities occur at both the regional and cellular level. Evolutionary biology would suggest that the specialisations arise in response to features of the visual environment and benefits to observation – motion attracts attention, edges define forms and our perception of objects changes based on their position in our field of view. These specialised visual processes allow for an efficient comprehension of objects and our surroundings, processing biochemical signals into conceptual schema (Soiso, 1996) a process Danto calls ‘pictorial competence’. But animated metamorphic objects don’t adhere to the normal physical properties that our eyes have adapted to. The characteristics in animation that Einstein called the ‘plasmatic’ can confound the process of recognition, preventing the visual system from achieving a stable ‘ergodic’ allocation of visual effort. Attractive features disappear, edges dissolve and visual suggestions of physical properties are unreliable. This paper discusses the implications of animated metamorphosis from the perspective of visual processing, cognitive load, attention and the transfer of instability from object to viewer. The ‘unreliable’ qualities of metamorphosis offer a wealth of opportunity for destabilising effects.

Biography: Andrew Buchanan is a digital artist, animator and researcher currently located in Melbourne, Australia. Andrew’s previous research on animation includes work on non-conscious processing of animated images, metamorphosis in Dali and Disney’s Destino and audience responses to digital art. Andrew is currently a PhD candidate at RMIT University, conducting practice based research on new forms of animated metamorphosis.

#SAS2015 / @sas2015beyond 46 Cheryl Cabrera University of Central Florida [email protected] @cherylcabrera

Title: The Animator’s Oral History Project

Keywords Animator; Archive; History; Oral

Abstract: Animation has been an integral part of Florida since Paramount Studios helped open a studio in Miami in 1938. Many animators have a strong connection to the state of Florida, and there are currently no historical archives of their work or their histories. Currently, there is no archive at all that focuses specifically on oral history and artwork archival of the animators, themselves. The only other type of animation archive that exists is the UCLA Film & Television Archive, which possesses the second largest moving image archive in the after the Library of Congress, and is the world’s largest university-based media archive. The UCLA collections contain examples of virtually all types of animation, but they do not collect or maintain the oral histories or artworks from the individual animators who worked as collaborators on the films. This paper reports and discusses the findings of The Animator’s Oral History Project which collected six oral histories and the digital archive of artwork created by the animators whose histories we collected. This project began the creation of an archive with a focus on the oral history and artwork of animators who are directly related to the Central Florida area. Once completed, this seed funded project will be expanded to national and international focus. Future potential for external funding to expand this project is available on multiple levels: preservation of historical records, digital dissemination of archival collections and documentary . There are two major U.S. grant opportunities that will be sought in Fall 2015 after completion of this seed funded grant project. This project partners directly with The Regional Initiative for Collecting the History, Experiences, and Stories (RICHES™) of Central Florida and its digital archive, http://riches.cah.ucf.edu/ RICHES Mosaic Interface (RICHES MI™) which provide an innovative, interactive access to archival information while incorporating the best practices of libraries and archives. RICHES and RICHES MI are projects that originated in the Department of History at the University of Central Florida (UCF) and fulfills its mission to connect academics, students, policy planners, and the public through interdisciplinary projects addressing regional themes with global connections. RICHES MI™ launched a soft opening on September 27, 2012 and a public launch as RICHES MI™ 1.0 on February 16,

#SAS2015 / @sas2015beyond 47 2013 during THAT Camp Florida. The website can be found at https://richesmi.cah.ucf.edu/map/. The material for The Animator’s Oral History Project will be entered into the RICHES Mosaic Interface database in Summer 2015 and would allow users, who search the database, to find biographical information about the animators, see and hear the oral history interviews, and see their work in digital format.

Biography: Cheryl Cabrera is an award winning animated short film director and has advised and guided aspiring animators, game artists, and artists for almost 15 years. Since 2009, Cheryl has been teaching all aspects of production in the Character Animation specialization as an Assistant Professor of Digital Media in the and Design at the University of Central Florida. She also taught as Professor of Animation at the Savannah College of Art and Design from 2001 to 2009. Cheryl is currently on the Board of Directors for the Animation Hall of Fame is a member of SIGGRAPH, Women in Animation, and the Society for Animation Studies. Cheryl is also an Autodesk Certified Professional in Maya 2013 and an Autodesk Certified Instructor in Maya; Author of An Essential Introduction to Maya Character Rigging (2008, Focal Press) and Reel Success: Creating Demo Reels and Animation Portfolios (2013, Focal Press). Cheryl holds a B.A. and M.Ed. in Education and an M.F.A. in Computer Art with a specialization in 3D Animation. She is a digital artist and animator that blends the lines between digital imagery and the traditional painting medium. She has participated is numerous group and solo exhibitions in the US and her works are featured is several private collections. She has additional experience in acting and directing theatre for several years. Her award-winning students have been featured in animation festivals worldwide, and many have gone on to work within the entertainment industry.

#SAS2015 / @sas2015beyond 48 Edwin Carels KASK / University College of Ghent [email protected]

Title: Cinema’s Savoyards

Keywords: magic lantern, expanded cinema, flicker film, live performance, media archaeology

Abstract: Pre-filmic forms of animation (the flipbook, the zoetrope, shadowplay etc.) still continue to inspire visual artists to create significant artworks. This contribution focusses on the survival of the magic lantern, and more particularly its performative characteristics. Before the lantern became an affordable commodity, there could be no presentation without the presence of a lanternist, in the 17th and 18th century also called a Galantee showman or Savoyard. Considering the dispositif of the magic lantern as a template for the cinema, I want to suggest an unexpected legacy of these itinerant magic lanternists within the larger field of expanded cinema practices. My chapter takes its cue from the performative film projections Bruce McClure (who started in 1995) and relates his work back to performative work by Ken Jacobs and Peter Kubelka. Requiring little more than a light source and a filmstrip with a minimal amount of information, each of these artists maximizes on the potential of the projection apparatus. In their practice they equally emphasize the impact of the shutter by foregrounding the flicker effect to the detriment of any photographic realism. In their modus operandi, the projection speed is not automated, it is still the projectionist who (manually) determines when to replace one still frame by another to trigger a dynamic perceptual illusion, the effect of animation. What seperates their approach from many other forms of experimental or expanded cinema, is a strong emphasis on an almost ritualized form of verbal interaction with the audience. As important as the technical mastery over an individualized projection instrument is the very particular aura of their personality, which turns their ‘situationist’ live performances into unique events that cannot be reproduced.

Biography: Edwin Carels is a teacher and researcher at University College Ghent - Faculty of Fine Arts. 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.’ ‘Counter-archives’ is the title of his post-doc project. Carels is also a film programmer, curator and writer. He has curated thematic shows such as El Hotel Eléctrico (2014), Graphology (2011), Animism (2010) and The Projection Project (2006). Recent exhibitions have involved collaborations with Luc Tuymans, Chris Marker, The Quay Brothers, Robert Breer, Jan Svankmajer, Zoe Beloff and Ken Jacobs. #SAS2015 / @sas2015beyond 49 Swagato Chakravorty Yale University [email protected]

Title: Surface, Light, Animation: Architectural Projection Mapping in Context

Keywords Animation; Architectural Projection Mapping; Screen; Surface

Abstract: Spectacular videos of architectural projection mapping—intricate 3-D projections that conform perfectly to complex architectural façades—have in recent years become highly popular on the Internet. Although such projections first began appearing around 2005, until now they have almost always been mobilized in the context of urban spectacle or commercial advertisement. In the face of an existing lack of sustained critical engagement that draws out its relation to concepts and practices from the histories of animation, cinema, and projection, it is popularly considered yet another child of “new media.” My paper works to rectify this by tracing a divergent genealogy of architectural projection mapping in the histories of, on the one hand, computational 3-D design algorithms and on the other hand, of architectural and public projection. Drawing chiefly upon Spyros Papapetros’ On the Animation of the Inorganic and Giuliana Bruno’s Surface, I identify within architectural projection mapping an historical notion of animation distinct from, yet related to, its “cinematic” history. Thus historicized, this emergent art recalls a pre-cinematic sense of the screen, forcing us to rethink screen surfaces and screen architectures today. Ultimately, my account contextualizes architectural projection mapping by considering its surface relations across architecture, projection, and the desire to animate.

Biography: Swagato Chakravorty is a doctoral student in the combined Film and Media Studies and Ph.D. program at Yale University. Previously, he completed an M.A. in Humanities (Cinema and Media Studies track) at the University of Chicago. He works at the interstices of screen practices, screen architectures, and embodied spectatorial experience. Related interests include aesthetics, the philosophy of art (esp. modern and contemporary), histories of film theory, visuality in the long 19th century, the history of science and technology, and contemporary media theory.

#SAS2015 / @sas2015beyond 50 Peter Chanthanakone University of Iowa [email protected]

Title: Animation Mashup - Markerless Motion Capture and Depth Based Modeling in Dance Pro

Keywords Animation; Mashup

Abstract: Mashups are the creation of something new using methods and not often associated with each other. Music has embraced this technique where you could hear a song with lyrics from an 80s pop song from Jackson 5 with a beat from a recent hit single by rappers Jay Z or Pharell. Through a series of experimental animations, animator and director Peter Chanthanakone discusses the process of creating his latest work, Dance Universe. Borrowing iconic cartoon characters from mainstream TV, movie and video games in such programs as Transformers, the Incredibles and Astroboy, the characters are mashed up, decontextualized and brought into the familiar landscapes in the human world. Juxtaposed with classical art pieces from the beginning of civilization, the animations acknowledge the past and highlight the future. They are also stripped of their roles in their respective worlds by performing different dance routines from ballad to poplocking. New techniques used in production will also be the focus from depth based modeling and markerless motion capture which speeds up the animation workflow and helps add a higher sense or realism. The animation is complete with the collaboration with some of most mainstream mashup disc jockeys from around the world. By doing this, the audience is forced to reconsider their favorite iconic cartoons as they’re all brought into the same surreal universe, full of beautiful historical artwork and enveloped with mashup music.

Biography: Peter is a short film director specializing in 3D animated shorts. He won numerous film festival awards from the Top Emerging Artist (Souriya Namaha), the Best Animation Short film (Winston’s Shuttle) and a Gold Pixie Award (Junkboxx). His works has played on a giant screen at Times Square in NYC, , France, , China, Belgium, S.Korea, Pakistan, Australia, Italy and as a retrospective at the VIEW Animation Video Festival. Cumulatively, his work has been selected in over 50 international juried competitions. Peter is currently an Assistant Professor in Animation at the University of Iowa but has also taught at Brock University (Canada), Grand Canyon University (Phoenix), Stanford, Villanova and His research involves animation production and accelerating the animation pipeline for independent short films.

#SAS2015 / @sas2015beyond 51 Alex Charnley Middlesex University [email protected]

Title: Combined and Uneven Spectacle of Animated VFX: World Building, Labor and Wage Relations

Keywords Detournement; Rebel Architecture; Spectacle; Visual Effects

Abstract: In this paper, I aim to contribute to debates on animation production, labour and politics (Cubitt, Leslie, Ward) and present a dialectical address of the spectacle (Debord, Clark, Wark) as it is produced, experienced and detourned in digital contemporary culture. The concept of spectacle has traditionally focused on how everyday life is mediated through images, but in a period in which the ‘creative economy’ is touted as the touchstone of a new capitalist future, is it not equally important today to take a deeper look at the labour of spectacle itself? This question will be explored in a contemporary animation context by putting the rational mastery of high end visual effects (VFX) into dialogue with the activities of some dissident imagineers operating at the other end of the wage relation. I will draw from experiments of rebel architects who are using the world building capacities of pre-visualisation software not simply as a means to entertain the idea of another world, but towards a re-imagining and re-animating of the one being abandoned. As the traditional high value workers of VFX spectacle are becoming increasingly proletarianised and wage relations come under unrelenting pressure, I will explore how a labour surplus (or part-of-no-part) are taking steps to pre- visualise radically other worlds from the rubble of our own.

Biography: Alex Charnley is a Lecturer in 3D Animation and Games at Middlesex University and practices as an Illustrator and Filmmaker alongside work with various activist publications and media collectives, including The Occupied Times of London. Research interests include politics, aesthetics and militant culture, which have developed through practice-based experience working within emergent radical media.

#SAS2015 / @sas2015beyond 52 Yuanyuan Chen University of Ulster [email protected]

Title: Celebration of Fragmentation and Chaos: Postmodern Tendencies of Bu Hua’s Animated Shorts

Keywords: Chinese Experimental Animation;

Abstract: Chinese experimental animator Bu Hua has won an enviable reputation for her distinctive Flash-animated shorts. Her works playfully mix symbols, icons, music and video games, discard grant narrative and linear storytelling, rather embracing fragmentation and puzzles, and fully embrace the dislocation of time and space, all of which reflect a strong postmodernist aesthetic. This paper will investigate the experimentally postmodernist expressions in Bu’s animated shorts Youth Does Harm To Health (2007) and Savage Growth (2008) from two perspectives. Firstly, it will discuss how the fragmentary messages, symbols, languages and meanings are superficially jammed in her MTV-style of moving images, thus inviting spectators to a semiotic and deconstructionist analysis. These either original or reproduced symbols depthlessly collaged and accumulated convey a series of ironic binary oppositions high/low art, past/present, man/woman, local/exotic etc. Secondly, the chaotic temporal and spatial correlations of Bu’s works establish a heterotopia-like world, which, on the one hand, is isolated, enclosed, and heteromorphic, and, on the other, penetrable, juxtaposed, psychologically bonding and real. Not only have Bu’s films been streamed online or released at film festivals, but they are also exhibited as installations projected in buildings, in which the audience is placed in and becomes a part of the heterotopia, constructing a surreal temporal and spatial relationship with the artwork.

Biography: Yuanyuan Chen is a Lecturer in History and Theory of Animation at University of Ulster, UK. She is also a final year PhD candidate in Film Studies at University College Cork, Ireland, with a thesis entitled Western Modernist and Postmodernist Influences on , 1980s-2000s. Her article ‘The Rebel of the Chinese School: Modernist Expression in A Da’s Late Animations’ is forthcoming in the peer-reviewed journal Modernism/modernity in January 2015, and her writing has also appeared in Chinese-language scholarly publications, including Movie Literature, Movie Review, and Beauty & Times.

#SAS2015 / @sas2015beyond 53 Stéphane Collingnon Ecole Superieure d'Infographie Albert Jacquard [email protected]

Title: Counting the fingers of Pinocchio

Abstract: Doing something apparently as mundane as counting the number of fingers the characters of Disney's Pinocchio have does reveal an intriguing possibility. Not all characters are what they seem. Some humans really aren't humans at all while some of the animal characters seem to be a lot more than just anthropomorphised animals. In fact the entire movie proposes the very idea that animated characters want to be real humans but somehow, when behaving too much like humans (lie, smoke, misbehave) humanity is denied to them. While offering strange similarities with the later theory of the , Disney's film allows us to propose that all animated characters can fit one theoretical model that transcends the traditional anthropormorphised animal/object Vs human. A theoretical model based on what characters in Pinocchio really are, that is kind of human but not quite. A model for which we propose the neologism cisanthropic, meaning the tendency for non human characters the tend toward a certain degree of antrhopomorphisation, but not too much, while human characters tend to pull away from too much anthropometric realism.

Biography: Having recently finished (hopefully by then) a PhD dissertation on animation aesthetics and its ties to print cartoon, caricature and the uncanny valley theory, Stéphane Collignon has been lecturing Animation Theory, Art History and Writing for Animation at Europe’s largest graphic design school (ESIAJ) in Namur, Belgium. With a background in Journalism, Film Studies and Film Writing his research interests include phenomenology of cinema, empirical aesthetics, genres, visual narration (incl. cartoons, comics, etc.), and many more.

#SAS2015 / @sas2015beyond 54 Malcolm Cook Middlesex University; University of the Arts London [email protected]

Title: A Primitivism of the Senses: The role of Music in Len Lye’s Abstract Animation

Keywords Len Lye; Music; Primitivism; Syanaesthesia

Abstract: The most immediate element beyond the frame of animation is the soundtrack, both physically in form of the optical soundtrack that sat alongside the image frame in pre-digital film reels and conceptually as a vital, but often underestimated or ignored, component of animation’s aesthetic experience. This paper will discuss the importance of the soundtrack in relation to the abstract animated films produced by Len Lye in Britain in the 1920s and 1930s. The direct film approach Lye adopted for 'A Colour Box' meant his hand-painted frames were constructed in direct physical relation to the soundtrack and music was integral to their formal construction, but it also served as a theoretical model. As Lye wrote if there was such a thing as composing music, there could be such a thing as composing motion. Lye’s use of music can also be seen as a continuation of the exploration of primitivism seen in his first film 'Tusalava', but turning away from cultural otherness to overturn the separation of the senses and art forms seen in the West. Through discussion of Lye’s own writing and close audiovisual analysis of key films this paper investigates these ideas and demonstrates how the use of sound in Len Lye’s films presents a distinctive alternative to other artists’ work in visual music. In doing so it reveals an aesthetic model in which there is no hierarchy between the visual and the auditory and instead offers to the spectator a synaesthetic primitivism of the senses.

Biography: Dr Malcolm Cook is a lecturer at Middlesex University and Central Saint Martins, University of the Arts London. He was awarded a PhD at Birkbeck, University of London in 2013 for his doctoral thesis 'Animating perception: British cartoons from music hall to cinema, 1880 - 1928', which addressed early British animated cartoons prior to the advent of sound cinema, with a particular focus on the relationship between the moving image and the graphic arts and other pre-cinematic . He has subsequently published a number of chapters and articles on animation, early cinema, and their intermedial relationships. He is currently preparing further research for publication, including a book 'Adapting Science Fiction for Television' [working title] for Rowman&Littlefield/Scarecrow co-authored with Dr Max Sexton, and several book chapters. #SAS2015 / @sas2015beyond 55 Charles daCosta Swinburne University of Technology [email protected] @stachedacosta

Title: Practising History: Mining Animation History to Engage Chronically Distracted Students

Keywords Animation; Chronic Distraction; Historicity; Millenials

Abstract: The plethora of affordable digital technologies and their corresponding platforms have been a blessing to us - artists - but not without palpable complications. Concomitant with the digital dawn is the advent of a chronically distracted generation. Media thinker, Maggie Jackson points out that, ‘while communication technology has never been more advanced, [Americans’] ability to connect on a meaningful level with one another has never been more provisional or problematic. People long for deep human connection but seem unable to make it happen, no matter how fast they type or how many blogs they read.’ [2008, Jackson, M. Distracted: The erosion of attention and the coming dark age. Prometheus books] Twenty-first century students - millennials - are indicative of this malaise. When I first started teaching, Facebook, Instagram and Twitter inter alia, were not opiates of the learner. Yet one habitually references these mega-brands at the beginning of teaching sessions, acknowledging their transformation of our pedagogics - often negatively. This thesis sets out to argue that what seems like an obvious dilemma for teachers is in fact a [goldmine of potential] waiting to be channeled for the benefit of a dynamic new pedagogy. I shall be positing that the harnessing of historicity - narratives for the practice of reconstructing knowledge with animation - make a powerful new tool for instructing a chronically distracted generation.

Biography: Charles daCosta teaches Animation, Digital Media Theory and History, and Visual Culture at Swinburne University of Technology. His scholarly work concentrates on bridging the gap between theory and practice in animation. Prior to Australia he was a board member of the Animation Hall of Fame and also professor of Animation at the Savannah College of Art and Design in Georgia, USA. Charles has worked in several industrial capacities - such as Animator, Motion Media Designer, New Media Manager and Project Officer for Telematics and Multimedia on the European Commission's MEDIA initiative. He has designed, coordinated and contributed to numerous animation and media education projects in Europe, the USA, Africa and Australia. He's also taught at the universities of Westminster, Kingston and the Creative Arts in the UK and been guest professor of Cultural Studies at the Samford University, Birmingham, Alabama. Once upon a time he sailed to Antarctica in a small boat. #SAS2015 / @sas2015beyond 56 Amy Davis University of Hull [email protected] @dramymdavis

Title: Magic Made Real: Meeting Animated Characters & Visiting Animated Spaces at Walt Disney World

Keywords ; Suspension of Disbelief; Theme Parks; Walt Disney World

Abstract: For many Disney fans, a visit to a Disney theme park is a chance to enter a world of magic and fantasy. Here, they can interact with beloved animated characters (both those who wander about the parks and in more organized character meet and greet sessions) and enter the worlds of favourite animated films by riding the dark rides dedicated to particular movies (for example, Peter Pan’s Flight). Moreover, this is not the sole preserve of children: all ages and genders enter into this fantasy in various ways and to varying degrees. Yet there has been little academic work looking at the Disney parks from a Film Studies perspective. I propose to talk about how Walt Disney World’s Magic Kingdom functions as a living animated space for Disney fans, who willingly suspend disbelief in order to engage with the characters and films they enjoy. This is based on several years of fieldwork I have conducted at WDW, Florida, and which I am approaching as an animation and Disney historian, and will be the first time I have publically presented this work.

Biography: Amy M. Davis is a lecturer in Film and Animation history at the University of Hull, where she has taught since September 2009. The author of Good Girls & Wicked Witches: Women in Disney’s Feature Animation (2006) and Handsome Heroes & Vile Villains: Men in Disney’s Feature Animation (2013), she has also published a number of papers on Disney subjects (as well as on horror and on other areas of animation history/studies). She teaches an entire module on Disney (called Disney Studies) here at Hull for the Film Studies and American Studies subject areas, as well as modules on Hollywood cinema history, the history of Hollywood horror, and History (with a new module, Screening Genders, to start in 2015/16). She is currently editing a book that has grown out of the 2014 Discussing Disney conference she organized at Hull.

#SAS2015 / @sas2015beyond 57 Spike Deane [email protected] @spikedeane

Title: Animation and the object: projecting animation with cast glass

Abstract: With reference to other artists and drawing on her own works in glass, Spike Deane will discuss the ways in which light, shadow, animation and sculpture can be brought together to create artworks that cross and transcend traditional boundaries between different art forms. Conventional arts practices and traditions run the risk of creating and sustaining silos: Glass art is primarily seen by some as a static, 3 dimensional sculptural form in which objects are exhibited (framed) on a pristine newly painted white plinth; animation moves throughout most of art history in 2 dimensions framed by the ratio of film, television or, more recently you-tube, vimeo or daily motion. Paradoxically perhaps glass and animation can break out of their respective frames of reference when artists unify the seemingly disparate disciplines of both by ‘sculpting light’. Spike Deane has worked with cast glass, illumination and stop-motion animation since creating Into the woods (finalist in Australia’s National Graduate Art Prize 2011). This multimedia work and other exhibited pieces have focused on Spike’s interest in the underlying themes found in traditional folk and fairy tales – Lotte Reiniger’s interpretation rather than Walt Disney’s. Her work demonstrates how glass, light and animation can be shaped in ways that go to the heart of transformation, becoming, and what Professor Jack Zipes calls “the hopeful journey”.

Biography: Spike Deane is an emerging artist who uses glass and mixed media to explore transformational elements in folk and fairy-tale narratives. Spike received her Bachelor of Visual Arts (Hons) in Glass from Sydney College of the Arts in 2012 and currently lives in Canberra where she works between a home studio and the Canberra Glassworks. Spike's arts practice also draws on earlier studies in Theatre Costume. Her work has been exhibited around Australia, most recently at Bilk and M16 galleries in Canberra, Melbourne’s Kirra Gallery as part of the Illuminated Light Awards 2014 and the City of Sydney’s festival ‘Art & About’ 2013.

#SAS2015 / @sas2015beyond 58 Eliška Děcká Academy of Performing Arts, Prague [email protected]

Title: Beyond The Frame and History: Some Almost Untold Stories of Women Pioneers in (probably not just) Czechoslovak Animation

Keywords Animation and Live Performance; Animation and Women; Rethinking Animation Histories; What is Animation

Abstract: In this paper, I would like to raise, again, the popular topic of "what is animation and what should be in its history?" This time, I would like to do so through a presentation of four interesting case studies of four Czechoslovak animation women pioneers Milada Maresova, Irena Dodalova, Hermina Tyrlova and Vlasta Pospisilova whose histories almost remained untold or strongly misinterpreted through the mainstream lenses of traditional concept of animation and its history. In this paper, I will focus not only on their particular and quite different contributions to animation (concretely in relation to life performance, theory, audiovisual education and craftsmanship) but also on the general concept of animation as a multidisciplinary ever-evolving area with its borders purposely vague and wide open. With this paper, I would like to argue that animation has never led an isolated life and that it has always been in deep touch with the actual reality and other creative disciplines, even if maybe unnoticed. And, maybe, if we look at the animation history from this perspective again, we can find way more women pioneers in it.

Biography: Eliška Děcká is a 3rd year PhD candidate at Film and TV School of Academy of Performing Arts in Prague. With her academic past including MA at Faculty of Arts (Film Studies Department), and MA at Law Faculty (both Charles University, Prague) she focuses with her research and publications on contemporary independent auteur animation and its close connection to our society and current social issues. Her methodology is often based on oral history and strong interaction with animation practitioners. She has been member of the SAS since 2009 and presented papers at annual conferences in Atlanta, Edinburgh, Athens and Toronto. She teaches at J. A. Komensky University in Prague and collaborates as a dramaturgist with various festivals of animation.

#SAS2015 / @sas2015beyond 59 Dieter Declercq University of Kent [email protected]

Title: The Animated Cartoon as a Theoretical Model for Understanding Satire

Keywords Animated Cartoon; Comedy; Satire

Abstract: The success of American made-for-television animated cartoons like and has closely intertwined the concepts of satire and animated cartoons in public discourse. Although certainly not all contemporary animated cartoons aimed at an adult audience qualify as satire, there is nonetheless an important conceptual link between satire and the animated cartoon that demands further investigation. Satire defies strict definition (Condren 2012), but always contains a subversive critique of society characterized by a certain process of simplification that amplifies the immorality of a particular discourse or practice (Phiddian 2013). Similarly, comics scholar Scott McCloud (1994) has identified cartooning as a process which simplifies representation in order to amplify meaning. Importantly, McCloud’s ideas could bring complexity to certain debates in animation studies, as established theoretical models of animation (Wells 1998; Furniss 2007) have predominantly looked at the avant-garde for the exploration of the medium’s inherent subversive potential. By contrast, this talk will focus on the inherent subversiveness of the animated cartoon by elaborating its conceptual link to satire. The aim of this talk is to establish the animated cartoon as a conceptual model to clarify how all satire works, including contemporary non-animated satire (such as The Daily Show with Jon Stewart or The Colbert Report).

Biography: Dieter Declercq is a second-year PhD student and Graduate Teaching Assistant at The Centre for the Interdisciplinary Study of Film and the Moving Image, University of Kent. His research focuses on satirical comic cartooning as moral criticism and ethical truth-telling. He has published on The Simpsons as ethical truth-telling in the philosophical journal Ethical Perspectives (2013) and on the moral responsibilities of film and television history in the edited collection Cinema, Television and History: New Approaches (CSP, 2014).

#SAS2015 / @sas2015beyond 60 Harvey Deneroff Independent Scholar [email protected] @harveydeneroff

Title: Professor Disney and His Animation Syllabus

Keywords: Pedagogy; University of Southern California; Walt Disney

Abstract: This paper explores how Walt Disney, who started out on the fringes of American animation with a crew of ill-trained artists, came to create the framework for today’s animation education. While much of this story is known, some aspects have either been ignored and/or misinterpreted. My focus will be to expand the conventional narrative of Disney’s career to demonstrate how he was shaped by the movie industry’s drive to professionalise film education in the early sound era. At the time, the Motion Picture Academy’s sponsorship of college-level curricula was epitomised by the 1929 ‘Introduction to the Photoplay’ course offered at the University of Southern California. This eventually led USC to offer America’s first degree program in film headed by comparative literature professor Boris Morkovin. Disney developed a student- mentor relationship with Morkovin, visiting classes and talking to students about his work. The professor went on to work for Disney as a writer (Three Little Pigs allegedly) and gave a ‘famous/infamous’ series of lectures to Disney artists. Although Morkovin’s role is generally dismissed, in my paper I propose that Disney’s experiences with him (and at USC) were incorporated into his well- known in-house training program and helped shape his identity not only as a producer and artist, but also as an educator.

Biography: Harvey Deneroff is an independent scholar currently in transit from Decatur, Georgia, to the Los Angeles area. He has a special interest in labor- management issues, including the history of animation unions and the application of social practice theory to film and television. The first editor of Animation Magazine and Animation World Magazine, he edited and published The Animation Report, an industry newsletter, and his writings have also appeared in Film History, The Hollywood Reporter, Animatoon, Skwigly, Animation Journal, Sight and Sound and several books. He wrote The Art of Anastasia (1997) and helped Fred Ladd write Astro Boy and Anime Come to the Americas (2008). A former professor of animation and cinema studies at SCAD, he is now writing a history of the Screen Cartoonists Guild and co-authoring Heigh Ho: Animation Artists at Work with his wife Victoria. He is also the founder and past president of SAS.

#SAS2015 / @sas2015beyond 61 Sébastien Denis University of Picardy [email protected]

Title: Exporting the Image of France : the ‘Francicity’ of French Animation.

Abstract: The « Francicity » (after Barthes's « Italianicity ») of French animated films poses a question. While Hayao Miyazaki and Isao Takahata claim the heritage of Paul Grimault, and the quality of French animated feature films is internationally recognised (Kirikou, , Ernest et Celestine...), there is a search for the defining features of French animation. In effect, these elements (confident drawing, realistic sound design, amongst others), mean that young animators trained in French animation schools quickly find employment in the best foreign studios – DreamWorks or Pixar are precisely in search of this French touch. Moreover, the ethos of certain schools is to specifically train students to directly represent an image of France which has « auteur » stamped across it. The main focus of this paper will be an aesthetic as well as sociological analysis of this « Francicity », whether it be imagined or real.

Biography: Sébastien Denis is a Professor of History and Aesthetics of Cinema at Université de Picardie – Jules Verne (Amiens). He specialises in French propaganda during the Algerian War, in animated film, transmedia and the relationship between the plastic arts and cinema. He is author of the reader Le cinéma d'animation (Armand Colin, 2007, 2e ed 2011), has published articles on animation in the 1930’s, on Georges Schwizgebel and on Japanese anime, and has co-edited no.22 of the journal Intermédialités/Intermediality («Animer/Animating », 2014) and the book Archives et acteurs des cinémas d'animation en France (Archives and agents of animation cinemas in France) (L'Harmattan, 2014). His next book considers the nonsensical animated series Les Shadoks (1968-1975).

#SAS2015 / @sas2015beyond 62 Elaine Drainville University of Sunderland [email protected]

Title: Cultural Rivers: The use of ‘Static Animation’ and ‘Axiom Documentary’ film making processes to identify issues relating to children who are first generational immigrants in the UK

Abstract: processes; ‘Static Animation’ (Hani 2014) and ‘Axiom Documentary’ (Drainville 2014) to identify particular problems, specifically in regard to children who are first generational immigrants in the UK. It will show the evolution of the Good Hearts Model (2011) in developing its use in a new context. In 2013, 1,048,310 children, whose first language was other than English, attended school in the UK and of those over 34,000 are attending schools in the East Midlands. In ten years this has nearly doubled (NALDIC 2014). There are many reasons as to why this is so and migration is one such reason. People migrate for a variety of reasons; environmental, social, economic, political. Prevailing literature identifies that relatively little attention has been paid to the problems experienced by first generation migrant youth (Moskal 2014). ‘Static Animation’ and ‘Axiom Documentary’ production processes and techniques have been used as a diagnostic tool to ‘pay attention’ to such an area. The paper will discuss these processes, themes of a spiritual, moral, social and cultural (SMSC) nature (first included in the Education Reform Act 1988 then stated in the Education Act 2002). It will highlight the current emotional and physical positioning of the children and allow their journey from past to present to be explored whilst contributing to and supporting the SMSC curriculum.

Biography: Elaine Drainville is a Senior Lecturer in Film Production at the University of Sunderland and board member of HEART (Healing Education Animation Research Therapy). She has worked in the media industry for over 25 years, initially as a member of Amber Films collective, documenting the Miners’ Strike and the Women’s Peace Camp at Greenham Common. Her practice-based research enables marginalised and mis-represented groups to voice their own experiences and culture to a wider audience. In 1999 she began to develop methodologies to empower participants to ‘voice’ when working with women in the Al Aroub refugee camp, Palestine. Here she experienced the potential of film- making and animation as a therapeutic device. With Helen Walker, founder of ‘Bounce Back Be Happy’, she applied the RuMAD2 (Are You Making A Difference Too) model to promote Aspiration, Resilience and Optimism with under- achieving pupils in economically and socially deprived areas of the North East. This drew on positive psychology, NLP and coaching techniques. Now, through HEART, Elaine continues to develop this work via collaborations with the NHS and Barnardos.

#SAS2015 / @sas2015beyond 63 Mark Elliot Australian National University, Cranberra [email protected]

Title: A collaborative engagement with the world through stop-motion animation of flame-worked glass and other embodied crafts

Abstract: I interpret seeing ‘beyond the frame’ as meaning: to bring the world into animation and animation into the world. Of course they have never been separate however the combining of object installations and performance with animation, offers further possibilities for engagement with the world through the direct interaction of the screen-based, the human and the material. An intimate craft-based relationship with glass is the cultural frame from which I venture out to explore a new terrain: animation. In flame-ation, hot glass is manipulated and brought to life in the filmic realm with stop-motion, yet its phenomenological presence is retained: it’s materiality - as an installation of objects and its processual qualities - through the inherently performative event of live glassblowing. A question arises: when does this approach enrich the animation with narrative dimensions additional to the meta-narrative or story line and when does it overcomplicate it or undermine a necessary suspension of disbelief? Story can be seen as both frame and spine of an artwork and ‘improvisation’, as the connective tissue which allows it to evolve and be realized in the world. Improvisation is often not seen within the frame yet it is as critical as the concept and the finished work. The life cycle serves as a metaphor for the values of process, embodied craft, materiality, chance and the role of the observer in addition to the artist in the creation of a work. In addition to my own projects, other artists who bring the materiality and embodied practice of glass art making to animation will be explored including Jaroslav Brychta, Garry Schwartz, Tom Moore. Lienors Torre and Dierdre Feeney. The Maker – a film by Zealous creative will be discussed for its overt craft narrative.

Biography: Mark Eliott is a Sydney based contemporary artist working in glass, stop-motion animation and music. He completed a Master of visual arts and Master of studio arts at Sydney College of the arts, University of Sydney as well as associate diploma in Jazz studies on saxophone at Sydney conservatorium of music. He is commencing a PHD at the Australian National University, Canberra. Mark’s work has a number of themes. One is the glass representation of biological organisms influenced by the 19th -20th century glassblowers Rudolph and Leopold Blaschka. Another is abstraction informed by music, synaesthetic perceptions and the dance between improvisation and structure. A third is narrative based works in which he is inspired by the story telling of his father. One of Marks major projects is his collaboration with Jack McGrath for which they have coined the term Glass Flame-ation - combining stop-motion photography of flame-worked glass and digital compositing. #SAS2015 / @sas2015beyond 64 Erwin Feyersinger University of Innsbruck

Title: Beyond Frames of Meaning: Hybridity and Image Schemas

Abstract: In this paper, I will discuss whether the embodied cognitive theory of image schema is a useful tool for a deeper and more precise understanding of the specificity of animation. I will examine some of the examples mentioned in Holger Lang's and Franziska Bruckner's presentations and show the complex hybridity of abstract thought, visual perception and bodily experience omnipresent in animated images. Image schemas are part of the theory of conceptual metaphors proposed by George Lakoff and Mark Johnson. Currently, this theory is successfully discussed by cognitive film scholars (amongst others Fahlenbrach 2010, Forceville and Jeulink 2011, Coegnarts and Kravanja 2012 and Quendler 2014). The theory claims that meaning-making and reasoning, even of abstract concepts, are deeply rooted in the sensorimotor experience of human bodies. Image schemas are basic spatiotemporal patterns that are mapped onto more abstract domains. Such mappings are not only found in linguistic metaphors, but in various modes of representation. In its core, animation itself consists of basic spatiotemporal patterns: simple shapes in movement. These moving shapes are, however, representational mappings of a certain image schema, not the schema itself. Based on these image schemas, the shapes can furthermore represent highly abstract concepts and therefore transcend its literal frame of reference.

Biography: Erwin Feyersinger is an assistant professor at the University of Innsbruck in the Department of American Studies. His research is concerned with animation studies and transmedial theories, and relies mainly on narratological, poetic, semiotic, and cognitive frameworks. He is member of the editorial board of Animation: An Interdisciplinary Journal. He is coordinator of the interest group AG Animation as part of the Gesellschaft für Medienwissenschaft (GfM). With Maike Sarah Reinerth, he has recently guest edited an issue of Montage AV on animation.

#SAS2015 / @sas2015beyond 65 Christina Formenti Università degli Studi di Milano [email protected] @christinaform

Title: Walking with Corona Cinematografica Through Cells, Stars and Planets: The Scientific Animated Documentary

Keywords Animated Documentary; Corona Cinematografica; Italy; Science

Abstract: Recent scholarship addressing the animated documentary tends to focus on that more contemporary production aimed at visualising states of mind, oral recollections and other un-filmed or unfilmable real-life occurrences, whereas it neglects or intentionally excludes non-fictional animated works dealing with scientific topics, such as for instance the development of life on earth or the way in which the human body functions. Indeed, the latter are customarily thought of rather as edutainment or simply as educational. Yet, at the same time, products such as BBC’s series "Walking with Dinosaurs" (1999) or "Planet Dinosaurs" (2011) are recognised as fully-fledged animated documentaries. Is thus operating a distinction on the strength of the fragment of reality addressed the best possible way of framing such animations? Stemming from this question, the paper intends to propose an alternative criterion of distinction depending on the approach adopted by an animated film in developing and presenting a science-related topic. In order to prove that a scientific animated documentary does exist, it will thus be taken into account the paradigmatic case of those non-fictional animations dealing with topics ranging from the human brain to the solar system that have been produced in the 1960s by the Cartoon Department of the Italian studio Corona Cinematografica, around which gravitated nationally renowned animators such as Gibba and Pino Zac.

Biography: Cristina Formenti is a Ph.D candidate in Film Studies at Università degli Studi di Milano, where she is conducting a research project on the Italian way to animated documentary. She is author of the book "Il mockumentary: la fiction si maschera da documentario" (2014, ) as well as of essays for various national and international journals, such as "Bianco & Nero", "Studies in Documentary Film" and "Alphaville". She has also presented at diverse international conferences, including NECS, SAS and Visible Evidence.

#SAS2015 / @sas2015beyond 66 James Frost Canterbury Christ Church University [email protected]

Title: Jan Svankmajer: Film as Puppet Theatre

Keywords ; Stop-Motion; Surrealism; Svankmajer

Abstract: The Czech Surrealist Jan Svankmajer began his career as a with Laterna Magika in Prague. His use of the puppet as a bridge between live action and stop-motion animation dominate his feature films and shorts. This paper explores his interest in the Czech marionette tradition combined with the myth of the Cabalistic animation of the 'homunculus'; both part of the culture and folklore of Prague. The confusions and interactions between reality, the controlled puppet and the animated object articulate his sense of the surreal and the uncanny. For Svankmajer, animation is not merely a special effect but a tangible metaphor for manipulation - whether magical, physical, psychological, sexual, or political.

Biography: James Frost spent twelve years working as a professional puppeteer at festivals and historic houses. Though no longer performing, he continues to exhibit as an artist. He currently teaches the history and theory of art at Canterbury Christ Church University and is Programme Director for the BA Fine Art. Other research interests include the art and history of tarot cards, and folk traditions such as the Kentish hooden horse.

#SAS2015 / @sas2015beyond 67 Melanie Hani Loughborough University [email protected] @heart_animation

Title: Cultural Rivers: The use of ‘Static Animation’ and ‘Axiom Documentary’ film making processes to identify issues relating to children who are first generational immigrants in the UK

Abstract: This illustrated paper will discuss the effectiveness of a methodology developed from combining two processes; ‘Static Animation’ (Hani 2014) and ‘Axiom Documentary’ (Drainville 2014) to identify particular problems, specifically in regard to children who are first generational immigrants in the UK. It will show the evolution of the Good Hearts Model (2011) in developing its use in a new context. In 2013, 1,048,310 children, whose first language was other than English, attended school in the UK and of those over 34,000 are attending schools in the East Midlands. In ten years this has nearly doubled (NALDIC 2014). There are many reasons as to why this is so and migration is one such reason. People migrate for a variety of reasons; environmental, social, economic, political. Prevailing literature identifies that relatively little attention has been paid to the problems experienced by first generation migrant youth (Moskal 2014). ‘Static Animation’ and ‘Axiom Documentary’ production processes and techniques have been used as a diagnostic tool to ‘pay attention’ to such an area. The paper will discuss these processes, themes of a spiritual, moral, social and cultural (SMSC) nature (first included in the Education Reform Act 1988 then stated in the Education Act 2002). It will highlight the current emotional and physical positioning of the children and allow their journey from past to present to be explored whilst contributing to and supporting the SMSC curriculum.

Biography: Melanie Hani is a researcher at The Animation Academy, Loughborough University and founder member of HEART (Healing Education Animation Research Therapy). Her research examines the effectiveness of the Animation process as a therapeutic, diagnostic, remedial and educational device for service users from statutory (health, education, social care, probationary services) and voluntary sector organisations. Melanie's animation work has received recognition by the Queen for its contribution to public life; similarly her inclusive strategies for children excluded from mainstream education and her work with the severely bereaved have been commended by Baroness Morris of Yardley and the Duke of Gloucester, winning an NHS Innovation Award and a Community Fellowship. Recently, Melanie in collaboration with partners such as Barnardos, the NHS, and Circles (COSA) has worked with high-risk sex offenders, children of offenders and children whose parents are transgender.

#SAS2015 / @sas2015beyond 68 Bryan Hawkins Canterbury Christ Church University [email protected]

Title: Seeing in Dreams – Landscapes of Drawn Animation

Keywords: Landscape

Abstract: The visionary artist and poet William Blake’s recognition of the significance of ‘outline’ (he always drew with an emphasis on and commitment to outline as a clarity of imagining and vision and rejected drawing directly from nature) suggests drawings’ importance as a technology of the imagination. The distinction Blake makes between the products of the imagination and ‘nature’ marks drawing as an intellectual and cultural achievement as it marks our separation, as humans, from the simplicity and otherness of nature. Drawn animation will be considered to extend, challenge and contest this relationship through a consideration of a long history of the drawn image and its significance to animation. Drawing is a pervasive and persistent technology that has always been animated. This animation occurs through the action of individual and social imaginations and through the technologies of production and reception. Drawing in its manifestation as drawn animation has been of enormous significance to the Twentieth Century and its significance as a technology and dream that sees and shapes our understandings of the landscapes we inhabit whether internal or external virtual or real remains with us into an uncertain and accelerated Twenty First Century.

Biography: Bryan Hawkins is a Senior Lecturer in the School of Media Art and Design at Canterbury Christ Church University. He is active as an artist, curator and academic interested in Visual Culture and in particular landscape, neo- , film, animation and art as natural philosophy. Recent exhibited work has included the Ghost Ships project - including work exhibited in the Turner Contemporary Open - Margate 2009 and at The Sidney Cooper Gallery Canterbury in 2010 and 2012. Recent curatorial projects include the exhibition Earth and Vision – Art, Archaeology and Landscape at the Sassoon Gallery Folkestone 2012 an exhibition focused on the significant Wear Bay Dig of 2010- 11 funded by the Heritage Lottery Fund . Recent conference papers include Going and Never Gone Faery, and Film- Conference, Glasgow in 2014 and David Jones - Myth, Palimpsest and War - Regents College Oxford September 2014. His most recent publication is Seeing in Dreams - Landscapes of Drawn Animation in Pallant. C (Ed) 2015 Animated Landscapes – History Form and Function Bloomsbury New York, London.

#SAS2015 / @sas2015beyond 69 Birgitta Hosea Central Saint Martins, University of the Arts London [email protected] @birgittahosea

Title: Involuntary Animation

Keywords Body; Involuntary; Performance; Trace

Abstract: As part of her long-standing interest in animation as the trace of an animator’s bodily presence, Birgitta Hosea will present her research into involuntary physical activity and mark-making. She will examine the phenomena of Victorian hysterics and spiritualists, in which the body is animated by unconscious forces, as well as projects by Surrealist and Fluxus artists, in which unconscious movement results in mark making. She will then show some of her recent time-based media projects in site-specific installation and live art that encompass elements of involuntary animation and seek to explore the concept of the animator as a performer.

Biography: Dr Birgitta Hosea is an artist, animator and curator who works in the field of expanded animation. She has exhibited widely in the UK and internationally, has been the recipient of numerous awards and artists residencies and her work is included in the Tate Britain archive. Most recently she was artist-in-residence at Yarat Contemporary Art Space, Azerbaijan and the School of Cinematic Arts, USC, Los Angeles. She curated Shadow Voices for Yarat (Baku, Azerbaijan), Seeafar for Folkestone Triennial Fringe and Deptford X (UK), and was part of the curatorial team for the UK Pavilion at the Shenzhen Architecture and Urbanism Biennale (China). Birgitta gained her PhD in Animation as Performance from Central Saint Martins (University of the Arts London), where she is Course Director of MA Character Animation and PhD supervisor. Her research interests include performance drawing; digital materiality and animation as a post-medium practice, which are all covered in her blog at http://expandedanimation.myblog.arts.ac.uk.

#SAS2015 / @sas2015beyond 70 Simon Gape University of Lincoln [email protected]

Title: The Decline of Influence of the Foundation Course on BA Animation Programmes

Keywords Animation BA(hons); Animation Pedagogy; Foundation; UCAS

Abstract: This paper attempts to discuss the effect and impact of fewer foundation-qualified students within Animation BA courses in the UK. The Art and Design Foundation Programme, inspired by the Bauhaus, was introduced in the 1950s to bridge the gap between traditional academic learning at school and a creative education in Art and Design. It taught the core skills for art and design practice, with an emphasis on creative and critical self-expression. By the 1990s foundation programmes were rightly established as the dominant form of entry into art and design degree courses in the UK. In the 1990s, in an attempt to bring more education opportunities to a larger part of the population government policy encouraged the growth of New Universities. This in turn led to the creation of the point-based UCAS administering system for entry into degree courses. Prospective Art and Design students could now enter directly with A-Levels, by-passing foundation. The values of creativity and individuality encouraged through the foundation programme were de-valued by this new reductionist system of point-based assessment. The majority of Art and Design students now choose A-levels as an entry point into degrees as opposed to foundation. Through interviewing animation academics, students and professionals, accessing online and printed literature on the history of UK arts education, this paper will examine the effect and impact of fewer foundation-qualified students within Animation BA courses.

Biography: Simon Gape works in the at the University of Lincoln, UK

#SAS2015 / @sas2015beyond 71 Lina Ghaibeh American University of Beirut [email protected]

Title: Stop Motion Animation as Heritage Preservation: Navigating Space, Memory and the Civil War Through Stop-motion Animation in Abandoned Buildings of Beirut

Keywords Animation in Middle East; History; Heritage Conservation; Memory

Abstract: Scattered across Beirut are a number of derelict landmark buildings left abandoned, in various states of dilapidation. Imbedded deep into the collective memory of the city, they stand witness to Beirut’s hey day, civil war and a past long gone. Debates of whether to preserve, restore, repurpose or demolish the buildings continue to surface with various stakeholders at play. As policy regarding urban heritage conservation is limited and governmental enforcement lacking due to corruption among other factors, various public initiatives play a role in exploring memory and promoting the preservation of cultural heritage through drawing attention to or raising awareness of the issues. One such intervention comes in the form of stop motion animation conducted entirely in and used to explore abandoned buildings that formed part of the collective memory of the city. The medium of animation offers three key aspects that enable it to be a substantial tool in navigating these abandoned buildings; the physical use of space in the stop-motion process, the narrative aspect of animation and its ability to give life to inanimate objects, among other properties. The combined aspects of the medium enable the use of this particular form of animation to act as a tool for exploring space, memory and history, as well as promoting a form of awareness regarding heritage conservation and advocating for possible engagement.

Biography: Lina Ghaibeh is a half Syrian half Danish animation and comics artist living in Lebanon. She is a full time associate professor teaching animation, motion graphics, interactive media design and comics at the American University of Beirut, Graphic Design program, department of Architecture and Design. She was recently appointed as director of the Arabic Comics Initiative at AUB. Her areas of specialization are Animation, Comics and illustration and her research includes the study and analysis of Comics in the Arab world, investigating the manifestations of the Comics as part of contemporary and popular Arab cultural production, in addition to the study of animation in Lebanon and the region. Her animation shorts and comics work act as a space to explore issues of identity, belonging and human rights, with the City of Beirut and the urban space is a site of inspiration and exploration. #SAS2015 / @sas2015beyond 72 Mohamed Ghazala Effat University [email protected]

Title: Animation Workshops vs Academic courses

Keywords Academia; Africa; Animation Workshops; Low Budget Film

Abstract: Animation is one of the modern art that has evolved during the brief period in the history of human art in a period not exceeding twenty percent year- old, since 1892. Since that time, it served this art minds of a lot of artists and researchers for innovation and entertainment arts, as well as investors in the industries of advertising, it is now becoming profitable industry in the millions, but it is also costing millions produced. That provide the necessary cadres for the industry or for that art, requires a lot of experience and training, research and practice and the continued development of the artists and the participants in the production process for animated films. Factors not readily available or simply all those who did not engage in careful study whether academic or research institutes and academies arts cinema and visual arts, or through practical training in studios or companies to produce animated films or advertising and cinematic effects. But the important question: Are secrets techniques were industry to those who Draw some out their experience of the masters of the art, professional or skilled in the giant studios in Hollywood? Or is it easy and available for both felt the same creative fiction, and an ambitious vision for the production of a new means of expression through experimentation in animation techniques, even without any prior experience? This research paper exposed to answer this question in the light of contemporary experiences.

Biography: Mohamed Ghazala is the Vice President of ASIFA (the International Animated Film Association), the founder and the director of the first chapter of "ASIFA" in Africa and in the Arab world based in Egypt since 2008, the member of the board of ASIFA, besides being assistant professor at animation department -Minia University/ Egypt, and chair of Visual & Digital Production Dept, Effat University/ Saudi Arabia. He served on a number of international Animation festival juries including: (Germany), Castelli Animati(Italy), Animanima(Serbia), AnimaAfrik(Ghana), ReAnimania(Armenia), Animae Caribe(Trinidad & Tobago), AnimaBasauri(Spain), CICDAF (China) Chilemonos (Chile). has been working also as a visiting lecturer at several fine arts & film institutes such as: Jilin animation institute (China), Cologne's Academy of Media Arts (KHM- Germany), NAFTI (Ghana), Durban Art & Animation center (South Africa), Antioquia University (Colombia). #SAS2015 / @sas2015beyond 73 Ian Grant University of West London [email protected] @ianjgrant

Title: Collaborative Acts of Live Animation and the 'Dance of Agency'

Keywords Digital and Expanded Puppetry; Performance Animation; Technology

Abstract: My paper wishes to explore the connections between , live animation and performance. I will focus on an evaluation of how live computer puppetry facilitates the participatory co-creation of expressive movement. My recent doctoral work focuses on the dynamics of digital shadow theatre, digitising Karagöz / Karagiozis, Galanty and creating improvised experimental digital hybrids. I've created a software toolkit in a game engine for networkable real-time animation called the 'ShadowEngine' and have conducted workshops with a variety of audiences: including children, and university drama students. The workshops explore different facets of design, performance, object and interaction to build collaborative acts of live animation. I offer insights drawn from the workshops and score the relationship between games, digital character design and rigging and puppetry - especially the mode of multi-performer puppetry (often called Bunraku-style or direct manipulation) where multiple puppeteers perform parts of a character's movement and collaborate to construct a whole kinetic expressive image. I discuss to what extent can improvisation or the dance of (non-human) object agency (Pickering (2010), Ingold (2013)) expand our sense of live digital animation practice? I relate the insights to recent analyses of as puppetry following Lowood (2011), Nitsche (2011) and Ng (2013), Kirschner (2014) - but from my perspective as a puppeteer and creative coder.

Biography: Ian is an academic, artist, digital creative and musician who led art and design at UWL, London, for the past five years where he is a Senior Lecturer in Digital Arts and Media. Ian trained in performance and specialised as a puppet performer and designer. His experience in interaction design, programming and creative computing has led to a fusion of digital and analogue puppetry, storytelling and live animation projects since 1998. He created real-time image processing and stereoscopic software and iOS apps; designs of interactive installations, exhibitions, user-experience, brands and a developer for web, mobile and desktop games; presents regularly at conferences about his work in digital arts and humanities, pedagogy, digital puppetry, multimedia performance and media (an)archaeology; and his doctoral research at the University of Sussex involves digital puppetry, archival digital restoration, performance and creative coding. #SAS2015 / @sas2015beyond 74 Rex Grignon Founder/CCO Nimble Collective/DreamWorks

Title: Within, between, or beyond the frame: a discussion on student research and professional transformation in undergraduate animation programs

Abstract: A panel discussion on animation group productions, as research and inquiry based transformational undergraduate experiences (Mezirow) that prepare students for a professional carer – a key objective shared by animation programs at both Sheridan College (Canada) and at Arts University Bournemouth (UK). Typically students are involved in an exciting convergence of integrated scholarly activities (Boyer, 1990), engaged as researchers, practitioners, and as partners in the production of creative and intellectual artistic work, the animated short film. Working in a field as dynamic as animation requires the combination of knowledge and skills related to the field and informed by technology. In addition, industry expectations suggests that in order to have a long term successful animation career, these should be underpinned by essential interpersonal and collaborative skills. These skills are difficult to master and even harder to teach. Group productions are epistemic communities where this learning can take place. They inspire collective creativity and the development of emotional intelligence, communication and negotiating skills and the effective management of team dynamics. They elevate the learning from aptitude development to professional growth and provide vigorous pedagogical arenas where students participate in real world practices. The discussion will focus on group film productions as learning communities and transformative spaces (physical and curricular) but also as effective spaces for collaborations between disciplines. Additionally, how industry partners can be leveraged to enhance production/research experience, and scholarly ways on developing the curriculum and enhancing student learning within group film productions.

Biography: Rex is head of character animation at DreamWorks, Rex Grignon worked his way up from an animator on TOY STORY to Head of Character Animation on ANTZ, TOY STORY, SHREK, KUNG FU PANDA and the MADAGASCAR movies. He helped to redesign Dreamworks CG software, led their Character Animation Group, pre-production design, testing, planning, and creative oversight of all production work, and supervising as many as 80 animators across three studio locations. He is heading up an online venture designed to support institutions with the delivery of practice based animation curriculum.

#SAS2015 / @sas2015beyond 75 Helen Haswell Queen’s University Belfast [email protected] @hshaswell

Title: The Pixar Story: Constructed Narratives of the Animation Studio

Abstract: The constructed narrative of Pixar Animation Studios is predicated on groundbreaking research and the development of computer-generated animation technology. Since the release of Toy Story in 1995, the studio has sustained prominent commercial success and critical acclaim. In 2006, purchased Pixar for $7.4 billion, a deal that has proven invaluable to the success of Disney’s animated feature films. Prior to the acquisition market research suggested that mothers with children under the age of twelve generally rated Pixar’s brand higher than Disney’s (Price 252). The recent success of Tangled, Wreck-it-Ralph and Frozen demonstrates a renewed trust in the Disney brand, the success of which has been partly attributed to the purchasing of Pixar (Graser, 2014). However, since entering this Post-Disney period the common narrative of Pixar as infallible has been disputed. Following the phenomenal success of , the studio has been unable to replicate the flawless ‘Pixar formula’. Furthermore, the delayed release of Inside Out and The Good Dinosaur, and the announcement of further to the Cars franchise, the Toy Story series, The Incredibles and , suggests that the studio’s acquisition by Disney has initially had a negative impact on Pixar. This paper aims to look beyond the frame of Pixar Animation Studios, and the effect of the Disney-Pixar merge on the narrative and brand identity of Pixar from an industrial context.

Biography: Helen Haswell is a PhD Candidate in Film Studies at Queen's University Belfast. Her research focuses on the brand identity of Pixar Animation Studios following the studio's acquisition by the Walt Disney Company. Her research interests include the development of CG animation technology, film marketing and distribution.

#SAS2015 / @sas2015beyond 76 Max Hattler School of Creative Media, City University of Hong Kong [email protected] @maxhattler

Title: Reflection Between Abstraction and Figuration: Towards an Abstracted Heterotopia

Keywords: Abstract Animation; Heterotopia; Michael Foucault; Max Hattler

Abstract: In its purest non-objective sense abstract art suppresses the representation of recognizable reality or interpretable meaning, removing the viewer from all everyday associations. Abstract animation can exploit ambivalence and ambiguity in the construction of more open-ended narratives that engage the viewer in a different way. This freedom opens up a privileged reflective position from which to encounter extraordinary perceptions and comment back on reality. Abstract shapes can also be imbued with meaning through movement, repetition and juxtaposition, or through their combination with sound or figurative elements. These aspects can work together to create alternative spaces, yet provide embedded pointers in the reading of the work. In an oversaturated media environment, representing things more abstractly may be more engaging by offering up an alternative view. Michel Foucault’s (1984) concept of heterotopia can be useful here. Foucault sees heterotopias as ‘something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted. In the examination of moving image work which negotiates an abstract mode and figurative representation, we propose the term abstracted heterotopia, ‘spaces of alternate ordering, which open up this kind of counter-hegemonic engagement, uncoupling viewers to think differently about the social world around them.

Biography: Max Hattler is a Visiting Assistant Professor at the School of Creative Media, City University of Hong Kong. He holds an MA in Animation from the Royal College of Art, and a Doctorate in Fine Art from the University of East London. His abstract animation films, video installations and audiovisual performances have been presented in countless festivals, museums and galleries around the world, including Animafest Zagreb, Tate Britain, and Museo de Bellas Artes Caracas. Jamie Wardman is a Research Fellow at the Journalism and Media Studies Centre at The University of Hong Kong. Prior to joining The University of Hong Kong he was a Lecturer in Psychology at the University of Lincoln and a member of the Lincoln Social Computing Research Centre (LiSC), a leading technology institute on social media research in the UK. He serves as the Managing Editor of the Journal of Risk Research. #SAS2015 / @sas2015beyond 77 Richard Haynes Arts University Bournemouth [email protected]

Title: "When Cosgrove Hall met Toad Hall"

Keywords: Adaptation; Britishness; History; Nostalgia

Abstract: Nostalgia can mean many things to different people in the contemporary world. For some, its very definition harks back to that of the Greeks, meaning the pain of returning home, while for others it is a sentimental look back at times gone by, of an innocent childhood encapsulated by happy memories. Nostalgia is a curious term, and as a British animator and animation lecturer I am keen to unpick how its central themes are represented within animation by looking at a case study. It can be argued that the 1980s stop motion television series 'The Wind in the Willows, produced by Cosgrove Hall', is the most faithful of the famous story’s adaptations; an idyllic landscape, inhabited by endearing characters, depicted in such high level of detail. But is it a true representation of nostalgia? Personally, I feel nostalgic when I enter its world - but what is it about this world that affects me? This paper, complete with visuals collected through crew interviews, will critically explore why this animated series could potentially be one of the most important ever made in Britain. In an effort to theoretically secure its place in animation history, I will compare it to other adaptations of the story, exploring themes of British identity and class representation. It will seek to contextually define the term nostalgia, explore how particular episodes succeed in recapturing an era, and endeavor to explain why, in turn, Cosgrove Hall helped paint a golden childhood for me.

Biography: I graduated in 2003 with a First Class BA (Hons) degree in Film and Animation Production at The Arts Institute at Bournemouth, where I produced my 2D graduation film, 'The Typewriter'. I then worked as a Stop Motion Animator at Cosgrove Hall for over 5 years, on TV series like 'Little Robots' 'Fifi and the Flowertots', '', 'Rupert Bear' and 'Postman Pat'. I spent the last 6 months as a Core Creative Team Member, creating ideas for new shows. This was followed by 6 months as an animator on further series of 'Fifi' and 'Roary' at Chapman Entertainment, before joining Aardman in 2009 on 'Shaun the Sheep'. This then led to my first feature film, 'The Pirates', a short film, further episodes of 'Shaun', and other projects, including a stint at Mackinnon & Saunders. I then joined The Arts University Bournemouth as a Senior Lecturer (on the same course in which I graduated) in 2012, where I am both teaching and working as a researcher and practitioner within my field

#SAS2015 / @sas2015beyond 78 Eric Herhuth University of Wisconsin-Milwaukee [email protected] @eherhuth

Title: Animating Factishes: Animated Media in the Work of Bruno Latour

Keywords Artifice; Modernity; Philosophy; Technology

Abstract: The desire to escape artificiality and subjectivity and to reestablish contact with nature and history through scientific knowledge is a rather illusory modern predicament. This problem has been described by philosopher and sociologist Bruno Latour in terms of separating facts from artifacts, or the modern inability to adequately understand ‘factishes’ literally the existence of objects that are independent, autonomous facts and are simultaneously constructed through human means and imagination (On the Modern Cult of the Factish Gods). When describing these factishes and how they operate in everyday life, Latour, rather serendipitously, appeals to examples of animated media, which include puppetry and the now obsolete overhead projector. While Latour certainly does not have animation studies in mind, his examples are indicative of how we can think with and through animation to understand modern miscategorizations of artifice. For instance, Latour’s examples can be productively compared to the animated cartoons that Scott Bukatman calls ‘disobedient machines’ (The Poetics of Slumberland). In the of the conference theme, this paper will examine animation outside of its usual context and frame of reference. It will examine how animation functions within a philosophical argument about technology, modernity, and reality, and, in turn, it will consider how Latour’s concepts can function within animation studies.

Biography: Eric Herhuth is a PhD candidate in English and Distinguished Dissertation Fellow at the University of Wisconsin-Milwaukee. His research areas include animation and film studies, media theory, and globalization. He has published articles in the Quarterly Review of Film and Video and Cinema Journal, and is currently finishing his dissertation titled ‘Pixar’s Modernization Project: Animation, Aesthetics, and Politics.

#SAS2015 / @sas2015beyond 79 María Lorenzo Hernández Universitat Politècnica de València [email protected]

Title: Animated Dreamscapes. The Adaptation of Robert H. Barlow’s The Night Ocean

Keywords Auteurial Production; Horror Literature; Making Of; Sea Landscapes

Abstract: "The Night Ocean" is an original story by Robert H. Barlow, written in 1936, under the supervision of his friend H. P. Lovecraft. The tale reveals one of the most ancient concerns of humankind: the fear of our extinction. The story centers on a painter who spends his holidays in a cabin by the sea. After a few idyllic days, the melancholy of the changing landscape invites him to discern strange events culminating in an encounter with the impossible. The animated adaptation, directed by María Lorenzo Hernández, borrows from a subgenre of documentary film, the animated travelogue, exploring the possibilities of a story told in first person, as well as the variety of techniques that artists often use in their sketchbooks. Moreover, this animated short film tries to comply with the visual syntax of great masters of design at the beginning of the 20th century, without neglecting some nods to the documentary films of their time, like Jean Vigo’s À propos de Nice. This paper will focus on the conceptual and technical development of the film, presenting its main features and findings, where artistic languages and handmade animation acquire unusual relevance within a production panorama ruled by the use of technology. Currently in post-production, the film has earned public financing for completion, and its production drawings will be subject to a major exhibition early in 2015.

Biography: María Lorenzo Hernández (1977), PhD in Fine Arts, is a Senior Lecturer in Animation at the Faculty of Fine Arts, Universitat Politècnica de València, Spain. Her main areas of interest are related to animation as an artistic language and to the interchange between film, animation and literature. An award-winning filmmaker, she has directed such short animation films as Portrait of D. (2004), The Carnivorous Flower (2009), The Cat Dances with its Shadow (2012), and The Night Ocean (2015). She has delivered papers at several of the Society for Animation Studies annual conferences, as well as at CONFIA - Int. Conference in Illustration & Animation (Portugal). She has published numerous essays on animation in Animac Magazine, Animation Studies, and Animation: An Interdisciplinary Journal, and contributed regularly to Animation Reporter (India). Since 2011, she has been Editor of the annual journal Con A de animación, promoting animation studies among Spanish and South American scholars. #SAS2015 / @sas2015beyond 80 Beatriz Herráiz Universidad Politécnica de Valencia [email protected]

Title: Animated Infographics in Documentaries’ Sequences

Keywords Animation; Film; Infographics; Motion Graphics

Abstract: Information graphics or infographics are graphic visual representations of information, data or knowledge. Intended to present complex information quickly and clearly. This technique allows displaying data of varying complexity and source, arranged in simple structures that facilitate the assimilation of information using image and text. Understanding this structures requires a response from the viewer who will make associations between different parts to decrypt this messages. The infographics has been widely developed in printed media for newspapers, but also in scientific texts, manuals and signage. In the audiovisual field, animated infographic is a resource that has been used since the origins of cinema and television. Their use is associated with data, graphs, maps or diagrams, but most of the time this information is a supplement to live action images. As we mentioned, the infographic graph has a great ability to convey complex ideas through synthesis, drawing and text, but in the audiovisual case we must add two variables that undoubtedly contribute to build information-based messages. On the one hand the sound adds the information necessary to complete the message and moreover the animation will help to better recreation of the events, while helping to structure the information. All these elements: image, text, synthesis, sound and animation help to build discourses based on information providing flexible and affordable readings.

Biography: Beatriz Herráiz Zornoza, PhD "Cum Laude " from the Faculty of Fine Arts Valencia. She has made the MAISCA Master of art in image syntesis and . Assistant Professor Doctor Degree in Audiovisual Communication and Postgraduate studies at UPV (Universtitat Politècnica de València). She has worked as a graphic designer for the Valencian Canal9 television and television Polytechnic University of Valencia , UPVRTV, developing animation projects for brand identity and informational programs. Her research focuses on motion graphics and animation, from his doctoral thesis, has published Typography for Congress 2012 and 2008 Escola Muu. She has been the coordinator of an international cooperation project entitled Historias para compartir, to which has been formed in animation to students in the third year of the Conservatory Balla Fasséké Kouyate of Bamako, the result of which has been embodied in a book bearing the same title. #SAS2015 / @sas2015beyond 81 Paul Hilton Arts University Bournemouth [email protected]

Title: Within, between, or beyond the frame: a discussion on student research and professional transformation in undergraduate animation programs

Abstract: A panel discussion on animation group productions, as research and inquiry based transformational undergraduate experiences (Mezirow) that prepare students for a professional carer – a key objective shared by animation programs at both Sheridan College (Canada) and at Arts University Bournemouth (UK). Typically students are involved in an exciting convergence of integrated scholarly activities (Boyer, 1990), engaged as researchers, practitioners, and as partners in the production of creative and intellectual artistic work, the animated short film. Working in a field as dynamic as animation requires the combination of knowledge and skills related to the field and informed by technology. In addition, industry expectations suggests that in order to have a long term successful animation career, these should be underpinned by essential interpersonal and collaborative skills. These skills are difficult to master and even harder to teach. Group productions are epistemic communities where this learning can take place. They inspire collective creativity and the development of emotional intelligence, communication and negotiating skills and the effective management of team dynamics. They elevate the learning from aptitude development to professional growth and provide vigorous pedagogical arenas where students participate in real world practices. The discussion will focus on group film productions as learning communities and transformative spaces (physical and curricular) but also as effective spaces for collaborations between disciplines. Additionally, how industry partners can be leveraged to enhance production/research experience, and scholarly ways on developing the curriculum and enhancing student learning within group film productions.

Biography: Paul is a Senior Lecturer on the BA (Hons) Animation Production degree at the Arts University Bournemouth (AUB). Paul’s specialist areas are in hand drawn and computer animation but he also teaches in other areas on the production degree. As a practitioner, Paul has worked on a variety of broadcast projects both as an animator at Lightimage Animation and now as Director of his own studio Moving Dimensions Ltd. Paul would consider himself to be a generalist with skills in both technical processes and as an animation artist. Paul’s research interest are presently two fold, firstly that of producing a case study of international work placements and secondly in drawing together pedagogic approaches to animation education and Kung Fu martial arts training. References www.movingdimensions.co.uk.

#SAS2015 / @sas2015beyond 82 Gray Hodgkinson Massey University [email protected]

Title: Bro’ town – A Representation of New Zealand Indigenous Cultures

Abstract: This paper will discuss the representation of New Zealand’s indigenous cultures through the cartoon animation TV series Bro’ Town, which ran from 2004 to 2009. Written and created by the comedy theatre troupe The Naked Samoans, the series embraces colourful aspects of Maori and Polynesian culture. The show satirises attitudes, behaviours, social issues and topical events. Religion plays a integral part, although the conversations between God and Jesus are not always all that serious. Reaction to the show has been widely positive, resulting in sales to Australia, Canada, and the Pacific Islands, as well as merchandising spin offs. Some negative critical reaction focused on the trivialising and commodifying of Polynesian culture. It is interested that Bro’Town cracks jokes about its own culture, in the same way that the NZ Maori comedian Billy T James cracked jokes about Maori. No one else dared do this, but he could, because he was Maori. By comparison, the Bro’ Town animation is not Polynesian nor Maori, but simply drawn to look that way, and is voiced that way. Even though we do not see real actors, the drawings, context and voicing of this artificial medium are enough to give it authority, and safety. This means then, that animation can achieve a cultural position in the same way that a culturally specific actor can. This potentially sensitive notion of created cultural identity will be further discussed in Gray’s presentation.

Biography: Gray Hodgkinson is a digital media designer and researcher, with a specific interest in visual research methods and computer animation. Has been a leader of the computer animation programme for 14 years at Massey University, Wellington, New Zealand. Gray has been developing animation education for 17 years, and has been instrumental in creating links between tertiary institutes and industry in New Zealand and internationally. Gray has also given presentations on animation research and pedagogy at Melbourne, , Germany, Taiwan and Australia. New technology around motion capture, game engine animation and virtual reality has created new areas to investigate, and demonstrates how animation is an embedded part of creative digital exploration.

#SAS2015 / @sas2015beyond 83 Christopher Holliday King’s College London [email protected]

Title: In the Pursuit of Liberation: Animation Theory as Fantasy Framework

Abstract: The possibilities of animation are often entwined with discourses of fantasy, whether this is animation’s creative language enabling “the production of some memorable fantasy films” (Furby and Hines, 2012), or the fantasy of the medium and its “fictional worlds that we like to believe in, all the while knowing them to be fantastic” (Crafton, 2013). This paper interrogates this overlap between animation and fantasy through the lens of Sergei Eisenstein’s ‘plasmaticness’, and its application as a productive framework for understanding fantasy cinema. While the fantasy film is typically repiete with unbounded bodies that uphold Eisenstein’s writings on plasmatic transformation, a myriad of other plasmatic pleasures are to be found within fantasy’s generic tradition(s). Just as fantasy cinema is often predicated upon the disruption of a “contemporary mise- en-scéne to uncover a fantasy realm” (Fowkes, 2010), the utopian promise of plasmaticness similarly embodied a polymorphic liberation resisting social constraints and mechanized labour of the modern era. Whereas plasmaticness connoted, for Eisenstein, a “fleeting ephemerality” of elasticity, so too fantasy cinema has been evaluated as both an “ontological rupture” (Fowkes, 2010) and a volatile ephemeral “impulse” (Walters, 2011) momentarily breaking with the defined rudiments of diegetic order and its boundaries of possibility. By unpacking this looped exchange between plasmaticness and fantasy, and by identifying the ‘plasmatic energies’ found within celebrated fantasy films – from Mary Poppins (1964) to the Harry Potter franchise (2001-2011) – this paper explores the pleasures of fantasy cinema through the nuances of, and possibilities made available by, animation theory.

Biography: Christopher Holliday currently teaches film studies at King’s College London and London South Bank University, and has previously been visiting lecturer in animation at the University of Kent. He has published several book chapters and journal articles on computer-animated films and, most recently, written on the performance of British actors in contemporary US television drama for the Journal of British Cinema and Television. His research interests include popular Hollywood cinema, histories of British film and television, as well as nuances of film style, fictional world creation and acting within the context of digital media and traditional animated forms.

#SAS2015 / @sas2015beyond 84 Bella Honess Roe University of Surrey [email protected]

Title: Eyes on Aardman

Keywords Aardman; British Animation; Production Process; Stop Motion

Abstract: From the humble beginnings of two teenage boys’ kitchen table experiments with stop-motion filmmaking 1970s, Aardman Animation has grown to a multiple-Oscar winning studio best known for Creature Comforts and Wallace and Gromit. They produce films, television programmes, shorts, commercials and video games for a UK and international audience, children and adult. In 2015 they will release their sixth feature film, Shaun the Sheep. Aardman’s work retains a unique sensibility that presents their eccentric geographically-specific humour via an inventive, painstaking, handmade animation aesthetic. Despite being perhaps one of the greatest success stories of the British animation (and film and television) industry, very little research has been conducted or disseminated on Aardman’s work. Published material is limited to a few how-to manuals, interviews in specialist and general publications and a very small number of scholarly articles. A research project is currently being carried out that seeks to address this gap. The project will culminate in a book that brings together scholars and practitioners to analyse and observe the work of Aardman. In my paper at SAS I will identify some of the key questions the research project proposes to address and present some of the findings of the primary research I am conducting on Aardman, with a focus on specific practices such as feature film production management.

Biography: Bella Honess Roe is film scholar and lecturer who specialises in documentary and animation. In 2013 her book Animated Documentary, the first book-length study of the animated documentary, was published by Palgrave Macmillan. She has published articles and chapters on topics in animation, documentary and film studies more broadly in publications including the Journal of British Film and Television and Animation: An Interdisciplinary Journal. Her 2011 article Absence, Excess and Epistemological Expansion: Towards a Framework for the Study of Animated Documentary was runner-up for the best essay award from the British Association of Film, Television and Screen Studies (BAFTSS). She is currently editing a book on Aardman Animation and co-editing a book, with Maria Pramaggiore, on the voice in documentary. She is also developing a large research project on the visual culture of the invisible. She is programme director for Film Studies at the University of Surrey. #SAS2015 / @sas2015beyond 85 Fatemeh Hosseini-Shakib Tehran Art University [email protected]

Title: Human is not Made of Iron, My brother; Anti-Modern, Anti-American and Leftist Themes and Political Comment in Pre-revolution Golden-Age of Iranian Animation

Keywords Iranian Animation; Anti-Modernism; Iranian Revolution

Abstract: Pre-revolution Iranian animation (beginning in 1958) which flourished within two decades to create the so-called Golden Age, started mainly in Kanoon (The Centre), a state-funded organisation named The Institute for the Intellectual Development of Children and Young Adults. While Kanoon as a cultural institute had a clear mission to make cultural products and activities for children and young adults, its film section became a centre for intellectual and experimental practices of cinema, and its animations could hardly be considered exclusively for children. Thus, despite being founded on a National Film Board of Canada model for artistic experiment and expression along the late Shah’s modernisation and Westernisation project, Kanoon became a political hub for leftist intellectualism and political criticism. A recurring theme of many of the films of this period maybe considered either with anti-modernist tones or overtly anti-American. This paper is going to explore the animated films made in this era to demonstrate how they could be read as the symptomatic texts of the socio-political zeitgeist of the time, leading to the Islamic revolution of 1979.

Biography: Fatemeh Hosseini-Shakib is an animation and media researcher born in Tehran, Iran 1971. Having completed her PhD in animation studies in the UK (UCA, Farnham) in 2009, Fatemeh is currently lecturing animation theory/aesthetics at the Animation Department, Faculty of Cinema and Theatre of Tehran Art University, Iran. Prior to her move back to Tehran, she has been lecturing animation theory to undergraduates in UCA (University for the Creative Arts at Farnham) since 2006.

#SAS2015 / @sas2015beyond 86 Jifeng Huang RMIT University [email protected]

Title: On Using Ready-made and Found Works in Animation: From the Perspective of Installation Art

Keywords: Found Craft; Readymades; Installation Art

Abstract: The layered use of readymades in animation can involve multiple disciplines, with different purposes, and in verified forms. Some readymades in animation are used as found, which connects to forms of found art. Readymades and found works have the capacity of drawing and merging other art forms into animation, and they therefore can make animation go beyond itself. However, the use of readymades and found works in animation production is usually poorly documented. Based on both case studies and creative production practice, this article explores the use of readymades, and further the concept of 'found' within animation from the perspective of installation art. Two major perspectives are of mostly concerned. One is the connection between animation and installation art in the digital space; the other one is the convergence between animation and videogame (in terms of machinima). The outcome contributes to the framework of drawing ideas and concepts from other artistic disciplines into the field of animation.

Biography: Huang is an installation artist and animation researcher. During his Master study, Huang has explored Chinese , and his Master's thesis is one of the first systematic researches that focus on Chinese independent animation and animators. Huang is currently a PhD candidate at RMIT University; he has submitted his project and exegesis. In his practice-based doctorial research project, Huang draws inspirations from his experience installation practice in animation creation, and tries to explore new concepts and techniques to benefit animators that without installation experience.

#SAS2015 / @sas2015beyond 87 Lilly Husbands King’s College London [email protected]

Title: The Evil Genius of Pixilation: Paul Bush’s Furniture Poetry' (1999)

Keywords Experimental Animation; Fine Art Animation; Pixilation; Philosophy

Abstract: Paul Bush’s fine art animation 'Furniture Poetry' (1999) uses his painstaking, oscillating pixilation technique to playfully engage with philosopher Ludwig Wittgenstein’s question in On Certainty: What prevents me from supposing that this table either vanishes or alters its shape when no one is observing it and then when someone looks at it again changes back? But one feels like saying - who is going to suppose such a thing? This paper proposes to engage with Bush’s work in order to think through the unique philosophical relationship between the profilmic and diegetic worlds that is particular to stop motion animation. 'Furniture Poetry' disrupts our normal spectatorial acceptance of constructed diegetic worlds an acceptance that is arguably rooted in our habitual and unquestioned certainty of the profilmic world and calls attention to itself as a highly unstable manipulation of traces of that world. This paper conceives of Bush in the role of the Cartesian Evil Genius whose power to make objects vanish, alter their shapes, and reappear presented the philosopher with the possibility of a perfectly complete illusion of the external world. Only, in this case, the animator gleefully uses these powers in ways that make explicit the true, chimerical nature of diegetic worlds.

Biography: Lilly Husbands has recently received her doctorate in Film Studies from King’s College London. Her research is concerned with closely investigating contemporary North American and British works of experimental animation, focusing particularly on the varieties of non-normative aesthetic experience that such works invite and cultivate. Her interests include experimental cinema and video, animation and special effects, film aesthetics, film philosophy, spectatorship, and film music. She has published numerous articles on experimental animation, including The Meta-Physics of Data: Philosophical Science in Semiconductor’s Animated Videos in Moving Image Review & Art Journal (MIRAJ), Animated Alien Phenomenology in David Theobald’s Experimental Animations in Frames Cinema Journal, and Rolling Amnesia and the Omnivorous Now: Jeff Scher’s You Won’t Remember This Trilogy (2007- 2011) in Alphaville: Journal of Film and Screen Media.

#SAS2015 / @sas2015beyond 88 Timothy Jones UCLA [email protected] @mitsenoj

Title: Thinking Beyond the Tutorial: Constructing Sustained Social Engagement in Online Animation Learning

Keywords: Archives; Distance Learning; Media Literacy; Tutorials

Abstract: Animation students are increasingly dependent on the web. While the potential of varied online resources for instruction may seem obvious, empirical evidence on their use in animation remains scarce, even in distance and blended learning. Apparent benefits include: greater student control over their own learning, enhanced data collection and assessment. However there are risks of increasing isolation. Worse, budget online solutions are often fixed repositories, unsuited for social learning and unappealing to animation students. This paper, based on a study of teachers, students and recent graduates, assesses when online instruction may be most desirable in animation education. Findings address two very different applications for web-based learning: the ubiquitous software tutorial and the emergent online archive or animatheque. Accounts suggest that video tutorials and wikis meet student demands for self-guided discovery, along with rapid and easy access, but these experiences are difficult to assess. Students develop workarounds to minimize time spent on coursework, and these must be accounted for in curriculum design. Similarly, the time needed to engage with archival content now available online exceeds what is achievable in formal study, focused on basic skills. Imparting the ability and drive to acquire new skills are prerequisites for life-long learning in animation. Thus, graduates must also possess the media literacy to continue their studies independently.

Biography: Timothy Jones is Evaluation and Educational Assessment Designer in the Office of Instructional Enhancement at the University of California, Los Angeles (UCLA) Extension. His doctoral dissertation is under review in the School of Arts, Media and American Studies at the University of East Anglia (UEA). His research addresses the changing role of educational and professional community structures in the evolution of animation industries. Specific interests include self- guided and distance learning, archives, and reflexive practice. Timothy joined UEA from the University of Southern California, Institute for Creative Technologies (USC-ICT), where he developed award-winning instructional simulations and serious games. He received a Masters of Arts in Critical Studies from USC in 2008. Timothy is an active member of the Society for Animation Studies and the International Animated Film Association (ASIFA), and has participated in organizational outreach in India and the United States. #SAS2015 / @sas2015beyond 89 Hervé Joubert-Laurencin University Paris Ouest Nanterre La Défense [email protected]

Title: Did France Really Invent the Cinéma d’animation (animated cinema)?

Abstract: The assertion that the cinéma d’animation, or ‘animated cinema’, could have been invented in any one specific country rather than any other may seem to be a sense-less question, or one without interest, or distorted in relation to actual conceptions of the history of cinema. To add that historically and economically, past and present, the most important international animation festival continues to be held in Annecy, France, brings a nationalistic, arrogant argument which is not very convincing and a bit shortsighted. Upholding the notion that cinéma d’animation is a concept, a retrospective idea which could not have existed before 1953, and which only came into existence through the invention of the French term «cinéma d’animation» would seem, after that, hyperbole. This third assertion is, however, one that I initially put forward in Ottawa at the 2nd SAS Conference, and I later developed its historical slant without having been contested by other historians. (see my most recent presentation in a chapter of Karen Beckman ed., Animating Film Theory, Duke Un Pr., 2014). I therefore propose to present the implications of this historiography, of which the obscene proof can only be compared to a painting, also French (L’Origine du Monde by Courbet), in the hope that it will be contested, and that it will stand up to the scrutiny of this historical assembly of global researchers.

Biography: Hervé Joubert-Laurencin is Professor of Aesthetics and History of Cinema at University Paris Ouest Nanterre La Défense, where he co-directs the research team HAR (« History of the Arts and Representation »). He specialises in the cinematic political, poetic and theatrical works of Pier Paolo Pasolini, of which he is also one of the principal French translators, and in the writings of André Bazin, and in animated cinema. He currently directs an international triennial programme of research entitled «Traverser Bazin. Ecrits suscités par le cinéma» (Crossing Bazin, writing provoked by Cinema) and he is putting together an edition of the entire works of André Bazin. A few works on animation: La lettre volante. Quatre essais sur le cinéma d’animation (The flying letter. Four essays on animated film) (Presses de la Sorbonne nouvelle, Paris, 1997); Quatre films de Hayao Miyazaki, (Four films of Hayao Miyazaki), Paris, 2012.

#SAS2015 / @sas2015beyond 90 Andy Joule University for the Creative Arts [email protected] @andyjoulefilms

Title: The Perception of Time. The Coexistence of the Animator and the Animated.

Keywords Character Animation; Time; Perception

Abstract: Animation is by nature a time based medium. It is a dissection of time, a fragmentary exploration and journey of discovery frame by frame and ultimately a recreation of experience. Character animation relies on the practitioner’s ability to exist within two temporal states of being. By utilising the idiosyncrasies of film and perception of vision, the animator reconstructs a synthetic static state being twenty five times every second. The perception of time experienced by the practitioner is absolute time but what of the time experienced by the animated and why is it critical for the animator to operate within the two?

Biography: Andy trained as an animator and has worked as an animator and director in the UK, US and Netherlands in commercials, films and television specialising in stopmotion. He has worked on numerous BAFTA nominated projects and in 2008 won the D&AD Yellow Pencil. In 2008 he became a Senior Lecturer in Animation at the University for the Creative Arts. He is a Fellow of the RSA and BAFTA juror. His own films have been screened in festivals and competitions around the world.

#SAS2015 / @sas2015beyond 91 Alex Jukes Edge Hill University [email protected] @jukes_alex

Title: 3-D CGI, Emptiness and the Void: A Practical Investigation into Space and the Materiality of 3-D CGI Animation.

Keywords: 3-D GGI; Animation; Emptiness; Heidegger

Abstract: Emptiness is not nothing. It is also no deficiency. In sculptural embodiment emptiness plays in the manner of a seeking-projecting instituting of places. (Heidegger, Art and Space, 1969, p13) Drawing from Heidegger’s discourse on space this presentation outlines a combined theoretical and a practical exploration into space as material where emptiness and the void are offered as methods of an investigation realised through animation practice. The paper seeks to explore confirmation of Heidegger’s of the empty and the supposition that clearing away and making room instigates space as an active conception of emptiness and relates to three central points: 1. That emptiness is in the spacing apart of things, the void between bodies, the gap and the separation that allows contact; 2. That emptiness brings forth place; 3. That emptiness is not nothing that it has a dynamic possibility to act as material. I posit that space in this way, when compared to other forms of animation practice, affords 3-D CGI with unique and material properties. This paper therefore represents a study of materiality within the production and presentation of 3-D CGI animation arguing that the familiar imagined infinite space presented and realised within a 3-D CGI world (a world where we are afforded a personal, unbounded Universe without borders, bereft of natural physics and uncompromised by the environmental challenges of the real world) acts as its basis and its status as material.

Biography: Alex Jukes is a Senior Lecturer and Prog. Leader for BA Animation within the Department of Media. Alex’s background spans the fields of animation, film and TV production, fine art and interactive media. Before working within an academic environment he worked within the media industry as a practitioner across a number of fields including 3-D CGI modelling, animation, graphics for television and interactive digital media. Alex’s academic research relates to 3-D CGI animation where he is investigating visual perception and the effects of technology on our understanding of space. Alex has delivered academic papers nationally and internationally relating to this subject and he has produced and presented animations, exhibitions and interactive installation works that explore this theme via practice as research. Alex is currently a candidate for a PhD by practice at the Royal College of Art within the Department of Animation. #SAS2015 / @sas2015beyond 92 Maitane Junguitu UPV-EHU, University of the Basque Country [email protected] @maitajed

Title: The Basque Animated Zombies Approaching the Outside World

Keywords Basque Cinema; Basque Country; Global Markets; National Cinema

Abstract: Focusing in the analysis of Daddy, I’m a Zombie (Joan Espinach, Ricardo Ramón, 2012) we will check out how the Basque animated feature films have evolved from local to global markets, new ways of production and modern topics. The Basque animated , as well as the real action films they started telling stories about the Basque Country, close with National Films. As the time has gone by, the topics that the films spoke about and the genres that they represent have change radically, trying to find a place in the global market and trying to be understood. At the same time, the production in the Basque Country has looked outside to find partners to work with. The film Daddy, I’m a Zombie, is one of the works that answers to the modern situations that film creators have to deal with it. Co-working with a house from Catalonia, has been prepared for trying to make the best in global markets. It shows a story that moves between the comedy and the terror genre with a quite Tim Burton’s influence. It introduces the trendy zombies in to the Basque animation with a female main character (that is not a singularity in Basque cinematography). The recently released of the film, Dixie and the zombie rebellion (Ricardo Ramón, Beñat Beitia, 2014) and the nomination of both by the Spanish Academy of Motion Pictures for the Best animated feature film award, makes us thought that the health of the Basque Animation industry and the terror topic are really good.

Biography: Maitane Junguitu has a Bachelor Degree in Audiovisual Communication and a Master in Social Communication both by the University of the Basque Country (UPV/EHU). She is now carrying out her doctoral thesis about the long-length film animation industry in the Basque Autonomous Community (Spain). She has researched the historical development of the Basque animation history and the narrative analysis of the Basque works. She is also interested in the study of the different animation aesthetics and particularly the formal elements and narrative structure of the animation full-length films. She has stayed as a Visitor Scholar in the University of Nevada, Reno (USA) and University of Stirling (Scotland), where she has approach the framework to research about animation cinema of the small nations.

#SAS2015 / @sas2015beyond 93 Mohammad Javad Khajavi Nanyang Technological University [email protected]

Title: The Poetry of Ink: A Practice-based Exploration of Persian Calligraphy-Painting in Animation

Keywords Calligraphic Animation; Calligraphy Painting; Naqqashi-khat; Perian Islamic Calligraphy

Abstract: This paper illustrates a practical exploration of the art of Persian Calligraphy-painting in the medium of animation. Calligraphy-painting (or Naqqashi-khat in Persian) is a contemporary art form that bridges modern painting and Perso-Arabic calligraphy. Throughout its history, Arabic calligraphy has served different purposes in Persian, as well as Islamic, culture - from mere representation of the written content in religious texts to decorating the façades of mosques and palaces. It is argued in this paper that in the last century, it gradually found a new dimension - by emphasizing its purely abstract forms, which initially appeared in contemporary paintings, and later in other art forms such as sculpting, graphic design, and photography. Yet, exploration of its possibilities and trans-formative qualities in time-based media (especially animation) is rare. Focusing on the aesthetics of Persian Islamic calligraphy and Calligraphy-painting, with an emphasis on their relationship with Persian mystical poetry, this practice-based research introduces new possibilities that this art form offers for animation.

Biography: M. Javad Khajavi is an artist, animator, and scholar. Finding his love for animation at an early age, Javad pursued his passion by doing a Master of Arts in Animation at the School of Art and Architecture, in Tehran. He is currently a PhD candidate at the school of Art, Design and Media (Nanyang Technological University) in Singapore, researching on the poetical evolution of Persian calligraphy and its extension to the art of animation. Javad’s short animations have been screened in International festivals. As a member of the Society for Animation Studies (SAS) he presented papers at conferences including ‘the Rise of the Creative Economy’ in Indianapolis University (Athens campus), Athens, Greece; and ‘ReDefining Animation’ in the University of Southern California, Los Angeles, USA. His paper ‘Decoding the Real: A Multimodal Social Semiotic Analysis of Reality in Animated Documentary’ is published in Animation Studies Online Journal.

#SAS2015 / @sas2015beyond 94 Sara Khalili The University of Art [email protected]

Title: Improvisation in Animation; Animators who Speak Spontaneously

Keywords Improvisational Animation; Experimental Animation; Discovery; Audience

Abstract: Throughout art history, various forms of artworks have been created for purposes like depicting beauty and extraordinariness, transferring messages and meanings, educating, and directing the audience to experience catharsis. On the other hand, there are artists who exploit art for discovery. By ignoring conventional and orthodox methods and exploring unknowns and uncertain, these artists transform art to a medium for experimenting. Creativity and particularly improvisation is highly exposed in their works. In fine arts (painting, music, etc) various improvisational works can be found, but in cinema or animation improvising is more complicated, since cinema and animation have strict connections with technology. In addition, the importance of audience in cinematic arts is more notable, which makes the process of improvisation complex. Nonetheless, there are methods for animators who are eager to create offhand: - Applying more painterly and less technological techniques (paint on glass, sand animation, , Claymation, etc.) - Omitting a clear script and staying with an idea or main theme - Creating joy, pleasure and pure experiences instead of educating or transferring messages These fascinating yet less popular methods, whenever experienced, have produced brilliant results. The improvisers who are more self-centered and worries less about the audience, could possibly stop the contemporary audience who is more than ever far from living in the moment.

Biography: Education: M. A., Animation, The University of Art, B. A., Graphics, University of Tehran. Career: Instructor professor at The University of Art (member of the scientific board). Career Related:Scriptwriter of animation TV series and short animation; Instructor at various animation workshops, including 20th international animated film workshop, Croatia, Cakovec, SAF (2013); Director of 7 short animations. Publications: The head editor and compiler of Simia Book (collection of animation articles), volumes one, two, and three; Translator of two books about animation; Author of animation articles and lecturer in animation seminars in Iran.

#SAS2015 / @sas2015beyond 95 George Khoury Future Television; Lebanese American University [email protected] @georgekouryjad

Title: Animation as a Tool of Activism in a Troubled Region Geared Towards Fanatism and Violence

Abstract: It's true that the world is looking at ISIS as a global trauma today, while we felt it coming, and worked against it as an ideological, popular and cultural threat since the early 90s. What I'm proposing is not a political or social lecture, but how sometimes conditions forge our artistic choices and production processes that are a little bit different than the traditional or conventional ones. To make it more clear, why the variety of styles, genres, are based on each animator contribution, approach and deliverable, rather than on a structured pipeline and team work for each production, and why in that perspective our production was based on shorts, daily or weekly, using Television as medium, innovating to an audience that is far from comprehending Animation as an art not exclusively for kids, but also a tool carrying a message that can go with or against their cultural or social affiliations (strange for a TV station non?!!!). To explain how the process, investment-production-audience-income, is irrelevant even to a company that is private and lucrative by definition. How privileged we were to produce in a commercial environment "whatever we want" because that's what pioneers profit from, and how heavy is the responsibility that comes with it and the challenge of developing styles, processes and deliverables when you start as a sole player.

Biography: Head of the Animation Department at Future Television since its launch in 1993, he has a private career in Animation and Comics that goes to the early 80s, and his artworks and movies have been featured in many exhibitions and international festivals in Lebanon, France, Denmark, Germany, Japan, etc, as participant or member of juries. In 1983 The National Museum of Comics in France acquired his work entitled Shehrazad Revisited. Co-founder of the "Lebanese Syndicate of Professional Graphic Designers, Illustrators and Animators in1999, he earned the Jury Award of the Ismailiya Short Films Festival in 2001, awarded the Grand Prix de la ville de Beyrouth in 2004. Comics art and Animation critic and author of the History of Arabic Comics In addition to several essays and articles on the subject, and has lectured on art and aesthetics in many universities.

#SAS2015 / @sas2015beyond 96 April Youngok Kim Myongji University [email protected]

Title: The Liveness of Animation Through the Use of Real-time Images

Keywords Interactive Animation; Real-time Images and Animation

Abstract: Previous definitions of animation see it as a magical audio-visual medium that captures the movement of a still object frame by frame, thereby creating an effect that allows objects to ‘appear to move’ when projected on a screen. However, with new developments in digital technology, the viewer now plays the role of an active image, thanks to the discovery of new innovative ways to combine and converge body movement and virtual images. The real-time movement of viewers interact with digital images, opening up a new horizon of imagery and narrative. In the following, new animation processes that involve such blurring of boundaries between creator, animation, and viewer will be introduced. Images of body movement are projected on the screen in separate parts or in its entirety, creating various coincidental outcomes, while viewers experience virtual time and space through ‘realized virtuality and virtualized reality’. Such attempts challenge previously existing definitions of frames (into which images are drawn and recorded) and introduce a new concept of time and space triggered by real-time movement. By examining existing definitions and concepts within animation, this presentation demonstrates how animation can provide new interpretations of notions associated predominantly with media art such as interactivity, Presentness, temporality, unexpected amusement, and new forms of sense perception.

Biography: April Youngok Kim is a Korean visual artist, currently teaching lectures on digital content production. She is also working on various research projects on the topic of media including her PhD dissertation on ‘The Aesthetic of Digital Animation’. She was the programmer/head coordinator of the 2014 Asia Animation Forum which provided a valuable platform for over 40 animation scholars and professionals from 9 Asian countries to discuss new possibilities in animation. Her main scholarly interest lies in exploring the boundaries of different art genres and incorporating them into creative methods of education.

#SAS2015 / @sas2015beyond 97 Jae-Woong Kim Chung-Ang University [email protected]

Title: Ani-Asia: The Expanded Ecologies (Asia Animation Forum)

Keywords Asia Animation

Abstract: Last year, the 2nd Asia Animation Forum, held October 23rd-25th in Korea, attracted over 1,700 participants. Along with the internationally recognized scholars and industry professionals from Korea, China, Japan, Hong Kong, Thailand, Singapore, Malaysia and India, the event aimed to lay the academic foundation for rediscovering the value of Asian animation and searched for new possibilities within the genre of animated films. The forum under theme Ani-Asia: The Expanded Ecologies consisted of 3 parts: Ani-Asia: Identity, Ani- Techne+, and Ani-Mate-Edu. In Ani-Asia: Identity, participants discussed how Asian countries discovered their own identities, while in Ani-Techne+, talk was over the convergence of technology and animation and how it can be utilized to expand the scope of artistic boundaries. Scholars also conversed about how education, culture and policies of different countries can affect the future of animated films. We hope that this turns to be a significant starting point at where a large animation related network is sooner established to promote further cooperation between Asian countries underlining the strong political, economic and social roles of global cultural industries like animation industry these days. And, this forum continues to develop as the biggest and the most authorized academic event in Asia by soon constituting a necessary global network for Asia animation education, creation, industries and policies.

Biography: Jae-Woong Kim is a Professor at the Chung-Ang University, the graduate school of Advanced Imaging Science, Multimedia & Film. He has published several books, including Animation Practical Chromatology. And he also directed, produced, and managed numerous projects such as ‘Megaton project of Baek, Nam Jun’ at Olympic Park Museum of Art and ‘2002 FIFA WorldCup’ intro movies. Kim has been on the Jury Panel of several international animation festivals - Siggraph Asia, SICAF and PISAF. (Co-Authors include Jinny H. ChOO, Dallim PARK, April KIM, Yumi KIM, Minjung KO)

#SAS2015 / @sas2015beyond 98 Yumi Kim Chung-ang University [email protected]

Title: Method Acting in 3D Animation

Abstract: Reality-based have brought changes to 3D characters. Not only their reality-based looks, but also the style of performance. If hair and cloth were animated as a part of character acting in 2D hand-drawn animation, it has now been hidden inside mathematical simulation of 3D graphics. Characters are also rigged in human-like structures that mimic humanistic moving mechanism, seemingly limiting the aesthetic quality of metamorphosis. This seems to limit aesthetic quality of metamorphosis; however, 'method acting' is now possible with controlling movements mathematically. If a character is in fear, he/she acts in exaggerated motion, but their feelings can be expressed only by showing their slightly shivering hands in Close-ups. This microtalk will look at the changes of animated 3D characters' performance to see influences of the new technology in animation. This research especially focuses on the styles of 3D characters' performance compared to 2D hand-drawn animation.

Biography: Yumi Kim is an artist and lecturer of 3D animation, character design, storyboards and other various artistic subjects at universities. She majored in Fashion Design in undergraduate school, after graduation she went to Canada to learn classical animation. Then she moved to United States and got her M.F.A in Film and Animation. She is currently a PhD candidate at the Chung-ang University, the graduate school of Advanced Imaging Science, Multimedia & Film. (Coauthor: Jeacheol Moon)

#SAS2015 / @sas2015beyond 99 Ewan Kirkland University of Brighton [email protected]

Title: Children and Cartoons: Audience, Animation and Ancillary Products

Keywords Adulthood; Audience; Children; History

Abstract: This paper explores the relationship between child audiences and animation, opening with an historical account of the ways in which early cinema screenings for children, Saturday morning television, and subsequent DVDs, websites and digital games have fostered a link between child audiences and the cartoon. This relationship is neither exclusive nor uncontested, with animation enjoyed by adult audiences, cartoons being incorporated into mainstream cinema programmes, and animated movies and series being targeted at mixed, family or adult audiences. Having established the association between children and animation as being one of programming and scheduling, rather than some intrinsic childness of the form, various aspects of animation are examined as enhancing this relationship. The appropriateness of animation for depicting fantasy narratives, evident in the disproportionate number of animated films based on fairy stories; the ease with which animated characters translate into toys and licensed products; the comparative cheapness of animation as a medium; and the tendency for children’s media to be passed down once considered too crude for adult tastes, all contribute to this fit. At the same time, changes in film and , the increasing importance of merchandising for media industries, the advent of new digital delivery systems, and the internationalisation of the media market, are increasingly challenging the perception of animation as a children’s medium. Finally this history of children, adults, and animation is used as a way of critiquing the distinction between these two audiences, and challenging the normativity of adulthood which frequently underpins such formations.

Biography: Ewan Kirkland teaches Film and Screen Studies at the University of Brighton; his research interests include children’s screen culture, horror video games, and popular representations of dominant identities. Ewan has published on masculinity in Hollywood family films, heterosexuality in romantic comedy, and whiteness in vampire television and crime drama, as well as on 'The Powerpuff Girls', 'Dora the Explorer' and 'Hook'. In June 2014 Ewan organised the first international academic conference on the 'My Little Pony' franchise.

#SAS2015 / @sas2015beyond 100 Tom Klein Loyola Marymount University [email protected] @vizlogic

Title: Visual Logic

Keywords Animated Landscape; Digital Narrative; Visual Logic

Abstract: Visual logic is defined as a visible expression of the mechanics that operate a defined system, especially a fictional conceit; it is bound by rules that manifest in rational observed patterns, even if at first sight its rules are unclear and its meaning must be interpreted and solved; it may take the form of an image which illustrates a cause and/or effect, a cinematic sequence which reveals an action and/or result, or an interactive experience that allows an inquiry and response. This is the framework of an animated landscape with narratological demands placed upon it. If the audience understands the foundational concept then the way that characters behave in its midst will make sense, even when at odds with perceptions of normalcy. With viewers growing more interested in these challenging media narratives that go beyond the frame, there is every reason to expect that animated shorts and features can grow more audacious and experimental. With the vast toolset of digital manipulation insinuated so deeply into screen worlds, the capacity for building toward spectacle has never been more pronounced. In the course of pursuing these entertainments of the future, the allure of presenting wondrous realms will arguably facilitate the wider use of visual logic in cinema.

Biography: Tom Klein is an Associate Professor at Loyola Marymount University in Los Angeles, and serves as Chair of the Animation department at LMU’s School of Film and Television. His research on the avant-garde mini-films of Shamus Culhane was recognized by articles both in print and online in and Time Magazine, and was followed by his subsequent appearances on TV and radio, including the BBC, Fox News, and CBC. He has published a number of articles, including in the journals and magazines Animation Journal, Griffithiana, Animation Studies, Animation: an Interdisciplinary Journal, and In- Toon. He is a contributor to the Italian anthology What¹s Up Tex: Il cinema di , published by Lindau, and Animated Landscapes, forthcoming from Bloomsbury.

#SAS2015 / @sas2015beyond 101 Holger Lang

Title: Beyond the Single Frame: Still Moving – Moving Still

Abstract: Our imagination brings inanimate representations and images to life. A single frame can express actions, changes and progressive motion. When leaving the area of narrative animation, we can investigate the possibilities of experiments in visual media. Such explorations open access to practical and theoretical examinations that can depart from the strictly linear experience of series of images. By working with films that create sequential collages of single frames, the focus shifts from the movement between the images to the content, structure and context of each individual frame. These frames can be displayed in a variety of output formats: in clips with varying frame rates, in exhibitions of printed pictures or in print and online publications. Animation allows a free flow of concepts that enables artists and researchers to fully disassemble and then recompose visual information into unique manifestations and unfamiliar meanings. If animation is seen as the elementary quality of a single image all images can be seen as animations. Depending on relations and references to other images, the effects on viewers will change and modulate. The frames of a film are the pictures that trigger the connections with stories and experiences of the audience. Animations are hybrid visual constructions that contain a variety of such triggers. Multiple options for perception and interpretation can unfold between the creators of animations and the audience. In my presentation, I will show the potential of this specific approach to animation by discussing a few examples of such non-verbal exchange.

Biography: Holger Lang is an Austrian artist, filmmaker, educator and researcher. He has taught and teaches media arts, media aesthetics, photography, animation, media production and theory at the Art Department of the Webster University in St. Louis (USA) and at its Viennese campus. He produces documentary films, music videos and live productions for theatre, performances and concerts. A significant part of his artistic work has been shown in an audiovisual format, but also in exhibitions, presentations and artist's books. Since 2010, he is running and curating an independent non-commercial gallery in Vienna.

#SAS2015 / @sas2015beyond 102 Peter Lay Independent: Animate Africa [email protected]

Title: Introducing Animate Africa

Keywords: Africa

Abstract: This collaboration will help to spark and build equivalent creative animation and digital enterprises across developing countries where expertise is lacking in spite of investment in infrastructure. It is vital that in an increasingly competitive world we enable cultures and communities behind the curve to be able to tell their stories, preserve their rich identities through film, animation and gaming to remain virtually, present, understood and relevant. The partnership with Alastair McColl is an European animation engine room looking to capitalize on the best of emerging talent from the UK, Europe , and our more mature animating countries across the world to be a conduit as an exciting start up animation production company to facilitate animation education from animate Africa to Asia and the Americas with sustainable skills transfer to teachers , young students aged 13 to 15 to young adults in developing countries working with the Ministries of Arts and education in partnership with established education partners. Education in animation and digital skills is an absolute imperative for artistic diversity across out increasingly virtual engagement. A key focus will be ensuring animation education collaboration across continents is absolutely inclusive for young people from rural settings to urban communities reaching the disenfranchised and providing skills for all including those with special needs. Animate Africa et al will straddle Africa and Asia in Mauritius with its African partners reaching out across Latin America. Fortuitously Peter is delighted to have the wonderful encouragement and support from the animation legend Geoff Dunbar as they consider a tantalizing animation collaboration in Africa. With his talented and energetic creative director Alastair McColl the heady scent of African rain promises a bountiful journey ahead .

Biography: Peter was born and educated in Zimbabwe and South Africa. His colourful and eclectic career from Deputy Treasurer at Eurotunnel to Treasurer at MTV International. Peter Lay has for some years been an advocate for animation passionately supporting Canterbury University's Anifest, at the time Animate Africa started to take shape. Hand in hand this venture will be looking to spearhead Animation festivals tracking the animation journey through Africa to share and inspire animation generations to come.

#SAS2015 / @sas2015beyond 103 John Lea Canterbury Christ Church University

Title: Within, between, or beyond the frame: a discussion on student research and professional transformation in undergraduate animation programs

Abstract: A panel discussion on animation group productions, as research and inquiry based transformational undergraduate experiences (Mezirow) that prepare students for a professional carer – a key objective shared by animation programs at both Sheridan College (Canada) and at Arts University Bournemouth (UK). Typically students are involved in an exciting convergence of integrated scholarly activities (Boyer, 1990), engaged as researchers, practitioners, and as partners in the production of creative and intellectual artistic work, the animated short film. Working in a field as dynamic as animation requires the combination of knowledge and skills related to the field and informed by technology. In addition, industry expectations suggests that in order to have a long term successful animation career, these should be underpinned by essential interpersonal and collaborative skills. These skills are difficult to master and even harder to teach. Group productions are epistemic communities where this learning can take place. They inspire collective creativity and the development of emotional intelligence, communication and negotiating skills and the effective management of team dynamics. They elevate the learning from aptitude development to professional growth and provide vigorous pedagogical arenas where students participate in real world practices. The discussion will focus on group film productions as learning communities and transformative spaces (physical and curricular) but also as effective spaces for collaborations between disciplines. Additionally, how industry partners can be leveraged to enhance production/research experience, and scholarly ways on developing the curriculum and enhancing student learning within group film productions.

Biography: John Lea is Assistant Director for Learning and Teaching at Canterbury Christ Church University UK, where he leads the University’s academic professional development framework. He has worked in a number of roles throughout further and HE in the UK over the last thirty years, including periods at American universities and community colleges. From 2005-11 he was Vice-Chair, then Chair of the Universities’ Council for the Education of Teachers (UCET) Post-16 Committee in the UK, and from 2010-13 he was a co-opted member of the Staff and Educational Development Association (SEDA) Executive Committee, as an adviser on the HE/FE interface. His main research interest is in developments at the HE/FE interface and he has written widely on this subject.

#SAS2015 / @sas2015beyond 104 Jungmin Lee Harvard University [email protected]

Title: Metamorphic Animation: Plasticity and Archivability in Bauhaus Performance

Keywords Bauhaus; Motion Studies; Performance; Plasticity

Abstract: This project examines Bauhaus artist Oskar Schlemmer’s performances in relation to Etienne-Jules Marey’s , considering it in a lineage of ‘metamorphic’ animation (Gunning). Schlemmer’s Metal and Ring Dance in the late 20s present seemingly dematerialized figures in the darkness apart from the illuminated contour of the body and tools; their trajectory of geometric shapes in motion animates light as his contemporary László Moholy- Nagy did. I advance that Schlemmer’s kinetic stage, torn between abstraction and the Constructivist tendency toward taylorized motion, reenacts the process of perception itself, recalling Marey’s emphasis on instantaneity and archivability. Through the figural malleability and hyper-visibility of the markers of its motion, the actual (the visible body) slides into the virtual (the unseen), such that what is perceived is the imperceptible making itself felt. I consider his performances as live motion studies and further probe it in terms of plasticity in the discussion of animation. I engage Elie Faure’s ‘notion of cineplastics’ and his view of cinema as foremost plastic art, closer to dance or rhythmic procession rather than theatrical illusion. I argue that the 20s notion of plasticity (including Eisenstein’s plasmaticness) contributes to a productive reconsideration of animation in the lineage of metamorphic motion rather than photographic reproduction: it is the process of becoming, or the tension in figural transformation.

Biography: Jungmin Lee is a PhD candidate in Film and Visual Studies at Harvard University. She probes projection practices in European avant-garde movements of the 20s and contemporary media installations in the 60s and today, with a focus on performativity, kinetics, materiality, and space. She has worked in the curatorial department at Centre Pompidou in France and the EYE Film Institute in the Netherlands.

#SAS2015 / @sas2015beyond 105 Cyril Lepot University of Paris 1 - La Sorbonne [email protected]

Title: Stop Motion: Towards a Definition of Poetic Cinema

Keywords Intermediality; Plasmaticity; Poetic Cinema; Stop Motion

Abstract: Continuing what we developed last year, we would like to discuss more effectively the poetical content of stop motion through an analysis of Švankmajer and Quay brothers work, reasserting, after Buchan’s idea of a ‘secret life’ of vital matter and its autonomous, self-reproductive soulless vitalist machine, how the surrealist concepts and reflections on poetry are still relevant. For that, we will be departing from the conceptions of movement in Art as found in the intermediality analysis, then, we will bring our development of the plasmaticity in animation, understood beyond Eisenstein’s assertions. Once reconnected to the fundamental problem of finding a poetry or a sonority in the movement, we will be led thinking the surrealist alchemy of matter. As Buchan says, object and matter animation do not “perform a soul”, but, according to us, still are connected to the latter, for it wins its autonomy from sharing the modality of mind. Indeed, virtually speaking, it is the model of mind’s elasticity that makes possible transubstantiations, but through which process? Chateau is saying about cinema that “the sonority of cinema is […] this resonance the visual is producing in our mind”, produced by the artist’s imagination “that would be directly incarnated in the image”. In fact, that substantiality which was still missing in the equivalence principle defining poetry as a modal way of producing film, is precisely to be found in Stop motion’s unique virtual embodiment of matter.

Biography: Cyril Lepot is a monitor at the University of Paris 1 – La Sorbonne. He is proposing an initiation to Stop motion and is teaching philosophy of art. He is also preparing a thesis within the “Cinema & Audiovisual” laboratory with for subject the movement’s plasticity in the frame by frame motion picture. He published articles in English and French entitled “Stop motion: from plastic to plasmatic cinema”, “Stereoscopic 3D: when watching is animating” and a monograph in two parts on Taiyō Matsumoto. He also participated to diverse conferences alike The Animator - 26th SAS Conference (2014), Full ou Limited? La qualité de l’animation à la télévision, entre économie et esthétique (2014), Confia – International Conference on Illustration and Animation (2012 and 2013), East Winds: East Asian Cinema And Cultural Crossovers (2012) or La “direction de spectateur”: création et réception au cinema (2013).

#SAS2015 / @sas2015beyond 106 Alison Reiko Loader Concordia University

Title: Becoming Caterpillar: Surrealist explorations in Entomology and Media Art

Abstract: Mixing entomology and media art, En Masse is an interdisciplinary, interspecies installation that draws from the Surrealist sensibilities of filmmaker Jean Painlevé and theorist Roger Callois by taking seriously concepts of mimicry, animality and automatism. As the latest transformation of the “Re:animating Moths” project by Alison Reiko Loader, En Masse represents her collaboration with biologist Christopher Plenzich and commingles science and art, human and animal, subject and object. Inspired by the instincts that have forest tent caterpillars cluster on communal silk mats and forage in queues as they prepare for metamorphosis, improvised choreographies of live insects directed by painted pheromones result in drawings and timelapse videos made on an animation camera stand. Initially inspired by Brakhage’s Mothlight, which used insect bodies as filmic material in a narrative that identifies cinematic experiences with the suicidal captivation of moths, En Masse considers the agential potential of caterpillars as innately creative, social bodies. For this panel, Loader will show documentation of her Spring 2015 exhibition, mounted in a busy university corridor in downtown Montreal. Alongside projections on screens made of stretched cocoons and containers of newly-hatched caterpillars, visitors and collaborators interact inside the display, together exploring the ethics of asymmetric relations and the aesthetic possibilities of interdisciplinary research and practice.

Biography: Alison Reiko Loader is a full-time student, part-time instructor, lapsed animation filmmaker and inveterate maker. A PhD Candidate in Communication Studies, Alison studies old optical technologies, teaches production and digital media, and enjoys playing with insects, lenses, plants, projectors and assorted ephemera. Half media artist and half media historian, she enjoys collaborative projects of all sorts, and explores connections between apparatuses, bodies, representation and spectatorship by applying feminist and posthumanist concerns to research-creation. With a past that includes making computer- generated backgrounds at a game studio and directing short animated films at the National Film Board of Canada, Alison has taught studio classes in the Computation Arts and Film Animation programs at Concordia University in Montreal since 2001. For her doctorate, she is investigating Maria Short’s Popular Observatories and Camera Obscuras in nineteenth-century Edinburgh.

#SAS2015 / @sas2015beyond 107 Francis Lowe Coventry University [email protected]

Title: The Pencil Kata: Martial Arts Motion for Line Generation.

Keywords Animation; Education; Movement; Training

Abstract: The training of animators has invariably involved the input of dancers and actors, called upon to enhance the animator’s sense of movement, timing and drama. In this paper I will discuss how the study of martial arts practice, and in particular boxing has been applied to the education of animators and illustrators; the creation of a system of applied movement that at Coventry University has come to be known as The Pencil Kata. Born of a desire to improve the line quality in the drawings of new students, the pencil kata harnesses the set movements and codified systems practiced in boxing, to engender confidence and purpose in the line work of aspiring artists. Through the study of the arcs, pivots and throws that form the basic vocabulary of traditional martial arts techniques, the pencil kata is the adoption and choreography of a series of set movements which, when applied to the drawing of a line, add clarity of purpose and precision to the act of line making. In this paper, we will look at how the pencil kata has been applied in an educational context and how it has evolved, not only into a system of mark making but also into another method for the study of human movement within animation practice. The study of movement now takes on a different perspective by borrowing from techniques used by pugilists from time immemorial for the improvement and application of their sport. Students of this system no longer draw a line, but instead throw one.

Biography: Francis Lowe began his career working as a special effects and animation assistant in Hollywood (Alien 3, Solar Crisis, the Movie), before going on to work as a lead animator for children’s TV in the UK (CITV’s Wolves, Witches and Giants and BAFTA-nominated Grizzly Tales for Gruesome Kids). Francis’ paper From Studio to Stage and Back Again for the Avanca International Cinema Conference (Portugal 2013), examined his experience as an animator working in a theatre context for stage production Jack the Ripper: A Musical Play. More recently The Travelling Line delivered as a two-part series in both Canada (26th SAS Annual Conference) and the USA (2nd Annual Illustration, Animation and Comics Conference) investigated the value of hand made processes in the digital age. As Course Director for the BA Illustration and Animation at Coventry University, Francis has always championed the need for transferability of skill and experimentation within animation. #SAS2015 / @sas2015beyond 108 Carol MacGillivray Goldsmiths, University of London [email protected] @tropedesign

Title: Change Made Manifest

Keywords Animation; Apparent Motion; D-Scope; Gap

Abstract: Animation is a hybrid medium that has always defied being pinned down by definitions. Indeed it has been described as being akin to trying to force an octopus into a jar; every time you think you have it pinned; more tentacles escape. This paper offers an ontological definition for animation discovered through analysis of working with the D-Scope®, a new medium of concrete apparent motion. The D-Scope® is a screenless animation medium where real, concrete objects appear to be in motion in a shared black-out space with participants. It is an environment where time is literally choreographed offering a fundamental new interpretation of animation which goes some way to resolving Norman McClaren’s gap with Deleuze’s complexities of difference and repetition. Using practice to inform theory, the paper offers a new embracive definition for all animation, where process remains at the forefront of the artform.

Biography: She has taught film at the Royal College of Art, and Digital Animation at the London College of Music and Media. An interest in combining theoretical research and practice led her to undertake a PhD by practice at Goldsmiths University, where she is now a Research Fellow. Her thesis, Choreographing Time: Developing a system of Screen-less Animation (2014) researches the grammar of the D-Scope® as an experimental new medium that draws on tropes from animation, film and Gestalt grouping principles to create the immersive perception of animation unmediated by screen or camera. Her work as an artist is the result of a lifetime's fascination with 'the gap' - the gap between what is perceived and what is real and particularly the gap as being the sculptural essence of an artwork - not perceived as negative space, but rather as a manifestation of time in space.

#SAS2015 / @sas2015beyond 109 Lauren Maier University of Hull [email protected]

Title: Reframing Big Hero 6: Disney’s Translation of the Marvel Comic to the Silver Screen

Keywords Disney; Marvel; Comics; Animation

Abstract: In translating a story from one medium to another be it from oral tradition to folk tale, myth or fairy tale, from a novel to a comic book, or from a comic book to a movie elements are always adapted to suit the translator’s vision and audience. Much can be revealed by investigating the discrepancies between the two versions, especially in terms of the storyteller’s particular values and the demographic they wish to entertain. Disney is no exception. For their most recent release, Big Hero 6, Disney has used their ownership of to their advantage, drawing inspiration from Marvel’s more obscure comic of the same name to produce an animated feature suitable for a general audience. It is the purpose of this paper to probe the differences between Marvel’s comic and Disney’s film and analyse Disney’s translation to the screen in order to reveal both companies’ aesthetic, values, and audience. This will be done through careful consideration of each version’s character development, narrative, and overall visual design.

Biography: Lauren Maier is a PhD candidate at the University of Hull researching the Disney Princess franchise and the manner in which it inscribes female gender norms in the United States. Her academic credits include a BA in Theatre from Randolph-Macon Woman's College, a MA in the Study of Religions from the School of Oriental and African Studies, and membership in the American national honor society, Phi Beta Kappa. Beyond her work in Disney and gender, Ms. Maier has contributed to a variety of and blogs, including GEEKED Magazine, a feminist focusing on nerd culture, and The Human Experience, an online publication with an emphasis on breaking down stereotypes and bigotry within the queer community.

#SAS2015 / @sas2015beyond 110 Tanya Marriot Massey University [email protected]

Title: Indigenous storytelling through endemic Taonga

Abstract: The Indigenous people of New Zealand, the Maori, associate strong cultural and spiritual connection to endemic species and botanicals. They regard both endemic birds and mythical species such as the Taniwha as sacred and meaningful “Taonga” or treasures. Representation of these actual and spiritual “characters” are a constant within Maori cultural heritage, as storytelling as guardians, guides, tricksters and omens. This form of cultural association and characterisation of endemic species is extended to all ethnicities within New Zealand as a national identity. However, there is little representation of New Zealand endemic characters as taonga within animated media for children. With the consumption of animated media a key modern facilitator for cultural storytelling, this loss can cause a lack of exposure to the connection between indigenous peoples and native species and the importance of this to society as a whole. This presentation will discuss several examples of endemic character representation within animated media. This will include The Tiki Tiki Forest Gang – a puppeteered TV series aimed at introducing natural history and environmental stories, Huhu – a puppeteered series encouraging Maori language literacy, and Pictoparrots – a current research project which explores the cultural importance of endemic species preservation from the perspective of the critically endangered Kakapo.

Biography: Tanya Marriott is a multidisciplinary designer who works in a variety of media including interactive design and play, character and toy design, film and animation. Her work seeks to build meaningful experiences and storytelling opportunities between digital and tangible activities. Marriott primarily teaches animation, play and game design. Past projects include: Sleep Shepherds (2013), a short film developed for the 2013 New Zealand 48 hour film festival which was awarded Wellington Regional Award for Art Direction and the Grand National Award for Art Direction: TweetMe (2012), an interactive forest which seeks to create a dialogue about New Zealand bird ecology with members of the public, and was exhibited at Makertorium at Te Papa Tongarewa and Wild at New Zealand wildlife week at Pataka: Richard Henry and Bullers Assistant – part of a series of character sculptures and which explore the evolution of conservation techniques within New Zealand. Richard Henry was part of collection which enabled artist membership to international consortia the National Institute of American Doll Artists. #SAS2015 / @sas2015beyond 111 Alastair McColl Independent: Animate Africa [email protected]

Title: Introducing Animate Africa

Keywords: Africa

Abstract: This collaboration will help to spark and build equivalent creative animation and digital enterprises across developing countries where expertise is lacking in spite of investment in infrastructure. It is vital that in an increasingly competitive world we enable cultures and communities behind the curve to be able to tell their stories, preserve their rich identities through film, animation and gaming to remain virtually, present, understood and relevant. The partnership with Peter Lay is an European animation engine room looking to capitalize on the best of emerging talent from the UK, Europe , North America and our more mature animating countries across the world to be a conduit as an exciting start up animation production company to facilitate animation education from animate Africa to Asia and the Americas with sustainable skills transfer to teachers , young students aged 13 to 15 to young adults in developing countries working with the Ministries of Arts and education in partnership with established education partners. (For more info, see Peter Lay p. 104.)

Biography: London Based Alastair McColl has been working in commercial animation since 2012, after graduating from NFTS with Bird World, which picked up a number of international festival selections including Anima Mundi, Bristol Encounters and Hiroshima. Before this he completed the highly regarded Illustration and Animation BA at Kingston. Since then he has directed animated content for clients which include Barclays and House Of Fraser, and worked in other roles for Nexus Productions and Mother London. His work is predominantly 2D, employing a colourful and illustrative mix of hand-drawn animation and motion graphics. Alastair and Peter began a dialogue on animation, its various aspects and its place within the wider creative industries, while Peter was still with the British Council and Alastair was a recent NFTS Graduate, emerging into to the fiercely competitive commercial scene. They share a desire to enable and develop animation talent from geographic and social backgrounds which may otherwise go unrealized. Partnering to explore these possibilities, as well as other creative ventures seemed a natural choice; Alastair joins Animate Africa as Creative Director, bringing production experience and creative oversight to the project, but still from the position of someone themselves growing and developing in an exciting scene.

#SAS2015 / @sas2015beyond 112 Tim McCormack Sheridan College [email protected]

Title: The Changing Role of Figure Drawing in Animation Education

Keywords Figure Drawing; Performance; Design; Curriculum

Abstract: An online search of curricula of College and University Applied Animation programs will reveal that figure drawing training is a core component and has been so over a considerable time. It is commonly accepted that figure drawing is an integral part of any serious animation program. The figure drawing class is a bridging space where students can reframe skills and processes that are taught in interrelated fields of animation learning such as character design, storyboarding and animation. Figure drawing has the potential to enable students to strengthen their aptitude for interpretive posing and acting, staging and design among other things with a structure grounded in real human anatomy and function. In my talk I will explore and question the ongoing relevance of the transitional character of animation figure drawing education. I will do this by outlining and unpacking the curriculum and teaching methodologies employed in the 4 yearlong Figure Drawing Stream in Sheridan College’s Bachelor of Animation Program. Sheridan College’s life drawing program has evolved over time through the collaborations and individual contributions of its teachers. There is, what could be characterized as an arc, from a traditional fundamental training based on the knowledge of proportion, structure and anatomy, to an approach that places greater emphasis on interpretive drawing with strong design and narrative. How this arc plays out, and what it means, forms the core of my study.

Biography: Tim McCormack is the Lead Instructor of the Figure Drawing Stream in the Bachelor of Animation Program at Sheridan College. He has been drawing ever since he can remember. His lifelong interest in landscape painting has evolved into his current images of utopian and dystopian space; an exploration of the intersection of the aesthetics of the Romantic paintings with present day visual culture. His recent work combines play and illusion in search of an expression of the sublime, in ink drawings that are distilled from scientific photographs, found textures and manga. A graduate of the Ontario College of Art, he has had several solo shows of watercolours, oils and pastels. His work is found in many private collections. He completed an Interdisciplinary Masters degree at York University and presented the paper, The Digital Romantic Landscape: From the Sublime to the Cool at the 26th annual Society of Animation Studies (SAS) Conference in Toronto. #SAS2015 / @sas2015beyond 113 David McGowan Savannah College of Art and Design [email protected]

Title: Confessions of Mickey Mouse: The Private Lives of Animated Stars

Keywords Animation; Stardom; Media Texts; Fandom

Abstract: Star studies theory has traditionally denied animated characters star status in part because they lack a private life, and yet this presentation will argue that an off-screen presence (or an existence beyond the frame) was regularly implied in publicity and in the films themselves. By the 1920s, a number of publications occasionally printed stories about apparently attending Hollywood parties and dating starlets. This paper will focus primarily on a number of articles from fan magazines of the early 1930s, which contain the supposed confessions and secrets of figures such as Betty Boop and Mickey Mouse. The pieces provide elaborate details about the romantic lives of the subjects, suggesting that animated stars were just as complicated as their live- action equivalents. Both cartoon characters and Hollywood stars were also the subject of contemporary Tijuana bibles, unofficial comic books which explicitly focused on the imagined sex lives of famous performers. Although many of these publications were intended to be satirical and humorous in tone, there is seldom an implication that the animated status of the cartoon protagonists places limitations upon them. The intention of this presentation is to emphasize that many successful cartoon characters have accrued a life well beyond their official films, through the speculation of engaged fans, official studio promotional material, and many other media artifacts.

Biography: David McGowan is a professor of animation history at the Savannah College of Art and Design (SCAD) in Savannah, Georgia. His PhD thesis focused on reading American theatrical short animation through the prism of star studies. He is an alumnus of the and Loughborough University.

#SAS2015 / @sas2015beyond 114 Jack McGrath University of Sydney [email protected]

Title: Animation and artworks: exhibiting the process, the materials and the artwork as installation.

Abstract: Stop motion animation questions our relationship with materials and the physical world. Stop motion as a medium can present us with images of our world whilst subverting our understanding of it. These ideas correspond to the Surrealist experience, in which physical and mental sublimation demonstrates our subordinate role in the universe. For many animated works the most precious and final part of the work is what is captured in the frames, however what becomes the final film on the screen is limited: it cannot completely contain the artist’s relationship with the puppets and the sets. Part of the appeal of stop motion is the recognition of real handcrafted objects and the sculptural phenomenological value of those real materials and craft. To present these objects alongside a screen work opens up an entire discourse about our relationship with the objects and the object’s relationship with its representation on the screen. It also offers the audience an insight into the process of filmmaking and the intimate relationship the animator has with the materials. I myself have been victim to this unquenchable thirst to interact and create miniatures and sets and have enjoyed sharing that experience with audiences. It is something that is unique to stop motion in that unlike digital animation, the stop motion process gives birth and preserves many physical sculptures that can then be enjoyed by audiences. This has been explored in exhibitions such as the Tim Burton’s MoMA show and the popular ‘: The Exhibition’ at the ACMI in Melbourne. In Prague we have seen exhibitions on Jan Svankmajer’s work, which have included a whole catalogue of objects from his films. The Karel Zeman museum in Prague is a permanent display of many original elements. The exhibition contains interactive works where audiences can engage in the film making process.

Biography: Jack McGrath has been a passionate animator since the age of twelve. He has directed several short animated films during his time at Sydney College of the Arts Australia. In 2007 he studied in the Film Animation and Video department at the Rhode Island School of Design (RISD) in the United States. He has shown his films at various film festivals in Australia and internationally, including the ‘Sydney Underground Film Festival’, the Melbourne International Animation Festival and the RISD graduation screening in Rhode Island. McGrath’s fine arts foundation has led to a very unique experimental style of animation, working and collaborating with other artists in different disciplines has given birth to a different perspective and aesthetic in animation. Working with fellow #SAS2015 / @sas2015beyond 115 Master of Fine Arts (MFA) graduate and glass artist, Mark Elliot, the pair has created a unique way of giving life to glass. Through stop motion animation, a once rigid material is transformed into a molten liquid on the screen. Jack has been teaching animation to university students for over six years. Drawing from his wide research on the techniques and theory of animation, McGrath informs students of the diverse world that is animation art. Working across a wide range of animation mediums including 2D, 3D, Stop motion, special effects, pixilation and the newly discovered glass animation ‘Glass-mation’, McGrath has built a solid foundation for his practice and research in animation. McGrath’s film ‘Journey to the centre of the mind’ is a stop-motion animation that brought together a large team of model makers, printmakers, painters, glass artists, sculptors, ceramists, digital animation and effects artists and stop motion animators.

#SAS2015 / @sas2015beyond 116 Terri McManus Canterbury Christ Church University [email protected]

Title: Virtual Reality and Animation

Keywords Animation; Interactivity; Oculus Rift; Virtual Reality

Abstract: The Oculus Rift virtual reality headset has encouraged a number of small/ independent 3D animators, game designers and artists to produce custom-made virtual environments. This brief talk will provide an analysis of the different forms of motion/animation that exist within these virtual worlds through the following classifications. € Animation and interactivity € Animation as experience € The user-driven animator/ filmmaker. Animation and interactivity. The addition of interactivity with a 3D virtual environment can be used to trigger animated events. For example, illuminating text commands or activating an object, to open a door within the field of view. Animation as experience. In this instance, animation provides additional visual interests within the 3D landscape, for example, clouds drifting across the sky. The user-driven animator/ filmmaker. Here, the Oculus Rift wearer determines their character’s motion via head movements and keyboard inputs etc., (other inputs devices are also possible). A visual example will be presented representing each of the above sections.

Biography: Terri McManus is a sessional lecture at Canterbury Christ Church University within the school of Media, Art & Design. Her teaching expertise includes interactivity design, visual communication, animation, social media, transmedia, and branding. She successfully completed two FUSION projects, which generated combined funding of (£142k) from InterTrade Ireland and Ulster University. Terri has been lecturing since 2004. At Ulster University, she taught on the BDes Design for Interaction and Animation and BDes Foundation programmes until 2013. She obtained an MPhil in Multimedia & Design at Limerick Institute of Technology, and also gained a PgCHEP qualification in learning and teaching. Her students were finalists in both the Sky Arts Stings and HEA-ADM In the frame competitions. Her own research is concerned with animation within interactive environments, and the communication of: information, entertainment and education through interactive means and unconventional narratives.

#SAS2015 / @sas2015beyond 117 Ana Mejon Carlos III de Madrid University [email protected]

Title: The International Coproduction of Animation Films in Spain

Keywords Animation; Coproduction; Spain

Abstract: As a reflection of the global success of Toy Story (, 1995), the film market grew in the late 1990s. Since 1997, at least one animated movie has been developed each year in Spain. Moreover, since 2001 the coproduction of animation films between Spain and other countries became continuous. This increase contrasts with the difficulties that the animation industry in Spain has encountered in recent years, like the closure of one of the main animation production companies (Dygra) or the poor box office results of the national animated movies. This work aims to raise awareness about the international coproduction of animation films from Spain while answering the following questions: How has the coproduction of this kind of films evolved in the last years in Spain? Which are the differences between this period of production and former times for animated films in Spain? How is the geography of this sort of movies? Which are the main partners of Spain when coproducing an animation film? Are these films more profitable in comparison with national animated movies? We analyze the context of the 26 animated films coproduced in Spain from 2001 to 2013 and their main data (budget, distribution, theatrical exhibition) in order to know if this way of producing films can help the national animation industry.

Biography: Ana Mejón (1989) is a PhD student who works at Carlos III University at the Research Group TECMERIN(*) . After writing, filming and producing the short animated film The Magician and the Cauldron (El Mago y el Caldero, 2012) , she got her Master's degree in Applied Research to Mass Media from Carlos III University and obtained a research fellowship from the Journalism and Audiovisual Communication Department of the Carlos III University. She is author of the work International coproduction of animation films in Spain (2001-2012). Nowadays, she is working on her thesis about coproduction of films between Latinoamerica and Europe and developing an audiovisual archive of oral memory of cinema and television in the TECMERIN context. Her research lines are: coproduction of films in the Spanish context, coproduction policies and animation industry. (*) Television and Cinema: memory, representation and industry (Researching Group at Carlos III University). #SAS2015 / @sas2015beyond 118 Chunhui Meng Royal College of Art [email protected]

Title: The Image of Chinese Women in Animation From Changing Feminist Perspectives

Keywords Chinese Animation; Feminist

Abstract: With ideological emancipation and the impact of the development of global cultural infiltration, Chinese women were able to be liberated from the constraints of traditional values; increasing self-awareness and social participation as well as improved social status have all freed Chinese women from household chores and have actively involved them in all aspects of social and cultural constructions. The feminist perspective of Chinese women is currently moving in a positive direction. In the mean time, the social standards for women have also been altered, leading women to new realms of values and ideas. These changes in social values and ideas have a profound impact on the direction of cultural development, which has invariably brought about ideological innovations in animation design and production. This study focuses on the gender crisis, the ecological crisis of modern society and of the many difficulties currently faced by the Chinese animation industry. By investigating the female figures of modern society in Chinese animation in a changing era, I endeavor to explore developmental outcomes for Chinese female figures in animation production in light of the cultural differences that have resulted from the long-term influence of feminist thinking on the field of animation.

Biography: Chunhui works as a digital artist and animator. After graduated from China Academy of Art with BA Hons in Multimedia in 2010, between 2011 and 2012, Chunhui came to London to continue her study in postgraduate character animation and she also completed a MA in Visual Arts (Digital Arts). As a PhD student, Chunhui's project focus on creating an animation film based on an ancient Chinese scroll painting, which will face both theoretical and technical challenge. In addition, Chunhui also is doing research about recent Chinese animation development.

#SAS2015 / @sas2015beyond 119 David Mesple Rocky Mountain College of Art & Design; Texas Tech University [email protected]

Title: Connecting the Dots: Fischinger, McLaren, Levin

Keywords Oscar Fischinger; Norman McClaren; Lumigraph; Real-time Sound and Vision

Abstract: My intention will be to draw a timeline from the early abstract animations of (1900-1967) through the work of Norman McLaren (1914- 1987) to the culminating digital expression of real-time interactive sound and vision performances of contemporary artist Golan Levin (born 1972). These three artists found ways to take new technologies, with their inherent limitations, and find ways to elicit visual and auditory effects that these technologies were not originally designed to produce. Within their vigorous adaptations and technological innovations, each created advancements that distinguished their work while informing the work of other artists. It could be argued that there is an evolution in the art they produced concurrent with the evolution of the technologies at their disposals, but, more importantly, the innovations they pioneered drove that evolution. Most surprising are the visual and auditory similarities in the work of these three experimental animators, spanning technologies that moved from analog to digital processes, but never left out the input of the human hand. In this essay, I attempt to find parallels in the technological, philosophical, and theoretical approaches taken by 3 different artists from different times, culminating in Levin's completely successful manifestation of Fishinger's vision of Absolute Film via his Lumigraph to create immediate abstract audio-animation performable by non-professional users of technology.

Biography: David Mesple is an artist and art educator who has exhibited professionally for over 4 decades. He served as Chair of Fine Arts at Rocky Mountain College of Arts from 2003- 2008 and was Interim Chair of Animation in previous years. Working in diverse media, Mesple makes audio art, performance, 2- and 3-D work incorporating traditional, mechanical and digital sensibilities. His work has been exhibited in museums and galleries in China, Israel and the U.S. Mesple explores social value systems that are in conflict, focusing on performing the virtual normative body. His ongoing research in perception and ideation has informed his teaching at the graduate and undergraduate level, and the development of a model for problem-solving that integrates measures from the Myers-Briggs Inventory with metaphysical models. Funded by grants from the Xerox Foundation and CanonUSA, and the Colorado Innovation in the Arts Award, Mesple weaves ideas of agency, psychology, & mind-body animation. #SAS2015 / @sas2015beyond 120 Mihaela Mihailova Yale University [email protected]

Title: Beyond the Visible (Puppet) World: Self-Reflexivity in the films of LAIKA

Keywords: Animation Process; LAIKA; Self-Reflexivity; Stop-Motion

Abstract: Stop-motion studio LAIKA’s features - Coraline (, 2009), ParaNorman (Chris Butler and , 2012), and The Boxtrolls (Graham Annable and Anthony Stacchi 2014) - share a preoccupation with what lies beyond the visible world. All protagonists are granted access to hidden realms: Coraline enters the Other World (a fantastic mirror image of her own environment), Norman can see ghosts, and Eggs is the only human inhabitant of the subterranean dwelling of the boxtrolls. Enigmatic and dangerous, these concealed spaces are a source of fascination for characters and viewers alike. Drawing on industrial allegory, my paper argues that this narrative focus on uncovering awe-inspiring secret worlds reflects LAIKAs self-aware fascination with stop-motion production and process. As the mysterious manifestation of the unearthly beings that populate the studio’s film parallels the ghostly presence of the animator in stop-motion, lifting the veil from those otherworldly landscapes becomes synonymous with going behind the scenes. In LAIKA’s most recent production, The Boxtrolls, this desire to demystify the filmmaking process culminates in a resurrection of self-figuration as defined by Donald Crafton; both a teaser and a post-credits scene reveal animators at work. Using LAIKA as a case study, my talk will take this return to process as spectacle as a stepping stone in order to discuss larger questions of self-reflexivity and authorial presence in stop-motion animation.

Biography: Mihaela Mihailova is a PhD candidate in the joint Film and Media Studies and Slavic Languages and Literatures program at Yale University. Her research interests include animation, Film and Media theory, early Soviet cinema, contemporary Eastern European cinema, video games, and comics. She has published articles in animation: an interdisciplinary journal, Studies in Russian and Soviet Cinema, Post Script: Essays in Film and the Humanities, and Kino Kultura. Her piece ‘Frame-Shot: Vertov’s Ideologies of Animation’ (co-written with John MacKay) is included in Animating Film Theory (ed. Karen Beckman). Her translation of Sergei Tretyakov's "The Industry Production Screenplay" appears in Cinema Journal 51.4 (2012). Her essay ‘Latvian Animation: Landscapes of Resistance’ is forthcoming in Animated Landscapes: History, Form, and Function (ed. Chris Pallant). #SAS2015 / @sas2015beyond 121 Nicholas Andrew Miller Loyola University [email protected]

Title: An Imp in the Inkwell: Modernism’s Visual and Verbal Languages of Metamorphosis

Abstract: This essay examines the history of animation film in relation to literary modernism’s experiments in verbal and narrative form. The earliest examples of drawn animation introduced a visual language of figural instability. Presenting images that not only moved but also transformed themselves onscreen, animators like Blackton, Cohl, and McCay unleashed a new exuberance within cinematic motion. As and other industrial processes emerged, the animated figure’s potential for mutability was harnessed for narrative purposes, reemerging in the mischievous unruliness of characters like McCay’s , Sullivan’s Felix the Cat, and the Fleischers’ . In literary art, Joyce and other modernist writers advanced a similar aesthetic of transformation, exposing language’s inherent disorderly and disruptive playfulness by foregrounding metaphor as an instrument of metamorphosis, the literary counterpart to animation’s protean figures. My essay explores these intersections by examining shared iconography in the Fleischers’ series, which features the impish and ever-malleable Koko, and the “Haunted Inkbottle” passage in Finnegans Wake, in which a clown-like artist “figures” himself through a performative act of writing that both animates and transforms him. Reading these verbal and visual figures of metamorphosis together reveals animation and literature as mutually informative creative processes in the context of modernist aesthetic innovation.

Biography: Nicholas Andrew Miller is Associate Professor of English and Director of Film Studies at Loyola University Maryland. His areas of teaching and scholarly interest include film animation, early cinema, the intersections between modernist print and visual cultures, and twentieth-century Irish and British literature. He is currently at work on an interdisciplinary study of metamorphosis in modernist visual culture. He is the author of Modernism, Ireland, and the Erotics of Memory (Cambridge, 2002).

#SAS2015 / @sas2015beyond 122 Sophie Mobbs Middlesex University [email protected]

Title: Animation and the Emotional Avatar: Using Motion Capture to Reflect on Non-verbal Communication.

Keywords Animation Beyond the Frame; Motion-Capture; Non-verbal Communication; Practice Research

Abstract: Animation has long held up a mirror to life, in particular, the interpretation of human movement and personality, interpreted through the eye of the animator historically onto paper and then screen. The advent of motion capture technology has allowed filmmakers and animators to harness motion vividly and directly the actor moves, and his or her motions are captured, processed and reappear on the screen first as a moving skeleton, and then as an electronically created avatar. Has a line been crossed between the actor’s art and the visualization and interpretation of the animator? What role do animators now play in using motion capture footage? Has the alchemy of motion capture supplanted the animator? Or is it a tool that animators can unlock to provide fresh insights that reveal more than live action footage ever could? My research delves into the use of motion capture as an interdisciplinary tool for extracting non-verbal language and communication, transposed and distorted through the eye of an animator and the technical process of computer captured movement. Though the use of computer generated avatars, we liberate a fresh and unexpected view on motion, a disjunct that draws us to question what we see, and see what we would not normally question. This paper will explore these themes.

Biography: Sophie Mobbs is a senior lecturer and Programme Leader in 3D Animation and Games at Middlesex University in London, where she specializes in teaching Maya and . Her research interests focus on animation with regards to body language. More specifically, she uses a Creative Practice research methodology to explore the relationship between non-verbal communication and animation. Prior to working in Higher Education, Sophie spent 10 years working as an animator in the games industry, where she took particular interest in character and animation and worked for companies that included Sony, Silicon Dreams and Rebellion.

#SAS2015 / @sas2015beyond 123 Aimee Mollaghan National University of Ireland, Galway [email protected]

Title: Lis Rhodes: Light Music

Keywords Experimental; Lis Rhodes; Optical Sound; Visual Music

Abstract: In the 1970’s British experimental filmmaker Lis Rhodes produced a body of work exploring the corporeal correspondence between sound and image. Describing her abstract direct animation Dresden Dynamo as a documentary, Rhodes attempts to explore the connection between what we see and what we hear through a transposition of the optical soundtrack into the visual images presented on screen. Further to this, Rhodes explores the audiovisual relationship within an expanded context in Light Music (1975). In Light Music, two projectors located within a smoky room face two opposing screens. Rhodes presents the abstract graphic forms of the optical soundtrack on screen so that the viewer is seeing what they are hearing. The intermediary space between screens turns the beams of light into immersive animated sculptures. The audience plays an active performative role in the creation of this work, affecting what is presented on the screens and introducing chance operations into the performance. Rhodes’ optical sound experiments interrogate not only the relationship between sound and image, but also the essence and materiality of film itself. Bearing this in mind, this paper intends to explore how Rhodes both confronts and subverts conventional notions of sound and synchronisation within her work.

Biography: Dr Aimee Mollaghan is the programme coordinator for the B.A. with Film Studies and the M.A. in Digital Media at the Huston School of Film and Digital Media, National University of Ireland Galway, where she also holds a research fellowship. Her ongoing research projects focus on audio-visual relationships in experimental film and animation. She is currently completing a monograph on the visual music film for Palgrave.

#SAS2015 / @sas2015beyond 124 Tracey Mollet University of Leeds [email protected]

Title: 'And at last I see the light...' : Exploring the Ideological Function of Music within Disney Animated Features

Keywords Disney; History; Ideology; Music

Abstract: Given the pivotal role that music has played in animation since in 1928, its neglect in academic treatment seems strange. Susan Smith’s recent work on music in Disney animation draws attention to the ideological function of songs in Disney films by illuminating the special properties of the animated film musical, requesting more work to be done by scholars in this area. Taking up this challenge, this paper looks closer at the function of music within Disney animated features, trying to uncover the role that music has in the success and popularity of these films. The period alone saw the Disney studio win 11 for its music in just 10 years. This been continued recently with the success of the music in 'Tangled' and 'Frozen. Using these two films as case studies, it is argued that there is an intrinsic connection between music, narrative and Disney ideology. Music allows the studio a platform to stage its changing values, technological innovations and transforming interpretations of the traditional Disney fairy tale. This is ideologically modernising the medium, breaking down barriers between the fantasies of the animated world and the challenging experiences of the real world.

Biography: Dr. Tracey Mollet is a Lecturer in Cinema in the School of Media and Communication at the University of Leeds. After obtaining a BA (Hons) in Modern History from Oxford University, she decided to pursue her passion for History through Disney animation for her PhD. Her completed PhD thesis, Historical Tooning: Disney, Warner Brothers, the Depression and War is to be adapted and published as a monograph by Palgrave Macmillan in late 2015 and charts the historical ideology of Disney and Warner Brothers short subjects through the 1930s and 1940s. She has written articles on the prominence of the American Dream in Disney’s , the presence of Roosevelt in early sound animation and most recently on representations of Edwardian Britain in the Disney live action feature, Mary Poppins. She is primarily interested in the ideology of Disney animation and how the harsh realities of history are revealed in the fantastical world of animation through characters, narrative and music.

#SAS2015 / @sas2015beyond 125 Andres Montenegro Indiana University; Purdue University [email protected]

Title: The Implementation of an Interactive Phenomenological Narrative Through Real Time 3D Animations, 3D Models, and Virtual Environments Using Augmented Reality.

Keywords 3D Animations; Augmented Reality; Environments; Narrative

Abstract: This paper presentation will demonstrate the conceptual and practical implementation of an interactive system based on 3D animations. It will utilize the Augmented Reality quick responses (QR) display graphics. The proposed model will open a discussion about how to display a dynamic navigation within an artificial setting or environment created through AR as well. Today the potential of interactive animations and images combined with text makes the content development in Augmented Reality a very promising venue to implement an artistic narrative based on multiple responses. Of course the viewer will be able to organize or manipulate this system through animations. In this presentation there will be several examples developed by my students, including my personal projects as well. The audience will appreciate the use of tactile gestures, body movements (through accelerometers) and other sensing capabilities provided by mobile devices (based on Android, or iOS). The ultimate goal of the presentation is to feature a compelling narrative based on an experiential phenomenological approach. It will be achieved by the manipulation of fully assembled 3D animations and virtual environments.

Biography: BFA Art University of Chile.1986, MA University of Playa Ancha. Chile.1996, MFA in Digital Arts. University Of Oregon. 2006. Andres Montenegro is currently assistant professor of Computer Animation at Indiana University-Purdue University, Fort Wayne, Indiana. US. In 2008, he has taught interactive 3d animation at Einar Granum School in Oslo, Norway. In 2010, he published his article ‘New Aesthetics and Practical Venues for Rendered CGI Images In Studio Art’. In 2011 he obtained The New Frontiers Exploration Travel Grant from Indiana University. He participated in 2013 in the International Animation Festival of Annecy, France. Residency award in Paris at DoubleMetre Animation for his short animated film ‘The Little Quest Of Petrovsky’. He participated with a paper presentation at the 2014 International Digital Media Arts Association Conference at Utah Valley University, Orem Utah, He was selected at the IDMaa IDEAS_2014 show with the piece The Phenomenological Targets.

#SAS2015 / @sas2015beyond 126 Samantha Moore University of Wolverhampton [email protected] @sammooreanimate

Title: Animators! In An Adventure With Scientists!

Keywords Animated Documentary; Animation; Collaboration; Science

Abstract: Animator and researcher Samantha Moore is working with microbiologist and Wellcome Trust Fellow Dr Serge Mostowy on Loop, a collaborative film for Silent Signal (an Animate Projects commission, supported by the Wellcome Trust). This paper will present work in progress from the project, which is about how the cytoskeleton responds to intracellular pathogens by assembling into septin cages within a zebrafish model. The project is also about the different perspectives in Serge’s lab and how each scientist sees the process, using animation to describe and represent individual views of the research. The work done by Serge and his lab is fascinating but complex, and this project presents the opportunity of opening up, communicating and commenting on specialised and challenging material to a lay-audience. The project develops the work begun in An Eyeful of Sound, and subsequent PhD practice, in creating work about science using a collaboratively dialogic methodology with the scientists involved. This paper will explore some of the questions that such work raises about the way in which animation can document, inform and transform data.

Biography: Samantha Moore is an animated documentary maker who is passionate about the ability of animation to convey reality in new and surprising ways. Sam is completing a PhD by practice, about the way animation documents perceptual brain states, at the University of Loughborough supervised by Prof. Paul Wells. Her animated docs include; Success with Sweet Peas (2003), doubled up (2004) for Channel 4 television and Arts Council and The Beloved Ones for the UK Film Council and Screen WM. In 2010 she made An Eyeful of Sound about synaesthesia, which won an award for Scientific Merit from the journal Nature at the Imagine film festival in New York. In 2013 she finished Shadow Stories for Shrewsbury Art Gallery. Samantha teaches animation at the University of Wolverhampton. She has published several articles on her research and has given lectures on her work including to the Royal Institute of Australia and a keynote talk at the American Synesthesia Association conference in Canada.

#SAS2015 / @sas2015beyond 127 Katharine Nicholls Falmouth University [email protected]

Title: A Dynamic Collaboration: An Example from the Cross Channel Film Lab

Keywords Pre-visualisation; Concept Art; Narrative; R&D

Abstract: The Cross Channel Film Lab (CCFL) works with a diverse range of partners in France and the UK, aiming to provide an exploratory approach to combining visual and story development for low to medium budget feature films through innovative use of visual effects and 3d stereography. This case study of pre-vis, story and concept art on Dome, one of the CCFL selected feature films, draws upon the CCFL’s own research to show that by immersing the visual team at an early stage in the writing process, delivered via the structure of workshops in France and the UK, an emotional investment is made that generates dynamism and pays off in both in the narrative and the resulting visual development of the film. The concept art, production design ideas and a physically experiential environment pre-visualisation in Oculus Rift, had a direct influence on the film’s story development.

Biography: Senior Lecturer on the Animation and VFX course at Falmouth University, Katharine works with students in life drawing, painting, design and pre-production. She is involved in two research film projects at Falmouth: Deep is a project that brings together students, staff and professionals in a unique collaboration. The Cross Channel Film Lab is an R&D project set up to develop feature films alongside new technology, linking 11 diverse partners in the UK and France.

#SAS2015 / @sas2015beyond 128 Sean O’Neill Savannah College of Art and Design [email protected] @soneill521

Title: Beyond Superficiality: Don Bluth, More Than Just a Disney Clone

Keywords Bluth; Disney; Loneliness; Style

Abstract: Though Don Bluth is at times credited with reviving classic American animation, conventional wisdom is content to file him away as little more than a Disney clone; or, in the words of Charles Solomon, someone who lacks ‘the innovative spirit that distinguishes’ the great Disney movies. He is also criticized for his liberal borrowings from Disney and for focusing too much on superficial special effects animation rather than story. However, these remarks are usually done without the benefit of any in-depth analysis. I propose to challenge this approach by doing such a study, specifically by examining Bluth’s style as seen in his depictions of loneliness a theme also common in Disney films supplemented by interviews with Bluth and Gary Goldman. As a result, I hope to show that despite his real borrowings from Disney, Bluth can be seen as an artist in his own right, who also had an unnoticed influence on subsequent Disney efforts.

Biography: Sean O’Neill is an animator from Atlanta, Georgia where he currently studies at the Savannah College of Art & Design. When he is not working on a project, Sean enjoys spending his time analyzing films, particularly in regards to narrative, cinematography, and style. He is set to graduate with a BFA in animation and a minor in cinema studies by May of 2015. Sean's post-graduation plans include finding work in a studio and, at some point, returning to school for a MFA in animation.

#SAS2015 / @sas2015beyond 129 Ann Bridget Owen Falmouth University [email protected]

Title: Lines Moving in Time: The Neuroaesthetics of Animated Movement in Hyperreal and Experimental Animation

Keywords Neuroanimatics; Neuroaesthetics; Neuroscience; Stop-motion Animation

Abstract: “Motion is one of the most primordial of all visual percepts” (Zemir Zeki, 1994). Our ability to perceive movement is fundamentally one of the most important elements of human visual processing. It is an ability that is essential to our survival, even at a young age. Whilst many areas of the brain are believed to contribute to our understanding of motion, the preliminary work of identifying movement takes place in an area of the brain’s visual cortex known as V5. This is one of the first areas of the brain to receive the visual stimuli and is also one of the earliest to develop in the human brain, largely mature at birth. Area V5 works closely with another area of the brain devoted to identifying orientation, V3. Significantly the neurons in V5 and V3 have little ability to see things such as colour, but instead rely (as do many of our visual processes) on our ability to see the edges of things, to discern contrast and to see lines amongst the myriad of information from the eyes. Animation has a tendency to exaggerate contrast and create lines where, in vivo, there would be subtle changes of tone. Hyper-real animation simplifies real- world forms whilst the experimental work of animators such as Rutman & Fischinger attempts to eschew representational forms altogether. This paper will explore the neuroscience of the visual perception of motion in humans, and examine its implications for the creation and perception of hyper-real and experimental animation.

Biography: Ann Owen graduated with a first class BA(Hons) in animation from the Surrey Institute of Art and Design in 1999 and continued at the college as a research assistant in the newly formed Animation Research Centre. In 2000 she was given the opportunity to work as a stop-motion animator on the children’s television series . She later returned to the Surrey Institute to teach stop-motion and eventually specialised in the history and theory of animation. In 2007 she moved to Cornwall and is currently employed as Senior Lecturer in Animation History and Theory on the Animation and Visual Effects BA(Hons) course at Falmouth University. Her research specialism is the neuroscience and neuropsychology of animation and digital image production and spectatorship. #SAS2015 / @sas2015beyond 130 Dallim Park Chung-Ang University [email protected]

Title: The Animation Festival as an Arena for Learning

Keywords Animation; Education; Festival

Abstract: The aim of the presentation is to explore the animation festivals as a source of learning. A rapidly changing society also changes the conditions for learning. However, research social and cultural impact of festivals has been sparse, and even more so when it comes to their educational role or what and how people learn from attending festivals. Even though this presentation looks into animation education, its main focus is not on teaching or on formal education, but rather on how learning goes on outside school. This presentation introduces the case of educational program, Reading Culture through Animation: Animation Production Class Using Mobile Devices, for elementary and middle school students at the Puncheon International Student Animation Festival in Korea and similar educational programs of major animation and film festival oversea (Ottawa International Animation Festival, New York International Children’s Film Festival, Chicago International Children’s Film Festival etc.) The hope is that this presentation provides the reader, festivals are considered as tools in media education nationally and the co-operation between animation festivals and educational institutions are seen as development sites in the future.

Biography: Dallim Park is a media artist and lecturer in animation, game, and visual art. In 2002 she moved to Los Angeles to continue with her archival research in the Master’s program in computer animations, and was a member of the Scientific Visualization Laboratory research group at California State University, Los Angeles in collaboration with Jet Propulsion Laboratory (granted major funding from NASA). Her project, ‘Desk of One Astronomer’, received the Webby Awards (Official Honoree 2009) and nominated on the International Science and Engineering Visualization Challenge (National Science Foundation 2010). Her research has focused on New Media arts and Animation theories as well as Animation education. She has worked on several projects with non-profit organization for women and children in Africa (1amf.org)

#SAS2015 / @sas2015beyond 131 Lynn Parker Abertay University [email protected] @toadrick

Title: Tradition meets Technology: Audience Participation in the creation of a Digital Mediated Ceilidh

Keywords Animation Beyond the Frame; Experimental Animation; Interactive Animation

Abstract: Embedded in Scottish and Irish culture, the Ceilidh is a celebratory event that typically mixes traditional music, choreographed dancing and poetry performances. In Scotland, Ceilidh dancing and traditional Scottish poetry are an embedded part of primary school curricula and the Ceilidh forms an integral part of celebrations including weddings and Hogmanay. The Ceilidh calls the audience to participate in dances in pairs and small groups carrying out a series of repetitive motions that are called by the band. The Ceilidh itself depends upon interaction by attendees to bring the event to life. This need for interaction formed the inspiration for the Northern Lights Ceilidh, which invited participants to create a shared aesthetic through digital technology and interactivity. Northern Lights Ceilidh took place in Dundee, Scotland in August 2014 as part of the Dare to be Digital Festival fusing dance, 3D printing, interactive animations, music and spoken word to create a digitally mediated event. Within this paper, the authors examine Northern Lights Ceilidh firstly through exploration of digital mediation of participatory events from a historical perspective. This discussion informs analysis of conventions of Ceilidh dancing looking specifically at predictability of movement and the opportunities it affords to design technological interventions. Lastly the authors will reflect upon the role of Ceilidh participants as co-creators of aesthetic and possible future work.

Biography: Lynn Parker is the Programme Tutor for the Creative Skillset Accredited BA (Hons) Computer Arts programme within the School of Arts, Media and Computer Games at Abertay University in Dundee, UK. Lynn is a practicing animator, having recently collaborated on a hybrid dance and animation performance for the NEON Digital Arts Festival and a digitally mediated dance event for Dare to be Digital. Lynn is currently undertaking a PhD by publication exploring inter-human relations and interactivity in digital performance and installation.

#SAS2015 / @sas2015beyond 132 Corrie Parks University of Maryland Baltimore County [email protected] @corriefrancis

Title: Shifting Sands: Hybrid Animation in Sand and Salt

Keywords Case Study; Hybrid Animation; New Techniques; Sand Animation

Abstract: This comparative look at four sand and salt animators of the new generation focuses on evolving digital and traditional production methods within powder animation. Australian animator Marieka Walsh works on single layer, pulling light from a sea of dark sand to create chiaroscuro imagery. In contrast, Spanish animator Cesar Diaz Melendez works on a homemade multiplane rig, using colored sand primarily as a linear drawing tool. Both artists choose to work almost entirely in camera for technical and aesthetic reasons and have recently adopted Dragonframe workflow, citing similar changes (both positive and negative) to their work with the new technology. Canadian Philippe Vaucher and American Corrie Francis Parks use hybrid animation techniques, shooting frames under the camera and then compositing and manipulating the footage in post. Vaucher’s work with backlit salt maintains a traditional monochromatic aesthetic while Parks’ work incorporates colorful hand-tinting and multi-layered backgrounds. The presentation will outline the specific layering and compositing challenges that are unique to powder animation, how these artists have worked around them to expand the visual possibilities of the medium.

Biography: Corrie Francis Parks animates sand, paint and other unusual materials. With one hand under the camera and the other on the computer keyboard, her work maintains an organic connection to natural materials and traditional production methods while fully integrating digital technology. She studied animation at Dartmouth College and received her MFA from University of Southern California. Now an Assistant Professor of Animation at University of Maryland, Baltimore County, her forthcoming book, Fluid Frames: Innovative Animation with Sand, Clay, Paint and More. (Focal Press, 2015) brings together traditional and digital workflow for single-canvas animation. Parks’ award-winning animated shorts have screened at Annecy, Hiroshima, Ottawa and Zagreb and at major festivals on every continent except Antarctica. She looks forward to the day when she can count penguins among her biggest fans.

#SAS2015 / @sas2015beyond 133 Laura Montero Plata Independent Researcher [email protected] @lmonplata

Title: Re(de)constructing Japanese Cultural Identity Through Isao Takahata’s Princess Kaguya

Keywords Isao Takahata; Japanese Cultural Identity; Princess Kaguya;

Abstract: During his extensive career, most of the filmic work of Isao Takahata has been linked to the depiction of Japanese society through his everyday life, its recent history, its cultural heritage and its folkloric tradition. Always willing to go further and experimenting graphic and narratively, the last piece of the filmmaker seems to be the zenith of his cinematographic and theoretical discourse. On the one hand he has culminated his aesthetic refinement of the drawing -connected with Japanese tradition as the emaki-mono but also related to Frédéric Back style. On the other, Takahata has offered to the public, at the same time, the closest adaptation of the classic of Japanese literature The Tale of the Bamboo Cutter and the more transgressor interpretation of this traditional tale. Keeping in mind that Takahata’s starting point to create its Kaguya’s version was missing in the original source, his feature film establishes a ferocious criticism against ancient Japanese patriarchy, among other concerns. Comparing the ways in which Isao Takahata tells, re-narrates and (de)constructs The Tale of the Bamboo Cutter, the aim of this paper will be to analyse the ways used by the filmmaker in order to reformulate Japanese cultural identity from a contemporary perspective, one of the biggest narrative premises of the two leading authors of Studio Ghibli.

Biography: Ph.D in History of Cinema by Autonomous University of Madrid, Laura Montero graduated in Audio-visual Communication Studies by San Pablo- CEU University of Madrid. She is a member of the editorial staff of the film review magazine Fila Siete and A Cuarta Parede. She has published in journals like Secuencias, Con A de Animación or Cahiers du Cinéma España, she collaborates since 2010 in the Cines del Sur Film Festival of Granada and she is programmer and co-organizer for Semana de Cine Japonés Actual en la EOI [Contemporary Japanese Film Week at Madrid’s Official Language School]. Her main research interests lie in the field of East Asian Cinemas, Anime and Contemporary Japanese Cinema. She has published in a large variety of Spanish books and journals about Japanese animation. In addition, she wrote the book El mundo invisible de Hayao Miyazaki [The Invisible World of Hayao Miyazaki] (Dolmen, 2012), it is currently undergoing its fifth re-print.

#SAS2015 / @sas2015beyond 134 Pooja Pottenkulam University of Lincoln [email protected]

Title: Criteria for Assessing the Quality and Standards of an Animation Programme

Keywords Assessment Criteria; Pedagogy; Festivals; Animation BA Programmes

Abstract: In the 1990s, as part of the UK government's effort to bring education to a larger proportion of the population, there was a sudden increase in animation courses. From less than 10 animation courses in the 1980s, there are now almost 70 universities and colleges offering animation at BA level. With the increased number of animation courses on offer, and in response to students find it increasingly difficult to choose the right animation course for them, a number of rating systems have been created through which animation programmes are assessed. The paper will examine the assessment criteria that the various assessing bodies such as the QAA, HEFCE, NSS set for rating animation programmes. The paper will also investigate other mechanisms from within the world of animation, such as festivals and professional animation associations, and the roles that these other systems might have in directly or indirectly influencing and determining the quality and standards of established animation programmes. Through a series of interviews with representatives from established and newer animation programmes within the UK, the paper will be an investigation into the relevance of the criteria used to assess UK-based animation programmes. The paper will examine the differences and similarities between university-wide assessment criteria and other assessment criteria generated from within the animation world to gauge the quality and standards of animation programmes.

Biography: Pooja Pottenkulam teaches animation at the University of Lincoln, UK.

#SAS2015 / @sas2015beyond 135 Marie Pruvost-Delaspre Université Paris 3 Sorbonne Nouvelle [email protected] @mariepruvostd

Title: Pictures at an Exhibition: Displaying Animation in Japanese Museums

Keywords Animation Museums; Institutions; Japanese Animation; Museography

Abstract: Exhibiting cinema has been a challenge since the first years of existence of film museums, like the Cinémathèque Française, which used to display miscellaneous objects ranging from stage costumes to camera prototypes before it moved to a proper policy on cinema exhibitions. Setting up an animation exhibition is no less a challenge, considering the necessity to inform the public on the production process, the delicateness of the artworks and the disappearance of much of the production documents after the completion of the film. But the increasing interest of the public has made the number of attempts hugely grow. Thus, animation museums have started to spring around the world, some of them enclosed in bigger structures, others focusing more broadly on comics and cartoon culture. Nevertheless, Japan still seems to have the highest density of such institutions, since one can find in Tokyo at least four spots providing access to art, documents, films and research materials on animation. If the Ghibli Museum remains well known thanks to the popularity of Miyazaki’s films, the Toei studio also has its own exhibition venue (Toei Gallery), whereas the Tokyo Animation Center and the Suginami Animation Museum are more confidential and run by local rulers. This paper aims at considering the vision of animation at stake in those different institutions, and the way museography is used to reclaim a certain history of animation in Japan.

Biography: Marie Pruvost-Delaspre defended her PhD dissertation in film studies, ‘For an aesthetic and technical history of animated production: The case of Tôei studios (1956-1972)’ in November 2014, supervised by Professor Laurent Creton at Sorbonne Nouvelle University. Her research interests are production models in Japanese animation, and their impact on the and animation aesthetics, as well as discourses on animation, on a historiographical perspective. She studied Japanese language and participated in 2010 in an international exchange at Keio University (Tokyo). Currently a lecturer at the University Sorbonne Nouvelle, she teaches the theory, analysis and economics of film in the Cinema and Media Department.

#SAS2015 / @sas2015beyond 136 Beáta Pusztai Eötvös Loránd University [email protected]

Title: Golden Hair and Starry Eyes: Revisiting "Mukokuseki" in Contemporary Japanese Cartoon

Keywords Anime; Cultural Identity; Intermediality; Mukokuseki Character Design

Abstract: The term "mukokuseki" ("non-Japaneseness" or "statelessness") denotes "the erasure of racial or ethnic characteristics and contexts from a cultural product" (Iwabuchi, 2004), which has been the predominant principle of character design in modern manga and anime since the early 1960s (with 's "Astro Boy"). The "Caucasian" (read "Western") facial construction and physique of presumably Japanese characters has become one of the trademarks of the Japanese cartoon. Mukokuseki as a quality has been analysed, by film theorists and anthropologists alike, as a global marketing strategy (Iwabuchi, Norris, and Tobin), as a means of negotiating (post)modern Japanese national identity (Sat?, Napier), and as one of the most apparent features of an essentialised, yet "nonculturally specific anime style" (Napier, 2005). This presentation attempts to complement contemporary academic discourse about the nature of Mukokuseki by delineating certain trends in (e.g. furusato = "native place", the countryside as a theme) and a new approach towards anime since the Millennium (the correlation of anime characters with their flesh-and-blood counterparts in live-action anime adaptations). Consequently, by shedding light on the truly heterogeneous nature of Mukokuseki, this paper aims to counterbalance theories of Mukokuseki as an ideological device for "de- Japanization" with a perspective of Mukokuseki serving as a primarily aesthetic framework for the "re-Japanisation" of contemporary anime.

Biography: Beáta Pusztai, born in November 1987, started her Bachelor studies in Liberal Arts with Film Specialization at Eötvös Loránd University (Budapest, Hungary) in 2006. Earning her degree with a thesis in Adaptation Studies, she went on to study the dynamics of intermedial relationships in contemporary Japanese visual culture (manga/anime/live-). Completing her Film Studies Master education, she was admitted to the PhD program in Film, Media and Contemporary Culture at Eötvös Loránd University in 2012. Her field of research covers issues of intercultural adaptation, intermediality, and identity formation in the anime medium.

#SAS2015 / @sas2015beyond 137 Hannes Rall Nanyang Technological University [email protected]

Title: Wayang Kulit project

Abstract: Wayang Kulit (Indonesian/Malaysian Shadow Puppet Theatre) has a long and important history throughout Singapore, Indonesia, and Malaysia. However, like many indigenous cultural artefacts it faces potential extinction with the advent of modernisation. If the technique were to be lost, this would not only mean an end to a theatrical technique that had evolved over hundreds of years into its own unique art form, but would also have a negative effect on the folklore of these regions as well, which often times is presented through these techniques. This research project is committed to developing computer animation software which will serve to bring this important literary and cultural heritage of Malaysia Indonesia, and Singapore to the cinema. Re-imagining a community’s cultural heritage within different mediums (especially, within cinema) is an important stage in the creative and intellectual development of any nation. However, Wayang Kulit is relatively unexplored as an art form, while the accompanying folklore is also underrepresented in folklore studies. New Media is an essential means of participating in the sorts of socio-cultural exchanges, which are reinvigorating the Silk Road and making it new. In essence, our research into these cultural traditions will provide us with new content for development within New Media (itself a product of New Silk Road information exchange), which will then be distributed throughout the East and the West (i.e., via the New Silk Road).

Biography: Hannes Rall has shown his work in exhibitions and been an invited speaker for workshops and conferences in over 20 countries worldwide. This includes FMX, the Stuttgart Festival of Animated Film, the Melbourne International Animation Festival and the annual conferences of the Society of Animation Studies. He has published his research outcomes and art in top tier journals like “Animation Studies” and “Cell” and published several book chapters on animation, comics and information design (Springer). His films have been shown in over 200 film-festivals worldwide (including top-tier A festivals in Annecy, Anima Mundi, Espinho, Valladolid, Odense, Santa Barbara, Dresden, Los Angeles SFF, New Orleans, etc.) and won multiple awards.

#SAS2015 / @sas2015beyond 138 Amy Ratelle University of Toronto [email protected] @phd_amy

Title: Framework of Ambivalence: Animals in Animated War Films

Abstract: Animal bodies in a military context carry ambivalent meanings, from beloved comrades in arms to notions of racial purity in Nazi Germany. Historically, animals have contributed to human conflict as transportation and labour dating back to the earliest instances of domestication. Using diverse films such as Disney’s war propaganda of the 1940s, hybrid live action/animation films such as The Incredible Mr. Limpet (1964) and explicitly anti-war films such as Miyazaki’s Porco Rosso (1992) and Princess Mononoke (1997) as case studies, this paper will examine the framework of rhetoric around the inclusion of animals in war-related media as a means by which to move beyond the constraints of anthropomorphic assumptions about the nature of human/animal relationships, and the nature of war.

Biography: Dr Amy Ratelle is currently the Editor for Animation Studies online journal. She is also the Research Coordinator for the Semaphore Research Cluster on Mobile and Pervasive Computing at the University of Toronto. She is also a member of Ryerson University’s Centre for Digital Humanities, and continues to be a Co-Investigator at Ryerson’s Children’s Literature Archive. She has degrees in Film Studies from Ryerson University (BFA), and Carleton University (MA), and received her PhD in Communication and Culture, a joint programme between Ryerson University and York University. Her research areas include children’s literature and culture, animality studies, animation studies, and critical media studies. Her monograph, Animality and Children’s Literature and Film, was published in November 2014 by Palgrave Macmillan.

#SAS2015 / @sas2015beyond 139 Cécile Renaud University of Roehampton [email protected]

Title: French Animation Dubbed: From Serge Danot’s Manège enchanté to Eric Thompson’s Magic Roundabout

Abstract: Animation, particularly when targeting younger audiences, has long been considered an exception to the norm of subtitling in British audio-visual culture. Whilst the tentative of a handful of French-language live action features raised criticisms for using dubbing vs. subtitling in terms of quality and authenticity, the dubbing of animated products into English rarely generates such discourses. Animated productions are often presented as having seamlessly shifted from one linguistic context to another, benefitting from a dual distribution allowing them to be exhibited in both dubbed and subtitled formats or distributed in a dubbed format occulting their foreignness and the translation processes undergone. The 1960s series Le Manège enchanté/The Magic Roundabout epitomises how much the localisation of the dubbed programme can affect the identity of the French import. The French-language production created by Serge Danot, was purchased by the BBC who commissioned Eric Thompson to narrate its translation. Ignoring the French audio, he wrote his own narrative from the images appearing on screen. Examining the process undergone by the series in crossing the Channel, this paper considers the impact of dubbing and rewriting on notions of authorship and national identity, and further focuses on the role of sound and voice in animation through its subversive potential.

Biography: Dr Cécile Renaud is a Lecturer in French at the University of Roehampton. Her research interests primarily focus on the contemporary cross- cultural consumption of European-language cinema, her AHRC-funded doctoral thesis obtained at the University of Southampton thus examined the distribution, marketing and exhibition of French cinema in Britain in the twenty-first century taking into account consumption contexts ranging from festivals to home viewing as well as considering the shaping of images of Frenchness and French identity. Recent research endeavors include projects in the fields of audio-visual translation and of French animation.

#SAS2015 / @sas2015beyond 140 Caroline Ruddell Brunel University [email protected]

Title: Lotte Reiniger in frame: The silhouette film and a feminine aesthetic?

Keywords Feminine Aesthetic; Lotte Reiniger; Silhouette Film; Scissor Artisrty

Abstract: In a recent paper I argued that by using scissor cut-outs and silhouette techniques, Reiniger’s construction of a fairy tale aesthetic is directly due to her process and production, but also has its roots in the magic and spectacle apparent in pre- and early cinema. This paper extends this research to consider Reiniger’s films through the problematic concept of a feminine aesthetic. As an independent artist using scissor artistry and silhouette, Reiniger’s work is often considered as craft (Handwerk), which tends to be aligned with the feminine. This alliance is made further apparent, and again problematically so, by the increasing association historically of silhouette films with fairy tale and children’s culture (Cowan, 2013). However, as Cowan also argues the silhouette film and scissor artistry has an intriguing history where, prior to the advent of photographic processes, it was a method used in portraiture to depict the real rather than the fantasy-based fairy tale. An examination of the cultural, industrial and historical changes will reveal how this understanding of craft became associated with the feminine, and will scrutinize the connotations of such an association. Reiniger provides a useful case study here; she was working in a very particular context. How does her context, position as a female independent artist, and her choice of method impact on what we see in the frame? Moreover, the question will be asked whether what we see is a feminine aesthetic.

Biography: Dr Caroline Ruddell is Lecturer in Film and TV Studies at Brunel University, London. She has published on witchcraft in television, anime, Rotoshop, and the representation of identity onscreen. Her first monograph The Besieged Ego: Doppelgangers and Split Identity Onscreen was published in 2014. Caroline is currently researching Lotte Reiniger. She is Reviews Editor for the Sage publication animation: an interdisciplinary journal and sits on various Editorial Boards.

#SAS2015 / @sas2015beyond 141 João Paulo Schlittler Universidade de São Paulo - Brasil [email protected]

Title: Animation in Graphic User Interface Design

Keywords Graphic User Interface Design; Human Computer Interaction; Industrial Animation; User Experience

Abstract: Graphic User Interface (GUI) designers have used animation in order to support human computer interaction for decades, either as a way to give feed back to users or to convey visual information, therefore enhancing the user experience. Today faster processors allow and digital devices to use even more sophisticated animation as an integral part of the interfaces that allow us to operate these devices. Animation may help explicit metaphors: such as the animated iris on the Apple iPhone’s camera, or the ubiquitous emptying trash that confirming that files have been deleted from your desktop. More recently, with the introduction of Tangible User Interfaces (TUIs), such as the ones used on tablets and that utilize gestures for interaction, animation has become an essential aspect in this sort of User Experience (UX). Using animation as a means to facilitate human computer interaction seems to be an effective way to make computers friendlier and more fun to use. All these gimmicks do not come without a cost: animation can dramatically reduce the performance of these systems or distract users from their tasks. This presentation will provide a historical overview of the use of animation in human-computer interface design, survey the state of the art today and explore future uses of animation in novel computer technologies being introduced.

Biography: João Paulo Schlittler was born in New York City in 1964. He is a designer working in film, television and digital media since 1987, creating show opens, on-air identity, title sequences for cable, broadcast television and feature films in the United States and Brazil. He holds a PhD in Design from Universidade de São Paulo and a Masters degree in Interactive Telecommunications from the Tisch School of Arts at New York University. Since 2004, he is a Professor at the School of Communication and Arts of Universidade de São Paulo. He was awarded the Rumos Itau Cultural prize in 2009 for his research in User Interface Design for Digital TV. João Paulo headed the Design department at TV Cultura in Brazil, was the Director of Broadcast and Interactive Design at Discovery Communications and Director of Graphics and Visual Effects at HBO. He has received several awards in the field.

#SAS2015 / @sas2015beyond 142 Jeremy Speed Schwartz Alfred State College [email protected]

Title: Animate the Audience: Compulsory Interactive Animation

Keywords Interactive Media; Pixilation; Video Games

Abstract: This paper examines the technical and theoretical basis of interactive works in which the viewers become animated subjects. The inclusion of digital cameras with personal computers, smartphones and systems, and the development and availability of software like Processing and Cycling 74’s Max/MSP/Jitter have allowed for an explosion of works that animate their audiences through stop motion pixilation. The approaches and strategies for accomplishing this animation range from the secretive to the intentionally absurd, and overtly intersect video games with data-collection culture. While these works often investigate issues of identity, community, surveillance and human-machine interaction, they rarely engage critically with the animation techniques they utilize.

Biography: Jeremy Speed Schwartz is an animator and artisan programmer based in Western New York. He is an assistant professor of Digital Media and Animation at Alfred State College. His areas of research include stop motion pixilation, animation for television and interactive animation. Jeremy is a founding member of the interactive art collective The League of Imaginary Scientists, board member of The iotaCenter, and former artist-in-residence at the Museum of Contemporary Art in Los Angeles. iotaCenter, and former artist-in- residence at the Museum of Contemporary Art in Los Angeles.

#SAS2015 / @sas2015beyond 143 Lisa Scoggin Independent Scholar [email protected]

Title: Betty Boop Meets the Warners: Mixing Nostalgia and Contemporary Culture in Animaniacs Parodies of Early Cartoons

Keywords Animaniacs; Betty Boop; Nostalgia; Postmodernism

Abstract: The 1990s cartoon show _Animaniacs_ purposely brought both a sense of nostalgia and aspects of contemporary culture to many of its individual segments, especially those starring the main characters: the Warners. According to their backstory, they started out as creations from early sound cartoons, circa 1929. All of this is seen and heard in earnest in a set of pseudo-historical _Animaniacs_ cartoons in which the Warners appear either in "early" Warner Brothers cartoons or as "guest stars" for other cartoon studios. In each of these, the art, direction, and music are recognizable as parodies or direct copies of cartoons from that era, while the Warners' roles in them bring in a modern sensibility and act as a voice of reflection on the times. This paper will examine two of these cartoons with this in mind: "The Girl with the Googily Goop" (a of Betty Boop) and "The Warners 65th Anniversary Special" (which includes parodies of the old "" Warner Brothers cartoons.) Special emphasis will be put on the music within each cartoon, comparing it to the respective originals and noting how it both underlies the nostalgic aspect and adds a modern twist to the episode as a whole.

Biography: Lisa Scoggin completed her Ph.D. in Musicology at Boston University and received degrees from Oberlin College and the University of Wisconsin - Madison. She has presented papers internationally, most notably at the national meeting of the American Musicological Society, the Society for American Music conference, and the North American British Music Studies Association conference, the national College Music Society conference, and Music and the Moving Image conferences. Her interests in animation focus on the interaction of music, visual aspects, and culture. She has previously taught at Boston University, St. Anselm College, and Tufts University, where she taught a course on music in American animated film. Presently, she is writing a book on the _Animaniacs_ for Pendragon Press (expected 2015).

#SAS2015 / @sas2015beyond 144 Alys Scott-Hawkins Arts University Bournemouth [email protected] @animateddocs

Title: Bedford Place Map: An Animated Documentary & Transmedia Project

Keywords Documentary; Drawing; Transmedia; Urban Spaces

Abstract: This paper will present my work on the Bedford Place Map - a project which documents and records the changing face of a local high street of small independent shops. Histories and stories form the basis of a series of 35 oral history interviews with traders and residents, old and new. Written recollections and photographs from personal archives have been collected online through social media. The outcome of the first stage of the project is a hand-drawn map which visually represents all the businesses on the street, and features excerpts from the audio interviews. This is a live project which continues to develop, namely towards an open space documentary (see De Michiel & Zimmerman, 2013) where participants can address the questions of uncertainty and changing communities by contributing their own creative responses. The larger project will explore the ways in which the area has changed over the last century and highlight the societal causes of that change. In this paper, the project will be examined in terms of its potential to use animation to emphasise memory and to convey the act of remembering personal history (see Honess Roe 2013).

Biography: Alys Scott-Hawkins is an artist and animation director, and Senior Lecturer in Animation at the Arts University Bournemouth, UK. Her short films have won several international awards, and been exhibited widely in the UK & overseas as well as in commercial DVD and print publications. Her specialist field is in animated documentary, using drawing to explore the world and tell difficult and unusual stories. Alys is co-founder of the animateddocumentary.com blog.

#SAS2015 / @sas2015beyond 145 Alexander Sergeant King’s College London [email protected]

Title: A “Fantastic” Medium? Exploring Animation as an Impulse Towards Fantasy

Abstract: An oft-cited paradigm amongst scholars of animation is that a key characteristic of the animated form is natural propensity to resist ideals of photographic realism and embrace alternative virtues of “fantasy” (Wells). However, this assumption is predicated on the idea that fantasy itself exists as an easily definable and fixed notion, and risks overlooking the way in which fantasy as both a genre and an impulse has been debated within both filmic (Walters, Butler) and literary (Mendlesohn) discourses. This paper aims to challenge the assumption that animation is necessarily a fantastic medium in order to reveal the profitable dialogue that might be exposed when combining theories of animation theories of animation with existing scholarship of fantasy. Taking as its central component Todorov’s literary concept of “the fantastic”, it aims to add further dimension to what precisely is meant by animation’s fantastic virtues. Drawing on Todorov’s theory, I argue that the material properties of animation allow for an experience whereby the spectator encounters a collection of circumstances that defy fixed categories of “the true and the false”. This refusal to be contained within a fixed understanding of what is ‘real’ or ‘not real’ gives the medium a central dynamism that animated genres and sub-genres often play upon. By engaging with exactly what the fantastic is as an aesthetic impulse, this analysis might allow us to better understand its application amongst animation studies.

Biography: Alexander Sergeant is a PhD candidate within the department of Film Studies at King’s College London. His thesis examines issues of spectatorship in relation to the Hollywood fantasy genre and was supported by a grant from the UK Arts and Humanities Research Council. His research interests include history of Hollywood cinema in twenty and twenty first centuries, film theory, theories of film spectatorship, film philosophy and psychoanalysis. He has published on these subjects in a variety of academic journals and edited collections.

#SAS2015 / @sas2015beyond 146 Pedro Serrazina Universidade Lusofona [email protected]

Title: Case Study - Site-Specific Animation for Jewish Museum

Keywords Animation; Space; Installation; Surface

Abstract: This presentation will discuss an animation project undertaken by the author by invitation of the council of Braganca (in north Portugal). The commission is for an animation piece for the Museum of the Northern Portuguese Jewish Culture, beginning early 2015. The building itself, designed by prize winning architect Souto Moura, is currently in the final stages of construction. The proposal is to be developed in close relationship with both the architecture and the historic context of the museum. The decision to use sand animation is inspired by Jewish history, as sand on the floor was used to muffle the sound of those in hiding. The animation piece will be housed in the main room of the museum, a domed area surrounding a tall monolith, and projected onto one of its side surfaces. In her recent book Surface, Matters of Aesthetics, Materiality, and Media (2014), Giuliana Bruno summarises several decades of thinking about screen and the projected surface. From McCay’s attempts to invade the screen frame to the work of Rose Bond, Blu or Trope, there are countless examples of animation seeking to expand the surface(s) of its traditional exhibition screen. Informed by that historical context and anchored by the author’s current PhD work on the creation of animated space as a narrative tool, (presented SAS 2014), this presentation will refer to the development of the piece and reflect on the collaboration of animation, history and architecture.

Biography: Pedro Serrazina is currently undertaking a PhD at the School of Communications, Univ. Lusofona Lisboa, on The Creation and Use of Animated Space. He has also been commissioned by the Museum of the North Portuguese Jewish Culture and the Instituto Camoes in Tunis, and has started writing his next short film. He studied architecture but left to dedicate himself to animation. After his 1st film, the award winning Tale of the Cat and the Moon (1995), he moved to London to do an MA in Animation at the Royal College of Art. Combining work as director with an academic career in Portugal and the UK, Pedro was course leader for the BA Animation Arts course at UCA, Maidstone (2007-09) where he curated AniMaidstone 2009, an international one-day conference dedicated to issues of local identity in animated film and the visual arts. Currently a lecturer in Animation Studies at Universidade Lusofona, he takes part in exhibitions and juries, and has published a book of illustrations & short stories. #SAS2015 / @sas2015beyond 147 Michael Shaftoe University of Sunderland [email protected] @mickshaft

Title: Musical Expressivity and Vocal Duality: The Ageing of Jessie in Toy Story 2.

Keywords Music; Performance; Pixar; Voice

Abstract: If the act of bringing an animated character to life is intrinsically challenging in performance terms, this is all the more pronounced in Pixar’s case given how often the studio’s films centre on non-human characters whose interior lives require complex levels of expression. In the past, academic writing on Pixar has tended to focus upon the films’ visual - a preoccupation owing much to what was, at the time, a newly emergent computerised style. More recently, however, there has been a growing interest in Pixar’s aural aesthetic, with Daniel Goldmark observing that Pixar’s approach to music has “brought a new level of complexity… to the long maligned animated feature” (2013: 213). Although arguably less rooted in the musical genre than Disney, Toy Story 2 makes clear how music remains integral to Pixar’s development of rich, emotionally expressive characters. ‘Jessie’s Song’ exemplifies Pixar’s complex negotiation of character expressivity through its introduction of Sarah McLachlan’s singing on the non-diegetic soundtrack. In so doing, Jessie becomes endowed in this musical moment with an additional voice to her speaking voice (provided by Joan Cusack). In exploring the expressive effects arising from the attachment of McLachlan’s voice to Jessie, particularly in conveying a sense of age and experience in what is, after all, a children’s toy, this paper seeks to highlight some of the ways in which animation can adopt a method of performativity that is unique to the form

Biography: Michael Shaftoe is a PhD Candidate in the Centre for Research in Media and Cultural Studies at the University of Sunderland. His research explores performance in Pixar animation with a particular focus upon the ways in which the body, voice and music interact in the service of a character’s emotional expression.

#SAS2015 / @sas2015beyond 148 Ben Shedd Nanyang Technological University [email protected]

Title: EXPLODING THE FRAME: Seeking a New Cinematic Language

Keywords Exploding the Frame; Giant Screen; Immersive Experiences; Virtual Reality

Abstract: What happens when our media screens are so large the frame around the image is outside our view? Animation shown on immersive high-resolution wall-size digital displays, digital dome screens, and virtual reality spaces present new and different visual ways for us to show, see, and experience the imagery we make. In cinema as we know it, a language of filmmaking has developed (wide shot, close-up, over the shoulder, stage line, moving shots, static shots, effective edit points, sound cuts, music cuts, etc.) which we all use, even as we bring our own individual styles to making our movies. As far as I can tell, all these working rules are dependent on the image being shown within a frame. I began this EXPLODING THE FRAME research in 1989 [the same year the SAS started] while directing an OMNIMAX dome film. I spent 10 weeks on a residential fellowship exploring how "frameless" screens - where images are so immersive we look around to see the entire field - need different approaches to image design and visualization. What is a closeup in virtual reality? When if ever should we cut when we seem to be ‘in’ the spaces we are seeing? Where do old cinema rules we know so well apply and when do they need to be turned on their head? I’ve found we need to reimagine our cinematic view - working from the center outward in ever widening circle spaces - and this talk will offer concrete examples to animate and go beyond the frame.

Biography: Ben Shedd, Professor Digital Filmmaking at the School of Art, Design and Media, Nanyang Technological University, is an Academy Award winning documentary filmmaker Ben has taught 66 film/video production and business courses at seven universities including his alma mater, the University of Southern California’s School of Cinematic Arts and Princeton University. In parallel with his university teaching, he has produced and directed 33 films and videos, including three OMNIMAX giant screen dome films. Ben’s first independent film THE FLIGHT OF THE CONDOR, about designing and building the world’s first successful human-powered airplane in history, received the 1978 Academy Award for Best Documentary Short Subject. Ben continues researching and developing a new cinematic language he has called EXPLODING THE FRAME for immersive media spaces. Ben describes giant screen and virtual reality media as ‘frameless first person experiences’ where we are in the movies. www.benshedd.com #SAS2015 / @sas2015beyond 149 Peter Sillett University of Kent [email protected]

Title: Zoetropic Performance: Taking Animated Characters Beyond The Film

Keywords Character Ontology; Spectator Engagement;

Abstract: When considering the concept of fictional character engagement, Structuralists would have it that we only ever engage with characters as components of a text. This view would hold that animated characters are therefore intrinsically enmeshed in their films and that we actually only ever engage with the total animated work. A figure performing a simple action in a proto-cinematic device is likewise inextricably tied to the 'text' within which they appear; a girl skipping with a rope or a clown juggling balls only exist for as long as the spin of the zoetrope or the flip of the flipbook. Traditional animated characters would seem to be the same, lasting only for as long as the image sequences which have been created for them. But where the traditional animated character parts ways with these other examples is in the potential for recontextualisation. The original sequence of cells that made up or Thumper can be dusted off and reanimated in a new context, such as The Simpsons' Springfield. Yet even in this new context, they will still remain the SAME entities that they were before. In this paper, not only will I argue that animated characters should be seen as entities in their own right, but also that those which are hand-drawn onto cell can be seen as unambiguously autonomous from their cartoon texts, precisely because they can literally be removed beyond the film frame into an abstract existence all of their own.

Biography: Dr. Pete Sillett is an associate lecturer at the University of Kent, Canterbury. His research interests are often focused on the impact that overtly artificial aesthetics have on the spectator's comprehension of and engagement with fictional worlds. This was first explored in his MA dissertation in relation to live-action films utilising artificial set design in stories about the supernatural. He later applied this interest in aesthetics and engagement to his love of animation. His recently completed PhD thesis investigated the intersections between fictional character ontology, spectator engagement and medium specificity, arguing that if we philosophically reconceptualise animated characters as virtual entities, with their own defining properties dictated by the graphic qualities of the animation medium, then we can better understand the unique ways through which animated characters are able to elicit engagement from us. #SAS2015 / @sas2015beyond 150 Ranjit Singh The Animation Society of India [email protected]

Title: Need for Production Management in Art and Animation Curricula

Keywords Production Management; Curricula; Soft Skills; Organisational Expertise

Abstract: Examining the importance of teaching production management as a formal subject, integrated into art and animation curricula. Historically, this aspect of floor management is learnt on the job. An effective producer is one that has practical experience -primarily as an artist. Moreover he/she should be well versed with the media employed, is an effective manager, is a people person, a good communicator, a problem solver, is proactive, logical and methodical in work practice and able to generate timely deliverables from the floor through implementation of practical and feasible production plans. Unfortunately such people are few and far in-between. This lacuna exists because required soft / management skills are not formally taught. Art and animation courses are heavily skewed towards required work skills, but fail to appreciate that these have to be complemented with organisational expertise as well. There are various aspects that if included in a structured manner within animation and art curricula will enable students to face the real needs of the floor. The presentation will discuss: What exactly is Production Management for art and animation? Why is it important to integrate this concept into core curricula? Present practices and curricula design in India. Essential other components for art and animation courses.

Biography: Creative Producer, Animation Director, Mentor and Author, with over 25 years experience, worked on domestic and international projects that involve 2d/3d animation, live action, creative production, direction, digital compositing and special effects for TV and Video, art direction for game assets, Web and CD content, corporate films and presentations. A founder trustee of The Animation Society of India. The first published author in the animation space from India. The Art of Animation Production Management ISBN 9350593327- Macmillan Publishers (India) Ltd. A management and productivity consultant for studios and a mentor for students. Held senior executive management positions. Designed and implemented cost effective production tracking and management systems for mid/small studios. Honoured by the industry with Lionheart of Animation 2014 and Movers & Shakers of the Industry 2007 awards. Written and published papers on various industry relevant subjects. #SAS2015 / @sas2015beyond 151 Janos Sitar Emily Carr University of Art and Design [email protected] @sitarj

Title: Animation Isn't a Medium (It's a Large)

Keywords Digital; Media; Ontology

Abstract: My presentation will argue for a definition of animation that takes into consideration all of the fields in which animation is present. One of the challenges of developing a definition of animation is the predominance of character animation for film or television which is often the default field that people are referring to when they use the word animation. This default is problematic because it makes it very difficult to apply any definition that focuses on character animation to fields outside of cinema and television like video games, software, LED boards, flip books etc. The notion that character animation is the primary mode of animation inevitably creates other conceptual problems can be identified by the statement within the medium of animation which indicates how the concept of animation has been subsumed by the materiality of film into a conceptual logic about what animation is and can be. This logic unfortunately ascribes a nature to animation that only describes a portion of a larger whole. There is a need to trying to draw a perimeter around cinematic and non-cinematic representations of animation to understand how filmic representations are part of a larger continuum of animation that enables us to describe how a world with ubiquitous computing is also one of ubiquitous animation.

Biography: Janos has been teaching an undergraduate animation history course at Emily Carr University of Art + Design since 2010. That is also the year that he started working for Boeing Canada, first as an instructional designer and currently as Business Analyst. Janos came to work in the software industry through the design and technical experience gained from work done on Synoptique, an online film journal that he helped found and operate while completing a Master’s degree in Film Studies at Concordia University in Montreal in 2005.

#SAS2015 / @sas2015beyond 152 Mary Slowik Pacific Northwest College of Art [email protected]

Title: The Power of the Vertical: Chuck Jones’s Zoom and Bored and Caroline Leaf’s The Owl Who Married a Goose

Keywords Caroline Leaf; Chuck Jones; Negative Space; Two-dimensional Planes

Abstract: While much has been written about the line in animation, my paper argues for the importance of the planes inscribed by the line in animated films that consciously use their two-dimensional properties in narrative ways. Using two very dissimilar animations, I suggest a range of possibility that planar manipulation allows. Chuck Jones’s Coyote and Caroline Leaf’s owl from her sand animation, The Owl Who Married a Goose are characters who want to escape their own element - Coyote, the surface of a road, the owl, the surface of the earth. Each wants to escape the inevitable downward pull of gravity. What most distinguishes the two animations is their use of two-dimensional space to express this longing. Gravity is an invisible force, but its effects can be seen through up-down, side-to-side movements on a vertical plane. Rather than a string of physical jokes, Jones’s cartoons exhibit a narrative progression which complicates our response to Coyote and gravity. The manipulation of figure/ground and the backlighting of the sand silhouettes allow Leaf to both play with and dismiss three-dimensional space for an owl who ultimately is as bound to the pull of the down, as Coyote. For Leaf, the two dimensional plane serves as a point of reference and also defines a psychological and ideological as well as physical space for the owl. My approach to these animations is rhetorical: I analyze the visual composition of both pieces and their aesthetic, narrative, and ethical effects

Biography: Mary Slowik is a professor of English and Literature at Pacific Northwest College of Art, Portland, Oregon. She has written on short animated films. “Telling ‘What Is’”: Frame Narrative in Zbig Rybczynski’s Tango, Wendy Tilby and Amanda Forbis’s When the Day Breaks, and Yuri Nortsein’s Tale of Tales” appeared in the Fall, 2014 issue of Animation; An Interdisciplinary Journal; “Simultaneous Narration and Ethical Positioning in Three Short Animated Films,” in Narrative, January 2013. She has also published articles on Maxine Hong Kingston, Leslie Silko, Frank Basso and Greg Sarris, Garrett Hongo, Asian American immigration poetry, and the role of narrative in writing and visual art.

#SAS2015 / @sas2015beyond 153 Craig Smith Canterbury Christ Church University [email protected] @motion_comix

Title: Motion Books: Animation and Interaction within Madefire Digital Comics.

Keywords Comics; Interaction; Madefire; Motion

Abstract: This paper will consider the influence of motion comics and earlier forms of digital comic book narrative, before analysing the emergence of the Madefire App, which has gained traction within the marketplace. Adapted titles include ’ Hellboy in Hell (2012-present), and a number of popular IDW and DC Comics. The popularity and technical sophistication of smartphones and mobile tablets, such as the iPad, have enabled comic book publishers to promote and distribute their myriad titles to new markets and audiences. The comic book reader now has the ability to search, download, and read comic book narratives without the need to visit their local comic book store. Furthermore, the screen dimensions of the iPad and other such devices enable the reader to access the material in a more familiar portrait format, rather than the desktop or laptop landscape format. The addition of motion, sound, pull focus, and reader interaction has altered both comic book readership and also modes of production. This paper will present a number of case studies and examples of user interactivity via live interactions or screencorder movies, in order to examine and classify the various forms of motion and interactivity involved.

Biography: Craig is a lecturer in Digital Media and Media & Communications at Canterbury Christ Church University, Kent. He delivers a range of modules, including: Creativity and new media, digital imaging, responsive web design, transmedia marketing practice, and branding. A Masters degree in Film and Visual Studies, attained at Queens University Belfast in 2009, informed his decision to continue theory-based research in comic book culture and the moving image at PhD level, under the supervision of Dr. Daniel Martin, Dr. Des O’Rawe and Dr. Stefano Baschiera. Craig completed his PhD in Film Studies at Queens University Belfast on the emerging field of Motion Comics in 2013. His other research interests primarily center on animation and videogames. Specialties: Research, lecturing, casual game design, transmedia pedagogy, After Effects, Photoshop, interactive design, content management, motion comics and animation research, Adobe Illustrator, HTML & CSS.

#SAS2015 / @sas2015beyond 154 Susan Smith University of Sunderland [email protected]

Title: 'Disney, Broadway and the Contemporary Animated Film Musical'

Keywords Animated Musical; Disney; Musical Performance; Song

Abstract: The remarkable global success of Disney’s Oscar winning Frozen (2013) highlights the ongoing importance of the musical dimension to the studio’s animation. Endlessly imitated, Let It Go (performed by Idina Menzel) won the 2014 Oscar for Best Original Song and the film’s soundtrack became the number one best-selling album of that year. In husband and wife songwriting team Robert and Kristen-Anderson Lopez, Disney drew on the talents of another highly successful musical partnership (as it had done previously with, say, the Sherman Brothers, Howard Ashman and Alan Menken, Menken and Tim Rice, Rice and Elton John). Yet despite the enduring popularity of the Disney songbook and the latter’s centrality to audience’s experience of the films, the musical aspect to the studio’s animation has rarely received the academic attention it deserves. This paper seeks to address this neglect by considering the important contribution that the musical elements make to the films, Disney’s contribution to the contemporary film musical more broadly and the relationship between the Disney animated musical and Broadway musical theatre. In assessing the Disney animated musical’s links to Broadway, the paper will also address the trend towards adapting films such as Beauty and the Beast, and, most recently, Frozen, for the stage and, in the second such instance, the role that animatronics and puppetry play in enabling a theatrical re-envisioning of a cinematic work of animation.

Biography: Dr Susan Smith (University of Sunderland, UK) has long-standing interests in stardom and performance, the Hollywood musical, film authorship, children’s film and literature, and cinema and the natural world. Her current research is preoccupied with the role played by performance and the musical genre in animation. She is the author of Elizabeth Taylor (2012), Voices in Film (2007), The Musical: Race, Gender and Performance (2005), and Hitchcock: Suspense, Humour and Tone (2000). She co-edits the BFI/Palgrave’s Film Stars series, was co-editor of a Screen dossier on Child Performance (in 2012) and has contributed to a number of edited collections, including a chapter on The Animated Film Musical for The Oxford Handbook of the American Musical: Stage and Screen (2011).

#SAS2015 / @sas2015beyond 155 Vicky Smith University for the Creative Arts [email protected]

Title The Animator’s Body: Producing & Performing Non-Standardized Forms and Movements.

Keywords Comics; Interaction; Madefire; Motion

Abstract: This presentation critically reflects upon the role of the animator (absorbed with) making imagery directly onto the filmstrip. In cases where film is inscribed by the physical body or with instruments other than the camera, the repetitive frame-line is no longer imposed on its surface. Such frameless film throws into question its status as animation; yet these marks are traces that have a live animated quality and though they spill across the strip, nevertheless possess a sequential boiling character. J. Barker observes that it is only when we operate in non-habitual ways that the body’s intermittent character is brought to consciousness (2012). The animator occupied in direct film-making and performing the role of a substitute copying machine can be seen to manifest and amplify such enhanced somatic awareness. Vicky Smith will show examples from her practice of the choreographed animator’s body, used as material directly on film, and discuss resonances between experimental materialist film theory (Malcolm Le Grice, 1977) and feminist studies of the body in animation (V. Carter, 1984, L. Cartwright, 2012) in terms of how both place possibilities for representing irregularity or malfunction as a driver of the creative enquiry and as a significant tool for, ‘recomposing the universe’ (J. Hatfield, 2005). She will demonstrate that irregular marks made on film generate non-standard novel film languages, and shape a radically altered view of the animator’s presence.

Biography: Vicky Smith has been practicing experimental animation for 25 years. Key 2014 exhibitions include: Noisy Licking, Dribbling and Spitting published by Cornerhouse Artist Film & screened at the ICA and at ‘Explorative Sensoriums in Film and Video’, Arnolfini Gallery, Bristol; Bicycle Tyre Track in ‘Assembly’ at Tate Britain. Recently published work includes Full Body Film in Sequence (2013) She was Workshop Organiser at the London Film-Makers Co-op, lectured in Film Studies at the University of the West of England and is currently at the University for the Creative Arts, teaching Digital Film and Screen Arts and researching the role of the body in films made without cameras.

#SAS2015 / @sas2015beyond 156 Vibeke Sorensen Nanyang Technological University [email protected]

Title: The Multidimensions of Vishwaroop

Keywords Digital Animation; Dome Film; Interactive; Visual Media

Abstract: The title Vishwaroop (vishwa: universe and roop: form) is from Hindu philosophy and means the appearance of God or Brahma in forms that incorporate the creation of worlds and the universe within them. The five main elements of the Universe in Hindu philosophy are fire, earth, air, water and ether (space). This animation is produced using Pure Data/GEM, and the process is a real-time emergent system that continuously generates new forms and includes these elements as sources of data. Vishwaroop was conceived as a non-Cartesian work for exhibition in domes and other immersive environments that reflect concepts of oneness associated with Asian cosmologies. It has been exhibited in several formats ranging from large scale planetarium domes to spherical stereoscopic screens that also include interaction with plants and wearable technologies, thereby extending the screen to multiple dimensions that fluidly connect music, animation, life and the body, and the environment. This talk will describe the philosophy, concepts and techniques that informed the creation and exhibition of this work. Animation and programming is by Vibeke Sorensen with technical assistance from Nagaraju Thummanapalli. Music is by Sitar Virtuoso Kartik Seshadri. It was produced at the School of Art, Design and Media at Nanyang Technological University, Singapore and premiered at the Reuben H. Fleet Science Center in San Diego, California as part of the NWEAMO Festival on March 23, 2014.

Biography: Vibeke Sorensen is Professor and Chair of the School of Art, Design and Media at Nanyang Technological University in Singapore. An artist working in digital multimedia, experimental animation, stereography, interactive architectural installation, and networked visual music performance, her work in new media spans more than 4 decades and has been published and exhibited worldwide, including in books, galleries, museums, conferences, performances, film and animation festivals, television, and the internet. She has a long history of interdisciplinary collaborations, including in the development of new technologies at Rensselaer Polytechnic Institute, Princeton University, University of Southern California, University of California, San Diego/San Diego Supercomputer Centre, Neurosciences Institute of La Jolla, and the California Institute of Technology. Her recent work in large scale, animated interactive visual music installation employs physical computing and biorhythms of plants.

#SAS2015 / @sas2015beyond 157 Andi Spark Griffith University [email protected]

Title: Who/What are/Will Represent/s the Myriad of Australian First People's Animation

Abstract: Defining or categorising the Australian First People is an onerous task. Original data (pre-colonial settlement) lists at least 200 different language groups across the country, each with specific customs and cultures. Negotiating communications and protocols between these cultures, let alone between white Australians is often fraught. The visual and narrative cultures of the myriad First People seemingly offer a perfect fit for creating animated works: figurative characterisation, high degrees of abstraction, mythic fables, plus action and drama in magic-realist mode. There has been a number of attempts to capture this in animated form with varying degrees of success. Examples include the “Aboriginal Nations” series, and the recent “Dust Echoes” series. This presentation looks at the clash between technology and techniques, cultural protocols, and a truly collaborative model to represent the depth and richness of First People's stories, affording potential for cross cultural fertilisation.

Biography: Andi heads the Animation program at Griffith University, Queensland College of Art, from a long background in character animation. Her position as animation director led to collaborations with artists, animators and musicians as supervising producer for internationally award winning short films and music videos, garnering prizes from numerous film festivals including Annecy, Cannes and Melbourne. Her career as an educator began with the Victorian College of the Arts and Swinburne University and she has travelled extensively as a visiting scholar, including to California USA, Taiwan, China, Malaysia and New Zealand. She has exhibited works in a number of group exhibitions, including animation installations and site-specific projections for public art screenings, and recently produced the animated 'sets' for Opera Queensland's La Boheme season. Her current research project focuses on responses to issues of anxiety and depression, specifically postpartum depression as part of a major research project regarding the representation of adult women in animation.

#SAS2015 / @sas2015beyond 158 Jared Stanley Texas Tech University, Bob Jones University [email protected]

Title: Laryngitic Line: TV & The American Animators Loss of Voice in the 1960s

Keywords 1960s; Censorship; Domesticity; Television

Abstract: Media consumption in the United States dramatically changed during the 1960s era due to the increasing popularity of the television causing a in the production and viewing of animation from serving an adult public in the theater setting to the private-sphere that included children and adolescents. While this transition hosted an explosion of cartoon development, the sponsor and broadcasting standards prompted studios to begin practicing self-censorship to avoid costly revisions, dampening the once poignant voice of the animator. Most animators, in particular those working in a studio, now found social critique outside of the parameters of his job. Using as a gauge for the field, television animation seemed more consumed with domesticity rather than commenting on the nation’s political and social developments of the time. Through a critical analysis and comparison of select animations from 1960-1969, this study contends that with both the introduction of television to the domestic sphere and the consumer-driven approach of network executives, animators experienced new challenges in creating animations that addressed larger social issues, while simultaneously accommodating the various ages, genders, and spending practices of this new "living room" audience. Ultimately, these challenges contributed to the societal turbulence of the 1960s by restraining the animator from social engagement beyond the household.

Biography: Jared Stanley, art and design faculty member at Bob Jones University is currently pursuing a Ph.D. in Critical Studies and Artistic Practice in the Art Department at Texas Tech University. Stanley’s current research investigates the influential nature of visual culture in public and private grief. Cultural influences such as government, religion, family, music, and visual culture impact how an individual reacts to death. By studying historical examples of how art and culture influenced the way people memorialized or mourned, he seeks to explore, similarly, how today’s visual culture through advertisements, cinema, art, and everyday interactions impact the griever. Through this research, he hopes to relieve the pressures on individuals who have experienced great loss.

#SAS2015 / @sas2015beyond 159 Gunnar Strøm Volda University College [email protected]

Title Animation Workshops with Kids - How and Why?

Keywords Animation Pedagogy; Animation Techniques; Animation Workshops

Abstract: Since the 1970s professional animators have made workshops with children. The ASIFA Workshop Group was founded in Annecy in 1979. Nowadays such workshops are more popular than ever, mainly because of better and more accessible equipment. The aim of such workshops has been both to introduce Young artists to the magic world of animation, and often to use animation as a pedagogical tool. The animator has developed his/her technique and workshop methodology. Several instruction manuals have been written (Langford, Ericsson, Aarstad, Engler and many more), but no research has been done on how animation workshops are done, what techniques are mostly used, what age/group size/location/duration is the best? And why? A research project at Volda University College (VUC), Norway, tries to answer these questions. We arranged seminars and workshops in the spring 2014, and a questionnaire for a survey on animation workshops was distributed in autumn 2014. The survey has a Norwegian focus, and half of the 60 respondents (all animation workshops instructors) are Norwegian. The rest is international capacities within the field from 17 countries around the world. At the SAS conference, we want to present the results of this research. VUC Associate professors Marit Ulvund and Gunnar Strøm are in charge of the project with close collaborations with The Norwegian Film Institute and Norwegian Animation Center.

Biography: Gunnar Strøm, Assoc. Professor Volda University College, Norway. Has made animation workshops since the 1980s. Longtime member of ASIFA Workshop Group. Producer of the Lillehammer Olympics 1994 workshop with animators and children from 17 countries from 4 continents. Former ASIFA Vice President and Secretary General. Published widely on animation, documentary and music video. Has programmed for and been on juries at film festivals around the world.

#SAS2015 / @sas2015beyond 160 Sam Summers University of Sunderland [email protected] @samsummers0

Title: The Evolving Use of Intertextuality in DreamWorks Animation

Keywords DreamWorks; Intertextuality; Parody; Postmodernism

Abstract: Since the huge success of its 2001 fairy tale satire Shrek, DreamWorks Animation has become increasingly known, and criticised, for its reliance on real- world pop culture intertexts to inform its characters, settings and humour. However, a palpable evolution can be seen in the way the studio deploys these intertexts across its body of films. While their immediate follow-ups to Shrek often refer to a disparate range of popular culture, resulting in a disconnected of quotations, later works aspire to more cohesive parodies of specific genres. Both approaches have produced films devoid of Shrek's overtly satirical bent, and therefore would seem to illustrate Fredric Jameson's conception of '' as distinct from parody, 'a neutral practice of such mimicry, without any of parody's ulterior motives, amputated of the satiric impulse'. Yet, as this paper will argue, they actually reveal the inadequacy of Jameson's framework for approaching the contemporary wave of intertextual animated features. My analysis will focus on two of DreamWorks' films, (2004) and Kung Fu Panda (2008). I will look at their different approaches to employing intertextual references from the perspective of Jameson's work on pastiche, as well as that of his critics, in order to determine to what extent either of these works conform to existing definitions, and how we can better understand and discuss the relationship between text and intertext in contemporary animated features.

Biography: Sam Summers is a PhD candidate at Sunderland University's Centre for Research in Media and Cultural Studies. His research focuses on the use of intertextual references in contemporary animation and DreamWorks' animation in general, with a view to contextualising and historicising the studio's role in the development of the medium.

#SAS2015 / @sas2015beyond 161 Reza Yousefzadeh Tabasi Bournemouth University [email protected]

Title: Negotiating Exoticism, Inter-Cultural Communication and Subversive Realism: Preliminary Thoughts on the Condition of Iranian Socially-Engaged Animation.

Keywords Documentary Animation; Exoticism; Inter-cultural Communication; Subversive Animation

Abstract: Edward Said’s discussions of the Other and the exotic in art provide a departure to examine the politics of identity in the works from outside the West. Roman Jakobson argues that realism is 'revolutionary' by nature. Artists need to subvert the existing modes of practice in order to draw the attention of an audience to previously unnoticed elements within their works. In recent years documentary animation has been introduced to contexts outside the West. This inter-cultural exchange has resulted in a realist practice that operates within a more complex model of Jakobson’s triangle of artist/critic/audience. The works produced in contexts like contemporary Iran engage with two levels of critic/audience: local and international. This paper reconsiders Jakobson’s argument in light of Saeed’s thesis. It argues that political constraints within Iran, economical conditions of animation production in the country and ever increasing possibility of reaching an international audience- facilitated by the emergence of various forms of digital communication- have resulted in the production of works that primarily target the international audience. The new works incorporate socially and culturally specific elements to respond to a taste of an international audience. An attempt to subvert/challenge a local social issue is replaced by a tendency to respond to a western audience’s craving for something new or rather exotic.

Biography: Reza Yousefzadeh Tabasi is a lecturer in computer animation at Bournemouth University in the UK. He finished his PhD on the effects of context in socially engaged animation in 2011. His research interests include realism, documentary animation and animation as a subversive mode of practice. He is currently exploring Iranian socially engaged art from the standpoint of subversion and realism. He is interested in the treatment of space -including location and geography- in Iranian cinema. He is also developing ideas for a sequel to his film Mr and Mrs Mockroach, a socially engaged animation that was produced as the practical component of his PhD and addresses the perception and treatment of women in Iran. #SAS2015 / @sas2015beyond 162 Paul Taberham Arts University Bournemouth [email protected]

Title: Robert Breer and the Camera/ Eye Dialectic

Keywords Avant-Garde; Perception; Robert Breer; Vision

Abstract: In my proposed paper, I will demonstrate how Robert Breer was an artist who looked inwards to his own perceptual facilities, and taking sense as muse, produced work that compelled viewers to attend to their perceptions in unique ways. Cinematic vision can be erroneously understood as being synonymous with human vision. What the human eye is capable of seeing and what the camera is capable of sharing is alike in some respects, but different in significant ways. While the visual experience of popular cinema bears some resemblance to everyday vision, it does not capture the full range of possibilities, and so exploring the dialectical relationship between the camera and the eye means that you creatively explore the ways in which the two are both alike and divergent. Collectively, avant-garde filmmakers such as Robert Breer have turned that dialectical relationship between the camera and the eye into a positive, creative force, producing films which reveal and highlight the difference between the eye and the camera. I will explore Breer’s visual style, then, in the context of research on visual perception, focusing on motion perception. My paper will advance the claim that his work compels the viewer to pay attention to their own perceptual thresholds as a means of aesthetic interest, and attend to their visual perceptions in novel and unfamiliar ways that are only possible through the medium of animation.

Biography: I completed my PhD in Film Studies at Kent University in 2013, and began working at the Arts University Bournemouth in 2014. I have published in Projections: The Journal for Movies and Mind, Animation Journal, and The Routledge Encyclopaedia of Film Theory. I am also the co-editor of Cognitive Media Theory (Routledge, 2014), with Ted Nannicelli.

#SAS2015 / @sas2015beyond 163 Tony Tarantini Sheridan College [email protected]

Title: Within, between, or beyond the frame: a discussion on student research and professional transformation in undergraduate animation programs

Abstract: A panel discussion on animation group productions, as research and inquiry based transformational undergraduate experiences (Mezirow) that prepare students for a professional carer – a key objective shared by animation programs at both Sheridan College (Canada) and at Arts University Bournemouth (UK). Typically students are involved in an exciting convergence of integrated scholarly activities (Boyer, 1990), engaged as researchers, practitioners, and as partners in the production of creative and intellectual artistic work, the animated short film. Working in a field as dynamic as animation requires the combination of knowledge and skills related to the field and informed by technology. In addition, industry expectations suggests that in order to have a long term successful animation career, these should be underpinned by essential interpersonal and collaborative skills. These skills are difficult to master and even harder to teach. Group productions are epistemic communities where this learning can take place. They inspire collective creativity and the development of emotional intelligence, communication and negotiating skills and the effective management of team dynamics. They elevate the learning from aptitude development to professional growth and provide vigorous pedagogical arenas where students participate in real world practices. The discussion will focus on group film productions as learning communities and transformative spaces (physical and curricular) but also as effective spaces for collaborations between disciplines. Additionally, how industry partners can be leveraged to enhance production/research experience, and scholarly ways on developing the curriculum and enhancing student learning within group film productions.

Biography: Tony teaches in the Bachelor of Animation at Sheridan College. He mentors four group animation productions and is the animation Industry Day Coordinator—a year end event where animation students showcase their talents to animation industry representatives. Before dedicating himself to full time teaching Tony was a veteran of the animation industry with over 20 years of experience in both features and TV series productions, credits include: Care Bears, Little Bear, Babar,The Magic School Bus, Franklin, Redwall, Rupert, Ace Ventura, Pippi Longstocking, Bob & Margaret. He has taught a wealth of animation and visual arts course and is an active action researcher and documentarian of local Toronto artists and their practice. His current focus is Undergraduate Research and the Scholarship of Teaching and Learning.

#SAS2015 / @sas2015beyond 164 Kirsten Moana Thompson Victoria University [email protected]

Title: Rainbow Ravine: Colour and Animated Advertising in Times Square

Keywords Animated Advertising; Media Archaeology; Times Square; Visual Culture

Abstract: Since the early 1900’s Broadway has been called the Great White Way because of the proliferation of its light-studded movie marquees and advertising signs. In fact this was a misnomer, for Broadway and Times Square were in blazing color from the first electric billboard created by Oscar Gude in 1891. Indeed by the thirties the New York Times remarked on its chromatic brilliance, calling it ‘Rainbow Ravine’ and ‘Red Square’. This paper argues for an expanded understanding of animation beyond the (cinematic) frame by examining electrical signs in the late nineteenth and early twentieth century in Times Square/Broadway as intermedial forms of animation that mobilized scintillating, pulsing or syncopated images and texts as attraction or narrative loops. It will trace how this advertising emerged out of a series of technological and aesthetic changes which aligned color with the invention of electricity and later neon, and transformed urban space. This media archaeology will focus on specific signs like the Heinz Pickle (1900), the Heatherbloom Petticoats (1909) and the Egyptienne Straights Girl (1912), whose advertisements functioned as new technologies in displaying color as ornament. More particularly it will consider how the earliest decades of Times Square spectaculars marshaled sensual and affective experience, linking color, glass and light stimuli in elaborate rhythmic patterns of movement, which offered ‘eye appeal’ in mesmerizing images.

Biography: Kirsten Moana Thompson is Professor of Film Studies and Director of the Film Programme at Victoria University, in Wellington, New Zealand, and previously Associate Professor and Director of the Film Program at Wayne State University in Detroit. She teaches and writes on animation and colour studies, as well as classical Hollywood cinema, German, New Zealand and Pacific studies. She is the author of Apocalyptic Dread: American Cinema at the Turn of the Millennium (SUNY Press, 2007); Crime Films: Investigating the Scene (Wallflower: 2007), and co-editor with Terri Ginsberg of Perspectives on German Cinema (GK Hall: NY, 1996). She is currently working on a new book on Colour, Visual Culture and Animation.

#SAS2015 / @sas2015beyond 165 Lynn Tomlinson Towson University [email protected]

Title: Animating the Transformative Self: the art and legacy of Sky David/Dennis Pies

Abstract: From the post-Vietnam era to the 1980s, experimental animators used innovative analogue and nascent digital processes, seeking to expand consciousness and blur the line between life and art. Their work influenced Hollywood films as visual effects set in outer (and inner) space, and paved the way for immersive media environments and the acceptance of animation in the fine arts. A key experimental animator, Dennis Pies, known for his luminous shorts including Aura Corona and Luma Nocturna, created sequences for the film Dreamscape; performed live with his animation, and through his own teaching influenced many animators (including Tomlinson herself). In the 1990s he transformed himself from animator to alternative healer, changed his name to Sky David, and left animation for several years. Metamorphosis and rebirth is a recurring theme in his work and life: returning to animation and drawing at turn of the millennium, he reflected on the transformative trauma he experienced as a sniper in Vietnam, revealing suppressed memories in Field of Green, A Soldier’s Animated Sketchbook. Tomlinson’s presentation includes seldom-seen examples of Sky David’s work set in a cultural context; looks at interconnected social webs of experimental animation through interviews with peers and students; and speaks to the transformative power of animation pedagogy, analyzing the lasting impact of Sky David’s kinetic exercises on her latest clay-painted film.

Biography: Independent animator, curator, and scholar Lynn Tomlinson’s projects investigate animation’s intersection with painting, sculpture, puppetry, performance, and interactive experience, with a focus on metamorphosis and transformation and unknowable states of subjectivity. Her recent award-winning short, The Ballad of Holland Island House (2014), uses under-the-camera animation to tell the true story of the last house on a sinking island in the Chesapeake Bay. Her work has been broadcast on PBS Kids, MTV, HBO, and , and has screened in international festivals including the Black Maria, Cinanima, the Ottawa International Animation Festival, and Anima Mundi. Her work and teaching workshops are profiled in The Animation Bible by Maureen Furniss. She has taught animation at the University of the Arts and Cornell University, and is currently Assistant Professor in Electronic Media and Film at Towson University outside Baltimore, Maryland.

#SAS2015 / @sas2015beyond 166 Dan Torre RMIT University [email protected]

Title: Caricaturized Cacti and Personified Plants: Animation’s Engagement with the Botanical

Abstract: This paper focuses on the depiction and personification of plant-life in animation. Though a considerable amount has been written about anthropomorphized animals; there has been comparatively little discussion that has centered expressly on the animating of botanic forms. Plants, like animals, are living organisms (inherently infused with movement and vitality) but, unlike animals, we are not normally given the opportunity actually to see plant-life move before our eyes. Animation is one method by which we can witness representations of this inherent locomotion. This paper looks at some of the surprising anthropomorphic qualities that can be expressed by real-world plant-life; it then analyses how these qualities have been amplified visually through illustrative arts, time-lapse photography and, particularly, through animation. It will then suggest that, because of our real- world knowledge (and conceptual interpretation) of how plants naturally move, and of animation’s inclination towards exaggeration and personification, some rather unique scenarios have arisen when animation engages with the botanical. A number of relevant animations will be analysed in this context, ranging from Disney’s (1932) to the video game, Plants v. Zombies: Garden Warfare (2014). These discussions will be set against an interdisciplinary backdrop of process philosophy, botanical studies, and contemporary animation theories.

Biography: Dan Torre is Lecturer in Animation and Interactive Media in the School of Media and Communication at RMIT University in Melbourne, Australia. His current research interests include philosophy and animation, documentary, natural sciences, and Australian animation history.

#SAS2015 / @sas2015beyond 167 John Tyrrell University of Sunderland [email protected] @humarbeia

Title: Pret-a-Dessin / Drawing-in-a-box

Keywords Animation; Drawing; Reception; Movement

Abstract: Pret-a-Dessin / Drawing-in-a-box: a new technique being developed as part of the Heart Group to assist the development of autistic animators who will benefit through the process. A case-study where a drawing structure developed for a Big Draw workshop run this year as one of several projects John organized for the Drawing Society. The structure is an installation which permits five to draw a portrait where the view is focused and controlled. This process has potential benefits for autistic spectrum animators because the box blocks the visual overload and divergence beyond the frame. Developing beyond the frame, Pret-a-Dessin / Drawing-in-a-box is adapted as a tool where both the subject and the animator are able to move three- dimensionally in the process of drawing for animation. This case study is a development from a previous paper Reception Animation; The interaction of reception theory within animation and drawing context.

Biography: John Tyrrell is the founder of The Drawing Society and senior lecturer at the University of Sunderland. He is a member of HEART (Healing Education Animation Research Therapy). His work includes research into drawing, participatory animation methods when working with people diagnosed on the Autistic Spectrum and teaches across a wide set of disciplines; figurative sculpture, architectural design, modelmaking, illustration, Animation, spatial design. John has worked as an industrial sculptor and as an architectural designer. He was commissioned, to write a book on Design and has given papers about his research at such places as The Design History Conference at The V&A/RCA, The 2014 SAS conference in Toronto and the 2015 BAF conference.

#SAS2015 / @sas2015beyond 168 Christine Veras Nanyang Technological University [email protected] @chveras

Title: Silhouette Zoetrope, reinventing the wheel

Keywords Animated Installations; Expanded Cinema; Optical Devices; Zoetrope

Abstract: In contemporary times, with advances in digital technology it is possible for animation to expand its potential and explore a kind of experience that was already stimulated by optical devices, and that many contemporary animated installations recreate. This paper relates to my current PhD research in which physical and digital multimedia strategies are analysed to connect contemporary art installations that use animation, referred to here as animated installations, to pre-cinema optical devices. As research project, I am proposing to register the creative process, structure and production procedures of my own animated installation. Among the experiments developed so far, this paper will focus on introducing a Zoetrope spin off I have created, inspired by the shadow puppet theater and shadow puppet film traditions. The different uses of this derivative optical device are being tested and its ongoing investigation will be presented, aiming to renew the uses of pre-cinematic optical devices as a possibility to experience animation outside theatres, expanding it beyond the limits of the screen.

Biography: Christine Veras has a B.A. in Animation and a M.F.A. in Visual Arts both from the School of Fine Arts at the Federal University of Minas Gerais (UFMG), Brazil. Currently she is a PhD candidate at Nanyang Technological University, School of Art, Design and Media in Singapore. Her PhD research in Animated Installations: astonishment and the quest for an expanded cinematic experience uses physical and digital multimedia strategies to connect animation, contemporary art installations and visual music to provide a unique experience for the public. To investigate theories and ideas connected to her research Christine created a visual music piece, an interactive sound flipbook project and she has recently developed a Zoetrope spin off, all in search of a sensorial experience using animation.

#SAS2015 / @sas2015beyond 169 Paul Ward Arts University Bournemouth [email protected]

Title: Storyboarding, Storytelling and Animation Labour - Aardman Style

Keywords Aardman; Labour; Storyboarding

Abstract: Storyboards are not simply boards that tell stories - they are “a material contract between the artist and the future film’ and ‘boundary objects’ that bridge different knowledge and development states” (Blatter, 2007: 4; 5), thereby connecting the activities of a range of personnel in the overall production pipeline. They are therefore key pre-production assets that need to be understood across a variety of contexts - not all of which are directly (if at all) to do with ‘telling the story’. Stahl (2005) examines how a deeper understanding of storyboarding in animation production enables us to discuss individual labour activity in a collaborative production process - in other words, to allow us to ask the question: ‘Who is the artist who has the contract with the future film?’ In this paper I use Blatter and Stahl’s work to examine the role of storyboard artists at one of the UK’s most celebrated animation studios, . Through discussions with key personnel such as Luis Cook, Ashley Boddy and Michael Salter I will discuss how the boarding process works and how individual and collective labour are realized in the finished projects. References J. Blatter (2007) "Roughing It: A Cognitive Look at Storyboarding", Animation Journal, vol 15, 4-23. M. Stahl (2005) “Nonproprietary Authorship and the Uses of Autonomy: Artistic Labor in American Film Animation, 1900-2004” Labor, 2(4), 87-105.

Biography: Paul Ward is Professor of Animation Studies at the Arts University Bournemouth, UK, where he is Course Leader for MA Animation Production and supervises research students. His research interests include animated documentary, TV animation and the relationship between animation theory, practice and pedagogy. He has published numerous journal articles and anthology essays on these topics. He served as President of the Society for Animation Studies from 2010-2014.

#SAS2015 / @sas2015beyond 170 Paul Wells Loughborough University [email protected]

Title: Putting the 'Stud' back in Animation Studies: 'Sinderella', SEx and Film Form

Keywords Amplification; Dilution; Film Form; Sex

Abstract: Using the cause célèbre of Sinderella (Dir: Ron Inkpen, UK, 1972), supposedly Britain’s first animated pornographic film, banned by Bow Street Magistrates Court and the United States District Court, New York, this paper addresses some of the ways in which sex has been represented in animation. The memorandum of decision in the US court case discusses Sinderella within the broader context of animation as a form, film culture in general, pornography, and issues of reception, providing a pertinent conceptual platform by which to investigate how ‘sex’ is viewed in animated films. I have suggested that animation has a specific language of expression, employing metamorphosis, condensation, associative relations, anthropomorphism, etc, and is characterized by the mutuality and simultaneity of ‘dilution’ and ‘amplification’. On the one hand, then, sex, might be seen as just drawings, puppets, clay etc, seemingly innocuous, exaggerated, ‘unreal’, while on the other hand, in the most extreme, perverse and uninhibited way. With the proliferation of , ‘Disney porn’, the reclamation of subversive animation from the past (including stag films like Eveready Harton in Buried Treasure) as well as recent challenging engagements like Princess and Tatsumi, this discussion will attempt to review the contemporary implications of this in relation to gender, race and identity, and for Animation Studies itself. [NOTE This presentation will include material that some may find offensive]

Biography: Professor Paul Wells is Director of the Animation Academy, Loughborough University, UK. He has published widely in Animation Studies including his most recent book, 'Animation, Sport & Culture'. He is also an established writer and director for Film, TV, Theatre and Radio; his most recent documentaries include 'Mackinnon & Saunders: A Model Studio' and 'Whispers & Wererabbits: Claire Jennings - Producer'. He is currently writing an animated feature film and a collection of short stories.

#SAS2015 / @sas2015beyond 171 Steve Weymouth University of New South Wales [email protected]

Title: Proprioception and Animation: Somatic Sensation and Animation Pedagogy

Keywords: Animation; Embodiment; Pedagogy; Proprioception

Abstract: One of the most difficult aspects of introducing students new to animation practice is getting them to effectively evaluate the codified movement in the animation they create. Evaluation for weight, balance, follow through and overlapping actions would seem poor at the best of times. It would seem that cognitive overload occurs and can only be surmounted through time, persistence, and practice. Difficulty in effective evaluation of animated movement can inhibit student’s development as animators. Engaging proprioceptive sensations in developing a more focused awareness on movement felt in the body, could help students develop a stronger awareness of the codified movements of animation principles. Proprioceptive awareness can be stimulated in a number of ways, including meditation on movement through performance, or rehearsal of physical actions. Practices such as drawing and observation can also help to improve awareness of animated movement, however, research into dance and performance techniques such as Laban, Alexander, and Feldenchrist methods show greater promise. Neuroscience research in dance has shown that the more familiar we are with particular movements, the more we recognise that movement in others; in this case a recognition of the animation principles can be instilled through proprioceptive awareness. This paper will explore movement techniques but focus on the recent Franklin method, developed by the Swedish dancer Eric Franklin. The Franklin method includes visualisation techniques and movement exercises that help to develop an enhanced awareness of the movement in the body. Through developing strong connections with their body, students new to animation as a practice would seem to gain a more effective understanding of animated movement.

Biography: Lecturer in Animation & VFX within Media Arts at the faculty of Art & Design, University of New South Wales Australia. Steve’s interests combine research into learning and teaching, cross-disciplinary research in neurological perception of motion, and animation practice. He is particularly interested in the role of the body plays in animated performance, and animation processes. Steve builds on his previous industry experience including freelance and commercial work as a 3D CGI artist, including four years of employment at the Sony Computer Entertainment Europe in London. He has also worked closely with theatre and dance creating sets, lighting design and performance.

#SAS2015 / @sas2015beyond 172 Aylish Wood University of Kent [email protected] @aylishwood

Title: Making Movements: Technological Imaginations of Animators and Algorithms

Keywords: Algorithms; CG Animation

Abstract: When looking at the Minions in Despicable Me, the algorithms creating their movements are probably not the first thing that comes to mind. My paper excavates the processes of software to better understand how software mediates. To put it another way, I explore how software fills the gaps between the poses of a moving entity. Technology has always been part of how images in animation join up, whether as cameras used in capturing an image of drawings or stop- motion models, or as part of the process used in creating the drawing or model. The in-betweens drawn for a cel-animation, or the individual poses of a model can gather or lose momentum through the mediations of technologies. Computer- generated animation is distinctive, its difference lies in numerous automated processes making movements happen. The mediations of technology go deeper, the joined-up-ness of computer-generated animation incorporate both inputs of an animator and parameters of algorithms used to make movement happen. Contemporary 3D animation software rely on several different techniques for creating movement: keyframing, kinematics, and dynamics. Algorithms are often seen as neutral devices that abstract motion and recombine it according to the conventions of a narrative such as Despicable Me or a real-time simulation of virtual humans. Filling the gaps between poses, however, not only creates movement but also brings the history of software and its technological imagination into the present of an animator.

Biography: Aylish Wood is a Reader at the University of Kent. She has published articles in Screen, New Review of Film and Video, Journal of Film and Video, Games and Culture, Film Criticism and Animation: an Interdisciplinary Journal. She has studied images of science and technology (Technoscience in Contemporary American Film, 2002). Her book Digital Encounters (2007) is a cross media study of digital technologies in cinema, games and installation art. She has recently published Software, Animation and the Moving Image: What’s in the Box (2015), which looks at the intersections between software and the production of moving images, a study that encompasses games, animations, visual effects cinema, and science visualizations.

#SAS2015 / @sas2015beyond 173 Richard Yarhouse Kendall College of Art and Design [email protected]

Title: Motion Comics: Experimenting with a Metamedium

Keywords Experimental; Motion Comics; New Media; Theory

Abstract: Comic art engages the user in a process that involves having to interpret not only the relationship between images and words but time as described by the sequencing of images, text and panels. The medium provides a symbol system that when interpreted, engages the viewer as collaborator in the message and the moment. Comics provide a sense of motion that requires participation in order to bring to life. This process, called closure, allows the viewer to animate the medium as they engage in the absent presence (Jacques Derrida) or reading between the lines. As comics are translated into the digital realm they take on the characteristics of the new medium such as, numerical representation, modularity, automation, variability, and transcoding as described by Lev Manovich in The Language of New Media. The transparency of the medium of comics is disrupted by the fusion of the plasticity of new media. How does this impact the user experience? The key concern of this research is whether two very different methods of thinking about time and space can be married together to create a metamedium that expands the potential for comics without weakening its power of closure. Our explorations will go beyond the typical hybrid media attempts made by corporate comics companies to gussy up their back catalogs with limited animation to look for what unique characteristics motion comics might offer.

Biography: R. Brad Yarhouse is a practicing digital media designer, animator, and artist. His films have been shown in festivals and events around the world, including the '2013 Best of ASIFA' presented by Nelson Shin at the Canlandiranlar Animators Festival, Turkey, Les 24 heures de l’animation (2011) in Brussels, Belgium, and the 2005 Film Festival. He has also presented his research on animation and comic studies at conferences such as the Society for Animation Studies Conference in Melbourne, Australia, and the Avanca Cinema Conference in Portugal. His essays on contemporary animation and comics have been published in peer-reviewed journals including The International Journal of Comic Art and The Journal for Animation History and Theory. He teaches at Kendall College of Art and Design in Grand Rapids, Michigan in the Digital Media, and Visual and Critical Studies programs. #SAS2015 / @sas2015beyond 174 Millie Young Mahidol University International College [email protected]

Title: Unseen Thailand - Shorts, Festies, Line and DIY

Keywords Festivals; Online; Shorts; Thailand

Abstract: Further delving into Thailand’s national and cultural identity in Animation this presentation will discuss five selected case studies from small to medium animation studios in Bangkok that are shaping, shifting and redefining what is . 1. The Monk, http://themonkstudio.com/ a boutique studio that is expanding it’s creativity through individual director’s personal short films in a bid to develop international recognition. 2. Vuja De https://www.facebook.com/vujadeanimation/timeline set up by the director of and Echo Planet bringing skills from experiences in the big studios at home and abroad into more personalised works. 3. Wishberry https://www.facebook.com/thewishberry/info?tab=page_info specialising in preschool heart-crafted animation and expanding into the line character e-motion communications and online cartoons. 4. Sputnik Tales https://www.facebook.com/sputniktales who have set up Animator festival an annual competition that is expanding and developing social content in animation. 5. Rosuflood https://www.youtube.com/user/roosuflood a pop up studio who set up in a DIY direct action response to the misinformation prevalent during the environmental Flood disaster of 2011.

Biography: Millie is an independent animator, winner of the UK Arts Council/Meridian TV Taped Up award in 1999 for Tally Bloody ho! she also ran Millimation’s Animation Workshop began in Brighton, UK producing and creating animation and documentary films by, with and for the community. Her work deals with oral narratives, traditional stories, cultural and environmental issues. She began her work about elephants and mahouts, after visiting Thailand in 2000, her research includes Elephant Portraits, which have regularly been exhibited. In 2012 she had a one woman show in Bangkok and Ayutthaya of work inspired by the 2011 flooding in Ayutthaya where she ended up camping alongside 70 elephants, Displacement and Misplacement.Since 1992 she has been an animation lecturer in various institutions, at present lectures in 2D Animation at Mahidol University International College, Thailand. Her present research has been documenting Thai Animation history. http://ajarncartoon.blogspot.com/

#SAS2015 / @sas2015beyond 175 Susan Young Royal College of Art [email protected]

Title: Bearing Witness: Autobiographical Animation and the Metabolism of Trauma

Keywords Autobiography; Psychology; Trauma; Witnessing

Abstract: My research investigates animation’s potential as a medium through which survivors of psychological trauma can helpfully process their experiences. Traumatic memory is characterised by sensory disturbances, heightened or flattened emotional arousal and fragmented narrative capacity, which often make it difficult for a survivor to work effectively with purely verbal therapies. This paper advances the hypothesis that the symbolic, non-indexical, metamorphic nature of animation facilitates the metabolism of traumatic memory by providing a generative space within which the psychological overwhelm, the unarticulated horrors and the taboos of interpersonal trauma may be safely explored. I suggest that by using autobiographical animation to explore trauma, the reintegration of previously dissociated aspects of the trauma survivor’s personal identity is facilitated. The historical splintered-off victim, the fragmented survivor and the assimilating filmmaker reconnect during the animation process, and audience screenings of the material produced give trauma survivors a voice where once they may have been silenced, and crucially enable them to publically bear witness to their experiences. Reference will be made in this paper to film experiments exploring personal trauma currently being conducted as part of my practice-based research.

Biography: Susan Young’s commercial animation work is characterised by her flowing, calligraphic animation style, first seen in Carnival, her Royal College of Art graduation film. On leaving the RCA Susan was commissioned by the United Nations to direct The Doomsday Clock, a film about multilateral disarmament, with co-director Jonathan Hodgson. Subsequently she collaborated with musicians such as David Byrne (for Beleza Tropical: Umbabarauma), record producers (Alan Douglas for Jimi Hendrix: Fire), and record labels including Island Records and Island Visual Arts (Time Will Tell and Island 25 documentary titles). She has also directed title sequences for major sporting events, including the World Cricket Series and American Football (The Big Match/Blitz), and classical music series, including Orchestra and the launch film for Classic FM. Susan is currently researching animation’s capacity to metabolise psychological trauma at the Royal College of Art as part of a practice-based PhD. #SAS2015 / @sas2015beyond 176 Peng Zhijun TianJin University [email protected]

Title: The Similarities Between Animation Art and Chinese Classic Art

Keywords Animation; Art; Chinese; Similarities

Abstract: There are two similarities between animation art and Chinese classic art. Firstly, animation is closely connected with the perception. Perception is an intentionality activity which is used to integrate the subject and the object. Because the exaggerated and distortion image of animation art works cannot make the reference relationship to reality like film or other arts, the perception experience is the key to understand animation film. Perception experience is also a key approach to understand the Chinese classic art. For example, the common artistic technique in water-ink panting is conveying spirit out of from, expressing inward world by portraying appearance. To understand this art relies on the perception experience. Secondly, animation is to create the illusion of animating the static objects or pictures by continuous motion and shape change. Making the static objects livingly or be full of free spirit is the essence of animation. Chinese art is more like a specialized spiritual activity, and it is neither the result of knowledge nor the result of belief, but specifically the outward expression of a people’s nature and inertia. So it make the art be full of free spirits. For example, in the writing- art, the best art work is not that every character wrote well, but is that although each character could be viewed independently, when characters were placed together as a single piece of art, each character formed an organic relationship with the other characters.

Biography: Peng Zhijun is an instructor in Visual Art Department at Tianjin University. She got Ph.D major in animation art from Communication University of China. Her career in animation theory and history is an extensively interdisciplinary study related to film and media studies, philosophy of art, Chinese art and other disciplines. She have tried to illustrate the aesthetic characteristics of contemporary animation and the metaphor of China’s animation film, and now working on the internal relationship between animation and Chinese art and its general theory in philosophy of art. She has been the host of the project ‘The Essence of Animation’ which is supported by Tianjin Art Research Institute. She is also the only invited speaker from mainland of China for the 25th International Conference on The Society for Animation Studies in Melbourne.

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