[ecrea] CfP "Re-Animation. Contemporary Animation between Cinema and New Media"

Call for Papers Journal *“Imago. Studi di cinema e media”, 16/2017 
*(University of Rome “Roma Tre” - Sapienza University of Rome, Bulzoni 
Publishing)

*/Re-Animation/. **Contemporary Animation between Cinema and New Media 
*edited by Christian Uva and Paul Wells

Animation has, in the 21st century, become «the dominant logic of the 
moving image» (Lamarre). Contemporary animation in fact is the 
audiovisual spacewhereseveral crucial challenges are playing out,from 
technological, aesthetic, narrative, political, and cultural pointsof view.

While contemporary animation retainsome basic elements fromthe 
tradition,albeit within a new level of sophistication, itnevertheless 
continues to represent an experimental field in terms ofboththe visual 
and the aural. These two aspects have received new life from the 
phenomenon of digitalization of the whole audiovisual sector and the 
pervasive image manipulation that also made live action cinema no longer 
distinguishable from animation (Manovich). Thoughfrom1995 (the year of 
/Toy Story/)computer technology integrateditselfprofoundlywithindigital 
animation, several enclavesneverthelessremain,which 
haveproudly“resisted” the domination of computers, andcontinueto favor 
traditional practices (as inHayao Miyazaki’s paradigmatic example). 
Although animationwas once considered an ancillary genre of cinema,it 
has somehow inverted that role,re-statingits identity.«Once attractional 
art par excellence, today it inherits the best narrative tradition of 
classic Hollywood» (Alonge-Amaducci). No longer is it considered a 
specific, separate and secondary genre (that is mostly intended for a 
youngaudience), but rather “brother” (although not twin) of live action 
cinema (Bendazzi), a set of techniques and expressive forms through 
which itis possible to configure any type of narration (or 
anti-narration), to practice any kind of genre, andtocolonize any medium 
and format. In fact, «At every point of social, cultural and artistic 
development, animation has expressed the continuing tension between a 
medium in which innovation and creativity can continually take place 
while aligning with, and depicting the most human of needs, desires, 
thoughts and feelings» (Wells).

This issue of “Imago. Studi di cinema e media” proposes a series 
ofbroadreflections within this context, focusing, for reasons of 
space,on the areas of “animated cartoons” and computer animation within 
the broader andmore varied animation system. The issue will examine the 
dynamics and mechanisms that underliesuccessful, mainstream animations 
in film and television, but also "underground" products that take 
advantage of alternative distribution channels. By paying particular 
attention to the link between theories and practices, we want to 
investigate the styles, technologies, and aesthetics of new animated 
products;and the dialectic between tradition and innovation– which 
weseek toexamine from the perspective of creative activities, such as 
realization and production. The aim is to keep in mind the fundamental 
link between modes of production and modes of expression, not to mention 
modes of reception. Particular attention will be given to the narrative, 
aesthetic, and cultural aspects that distinguish in particular the films 
produced by the new Majors of animation (Pixar, DreamWorks, Blue Sky 
Studios, Illumination Entertainment, etc.) in connectionwith,or 
opposition to, those coming from other parts of the world (such as Japan 
or France). The issue will similarly focuson successfultelevision 
products. With regard to such phenomena, we hope to study: their 
connections to the new star and studio systems, as well as the dialectic 
between the authorial and industrial dimensionswith regard to genres and 
languages; issues related to identity, ideology, gender, race and 
ethnicity, with a focus on the link between national and transnational 
scenarios; the philosophical implications of the relationship between 
human and post-human, to understand if and how new animation still 
continues to favor «a conception of man not yet shackled by logic, 
reasonor experience» (Ėjzenštejn). Wemoreover encourage reflections on 
new production contexts and conditions,and more specifically the 
economic and business and their relation to the crucial question of 
merchandising. A further area of potential studycould focus on 
theoretical debates, in order to understand the position and the 
identity of animation within the film and media studiestoday.

*Topics:*

Theories of practice, practices of theory

Cultures and styles of animation studios

Authorship vs studios

Creative models, between tradition and innovation

Technologies, between digital and traditional animation

Languages and modes of scriptwriting

Genres

Transnational and global scenarios

National and postnational imaginary

Ideologies

Identities

Race, ethnicity, gender

Posthumanism

Contexts and conditions of production

Cross-platform delivery and its applications

Reception and fandom

Merchandising

Please send 200 word proposals in italian or english with short biogs by 
*January 8, 2017 *to (christian.uva /at/ uniroma3.it) 
<mailto:(christian.uva /at/ uniroma3.it)>

Completed essays in *italian or english* (6500 words) will be due by 
*April 30, 2017*.






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