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[ecrea] CFP: Experimental and Expanded Animation: Current Perspectives & New Directions
Sat Sep 29 10:44:43 GMT 2018
CALL FOR PAPERS
Proposals are invited for an interdisciplinary one-day conference with
an evening reception, screening and exhibition.
At the University for the Creative Arts, Farnham, Surrey, UK.
Conference date: Wednesday, February 13th 2019.
With their recent volume: Experimental and Expanded Animation: Current
Perspectives & New Directions, Hamlyn and Smith aimed to reach further
into understandings of what experimental animation is, and has been,
since Robert Russett and Cecile Starr defined it in 1976. This
conference aims to further focus our project and to develop findings
from the publication through more immediate methods of open dialogue
and/or film practice. The prompts listed below have been condensed from
themes emerging in the volume. However we welcome proposals that respond
to these areas and also those that pursue other lines of enquiry. A
range of disciplinary approaches is encouraged and the conference aims
to include papers from practitioners, practitioner/scholars and
scholars. As well as traditional 20 min papers we encourage alternative
methods for sharing ideas and materials through, for example, performed
presentations, artistic works, mini-workshops and lightning talks.
Transparency of process and use of materials has been central to
experimental/ materialist film practice and theory. To what extent has
the homogenization of media today prompted a rise in more recent craft
theory? How do Marxist materialist theories relate to post-human and new
materialist discourse and in which ways do these more recent
methodologies impact upon our understandings of experimental expanded
Feminism/women in experimental animation
It’s understood that the privacy of animation production conditions
facilitates exploration into issues relating to feminism. Female
animators today are translating concerns, such as the domestic,
sexuality and the body, into large scale, expanded and performed
animation. Does such work, installed in spaces beyond the
gallery/cinema, and in which the female animator is visible on stage,
impact upon expression of the female experience, or has this become less
crucial to articulate, and how does feminist theory offer insights into
Critically reworked commercial animation is occurring today within the
purview of experimental film. Outwardly appearing as traditional
cartoons, how does this material sit within a field that has tended to
emphasise the auteur and has avoided the graphic, the narrative and the
Increasingly we see interdisciplinary approaches employed to analyse
animation, including for example post-humanist scholarship; aesthetics;
phenomenology; feminism and critical theory. To what extent do these
methods cast light on animated texts, or do they detract from
fundamental questions concerning form and the medium?
Media including photography, dance, and performance for example have
been central to animation since vaudeville, and then through the
expanded cinema of the 60s. How is experimental animation advanced
through media ‘impurity’, and to what extent are theories such as
inter-mediality, which suggests that individual qualities of distinct
media are enhanced through their interlocking, of value?
Animation that is articulated beyond the single screen could be said to
emphasise a perceptual and phenomenological engagement. Flicker for
example, is located in the physiology of the viewer, while animated
installation demands a mobile spectator. Both modes of spectatorship
are contingent and situated in the present of their apprehension. How
is animation in the expanded field continuing to elicit new modes of
Representation/ technologies 3D-CG and internet animation has the
capacity to invent and manipulate the extant world in myriad ways. How
is CG being used in the context of experimental expanded animated film?
Utopia/ ecology Gene Youngblood hailed expanded cinema as reflecting a
utopian expansion of both consciousness and technology. Today much
experimental expanded animation, made through contracted means of found
or old materials, can be regarded as a response to resources made scarce
through either forced obsolescence, unsustainable practice and/or as a
creative resistance to media acceleration. How does the trend toward a
careful ecology of materials impact on experimental animation languages?
Please submit an abstract (up to 500 words), 3–5 bibliographical
sources, 3-5 keywords as well as a short bio by 15th of November 2018
to: (vsmith9 /at/ ucreative.ac.uk) with the subject heading: ‘Experimental
Animation Conference’. The selected abstracts for the conference will be
announced by late November 2018.
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