Persistence of Vision: Women Reframing Animation: 28th June 2019: Goldsmiths, University of London

The following event and call for papers may be of interest to WFTHN members:

Persistence of Vision: Women Reframing Animation
Friday 28th June 2019
Goldsmiths, University of London

Keynote speaker: Caroline Ruddell, Brunel University

Call for Papers deadline: Friday 12th April 2019

We are inviting contributions for this one-day symposium, supported by MeCCSA Women’s Network and hosted by the Department of Media, Communications and Cultural Studies at Goldsmiths, to be held on Friday 28th June.

Animation is a medium like no other. It is accessible in ways other forms of film making are not; it breaks down cultural, social and technical boundaries and as such has a distinctive potential as a tool for education, activism and engagement. It has the power to imagine all sorts of possibilities, and as such has a unique ability to illuminate and realise radical ideas and concepts – particularly for those cultural creators traditionally excluded from creative systems of power.

This symposium provides an inclusive space for academics, practitioners and students to investigate what it is about animation that attracts and gives space to these voices, while also asking what might be done to amplify them at industry level. It will be an opportunity to explore the subversive nature of animation and consider ways that this medium, in various forms, can be used as a critical resource to communicate, engage and engender social change.

In response to this, we welcome papers, innovative presentations and workshops (details of workshop facilities below) on, but not limited to, the following topics:
The impact of identity on animation production/ autobiographical animation
Animated documentary/ documentary animation/ essay films
Feminism and animation
Animated activism
Application of animation for teaching, learning and research
Animation as interdisciplinary exploration/ collaboration
Animation for pleasure and profit: making your space in the industry
Abstracts of up to 250 words, as well as full author details (name, position, contact details and institutional affiliation/s if applicable), should be submitted by Friday 12th April 2019 to Ceiren Bell at c.bell@gold.ac.uk. Contributors will be notified of the outcome by Friday 10th May 2019.

This event is inclusive of all who identify as women – trans, non-binary and cis – and we value all voices, experiences and participants regardless of their academic standing, educational level, ethnicity, class, (dis)abilities, or employment status. We are unable to provide childcare facilities, but children are welcome to attend the conference under the supervision and responsibility of their parent(s).

WORKSHOP SESSION

We are looking for creative, dynamic, interactive and practical proposals for a 1 – 2 hour workshop session to create a collaborative animated piece that seeks to explore animation as a radical, empowering experiential practice.
The session will involve 20 – 30 participants, with two student helpers. Participants may include animators, academics and students from the University as well as local schools and colleges. The available space has tables and chairs and a Mac-based audio-visual system. There is a small budget for paper, drawing materials etc and there are four digital SLR cameras and tripods available.

Submissions are welcome from anyone who is involved in any aspect of animation.

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Eyes Unclouded: The Films of Hayao Miyazaki and Studio Ghibli — 7-8 May Depot Cinema, Lewes, East Sussex

The following event and call for papers may be of interest to WFTHN members:

Eyes Unclouded: The Films of Hayao Miyazaki and Studio Ghibli

 7-8 May Depot Cinema, Lewes, East Sussex

May 7th screening of Porco Rosso (dir. Hayao Miyazaki, 1992) at the Depot Cinema, Lewes.
May 8th Symposium, Depot Cinema, Lewes, East Sussex, UK

Keynote speaker: Dr Rayna Denison: “Miyakazi’s Worlds of Women: Feminism in the Films and Working Practices of Studio Ghibli”

“You must see with eyes unclouded by hate. See the good in that which is evil, and the evil in that which is good. Pledge yourself to neither side, but vow instead to preserve the balance that exists between the two”

— Princess Mononoke

Hayao Miyazaki is an unusual figure. Only Walt Disney rivals him in for closeness of his association with the studio he co-founded. Unlike Disney, however, Miyazaki was also a director, further complicating distinctions between individual and industrial authorship in the works he helmed for Ghibli. Often fantastical, his films are also intimately bound up with very real social and historical questions, ranging from environmentalism, to the cultural politics of girlhood, to Japan’s role in World War Two. Though identifiably Japanese, Ghibli is also nothing if not transnational. The studio has developed adaptations of novels by Mary Norton, Diana Wynne Jones, and Ursula K. Le Guin, and its characters have acquired an on- and offline life of their own in multiple languages and markets; Hello Kitty is arguably Japan’s only culture industry export to compete with Ghibli for global penetration and recognition. Finally, Miyazaki’s anime blurs the boundaries that are often imposed on the form both inside and outside the academy. Films such as the Oscar and Golden Bear-winning Spirited Away challenge (western) perceptions of the cartoon as children’s entertainment, and contemporary expectations of animation as a digital endeavor, all while achieving both market success and critical acclaim. Perhaps part of their appeal lies in their resistance to easy categorization.

This one-day symposium seeks to bring together scholars to discuss the work of Miyazaki and Studio Ghibli. We are open to proposals on all aspects of this topic, and from a broad variety of perspectives. These could include issues of industrial and studio authorship; the cultural politics of representation; material culture (e.g. the Ghibli Museum, merchandising); the transnational circulation, reception, and influence of these films; or their digital afterlives. This is just a small selection of potential examples.

Please send proposals for 20-minute papers to the organizer, Dr Luke Robinson (luke.robinson@sussex.ac.uk) by March 31st 2019. Proposals should include a title, a 250-word abstract, and a brief author biography.

 

CfP: Women in Animation

Call for Papers: Women in Animation

Society for Animation Studies Conference

July 3-7 2017 – University of Padova, Italy


20-minute papers are sought for a pre-constituted panel that will be proposed for the 2017 Society for Animation Studies conference. The panel is interested in exploring the research being done on the history of women in animation and the relationship between the historical perspective and the contemporary context. As such, we are open to proposals that fall under any of these broad areas:

  • The history of women in animation (including case studies of specific animators or contexts)
  • Doing historical research into women in animation (e.g. availability of and access to archives; unwritten and hidden histories, etc)
  • Analyses of the extant research, scholarship and material on the history of women in animation and female animators
  • Examinations and critiques of the concept of gendered aesthetics and style
  • The relationship between the history of women in animation and the contemporary context for female animators.
  • Case studies of contemporary female animators
  • Industry studies perspectives on the contemporary film and media industries and female animators
  • The process of doing research into the contemporary industry or contemporary female animators
  • Presentations from current (or past) practitioners who take any of the above analytical perspectives on their own work/ practice.
(Note, that we are open to interpreting the terms ‘animator’ and ‘animation’ broadly to include things such as V/FX, etc)

Please submit a proposal (approx. 350 words) and short bio (approx. 150 words) to Bella Honess Roe (a.honessroe@surrey.ac.uk) by 18th December.