For Animation Filmmakers:
For Animation and Film Festivals & Events Professionals
With the aim of creating synergy between theoretical and practical discourse among filmmakers and scholars, the eight Animafest Scanner VIII 2021 international symposium takes place 8-9 June 2021, and international film and media researchers are invited to present the latest findings in the field of animation.
2021 Animafest Scanner Call for Bastracts
Historical trends, numerous points of view and approaches, new findings in the growing field of animation studies and interesting speakers – all this will be available at Animafest Scanner 2021, whose primary goal is to create a synergy between theoretical and practical animation discourses, which is why it takes place in the context of screenings, exhibitions and other Animafest’s side events.
TOPICS FOR ANIMAFEST SCANNER VIII
.1. Animation and the living
Animated films can invite us to rethink our relationship with biodiversity. One of the major challenges facing the contemporary world is the ecological crisis. For contemporary philosophers, it cannot be overcome without a profound change in the human species’ awareness of its relationship with other living beings. Animated films have a leading role to play in this awareness. First of all, a historical and critical analysis is necessary of the way in which animated film, from the be-ginning of its history, has contributed to an anthropocentric representation of animals and the denaturation of the human being. On the other hand, it would be interesting to analyse how this representation evolves in contemporary animation. This question is at the centre of a more general examination of the relationship between animation and living beings: ani-mation as a pure representation of life.
2. Script-writing in animation
Script-writing is the pillar of an animated film, whether it is intended specifically for a feature film, or for a short one, with incisive phrases that accompany storyboard drawings. How-ever, there are many authors (for example, in straight ahead animation) that create their films without script-writing and still succeed in making extraordinary works of art. In which measure do the scripts differ from those made for live-action films? Has the art of storytelling changed with new technologies in film production? Are there typical ways of storytelling related to certain animation production companies? How do scripts work in abstract or experimental films?
3. Depicting emotions
Emotional impact has been a strong asset of moving images of all sorts from their very beginnings - with animation presenting perhaps even more opportunities for emotional stimuli and manipulation than most of the other AV media. What does animation do to elicit a viewer’s engagement, and how is this achieved, through which particular means; either formal elements or a choice of the depicted content? The answers to these questions can serve as a vital part of the discussion about emotions in animation. In addition to that, for instance, one can discuss the fact that the viewer often and easily starts to believe that animated characters (and other entities) themselves have emotional responses, which, in turn, also contributes in various ways to the emotional response of the viewer. Different historical and theoretical approaches to animation (informed by cognitive theory, narrratology, psychoanalysis or any other school of writing) can contribute to this topic, at least partly explaining the many usages of animation along the way - from artistic expression and entertainment to (re)education of entire nations.
4. Animation in public spaces
Animation has never been tied to a screen or screening only. Conceptually it had not even been bound to virtual images, but could also appear in objects like the flip-book, the thaumatrope or the zoetrope. With the invention of electric light, advertising adopted the concept of alternating images and created series of blinking visuals that soon appeared as short, animated loops in public spaces. Since then, commercial interests had been driving forces to develop possibilities
Animafest Scanner VI - Symposium for Contemporary Animation Studies, 04–05/06 TUE-WED Institute Balassi 10:00–17:00 h IN ENGLISH, OPEN TO PUBLIC
The sixth edition of the Symposium for Contemporary Animation Animafest Scanner VI aims again to create synergy of theoretical and practical discourses, and stimulate exchange between filmmakers and scholars.
The symposium is held in association with the World Festival of Animated Film Animafest Zagreb. Over the course of its forty-seven-year history, the festival has given a stage to different animation forms and formats in competition and non-competition environments, presenting a worldwide selection of auteur, experimental and mainstream animated films in various programs.
This year’s keynote speaker is the recipient of the Animafest Zagreb Award for Outstanding Contributions to Animation Studies for 2019, Jayne Pilling, a versatile scholar, educator and animation promoter. Jayne Pilling was the founder and until 2018 the director of the prestigious British Animation Awards. Her overall work demonstrates great knowledge, methodological comprehensiveness and fluency in different areas of animation, which she acquired teaching at universities in Europe, Asia and USA, collaborating with the most renowned festivals, and advising the British Film Institute and other artistic establishments. Naturally, what is particularly important for this award is the trace she has left as the author and editor of books and other publications about animation and similar audiovisual arts. She has curated and released a series of DVDs of animation classics, helped push women’s issues in the genre and supported the canonisation of many animation values. Ms Pilling made it possible for new generations to discover the classics like Starewicz, at the same time keeping track of the latest trends in the art of animation. She directed the TV serial Continental Passions about European contributions to this art and organised several symposiums and conferences, demonstrating her massive energy in discovering new ways of understanding, promoting and loving animation.
The speakers will focus on the following subjects: Animation and History, Animation and Fine Arts, Animation and (Virtual) Reality, Animation and Education.
Historical and current trends, numerous perspectives, new findings in the fast-growing field of animation studies, paired with exciting speakers – all this and more awaits you at the Animafest Scanner VI symposium, and other events organised by Animafest 2019.
10:00 Welcome & introduction
10:10-10:55 KEYNOTE: Reflections on Animation History/Histories...and Historiography: Where Are We Now? - Jayne Pilling, Animafest Award for Outstanding Contribution to Animation Studies
PANEL 1: ANIMATION AND HISTORY
Moderation: Andrijana Ružić
11:00-11:30 Feminism and Animation: Feminist Discourse Analysis of Quebec Animation from the National Film Board of Canada (1970-1979) - Marie-Josée Saint-Pierre (MJSTP Films / Université du Québec à Montréal, Canada)
11:45-12:15 Rewinding Brazilian Electronic Animation from the 1980’s: A Vanishing History - João Paulo Schlittler (Universidade de São Paulo, Brasil)
12:20-12:50 The Animation Cut-Out as an Expression of Long Lasting Spatio-Temporal Artistic and Cultural Processes - Velislava Gospodinova (New Bulgarian University, Sofia)
PANEL 2: ANIMATION AND FINE ARTS
Moderation: Hrvoje Turković
14:30-15:00 George Schwizgebel's Animated Trilogy of Faust - Andrijana Ružić (independent scholar, Università Statale di Milano, Italy)
15:05-15:35 The "Simultaneous" Art of Theodore Ushev - Paola Bristot (Academy of Fine Arts of Venice, Italy)
15:50-16:20 The Public Showroom ASIFAKEIL - 100 Installations Focusing on Animation Art - Stefan Stratil (ASIFA Austrija)
16:25-16:55 Motion-Time-Space. From Moving Image to Moving Architecture - Martina Tritthart (FH Joanneum University of Applied Science, FH Burgenland University of Applied Science, Austria)
PANEL 3: ANIMATION AND (VIRTUAL) REALITY
Moderation: Franziska Bruckner
10:15-10:45 Challenges in Documentary VR - Reinhold Bidner / gold extra
10:50-11:20 Planning for Animated VR - A Proposal for New Approaches in Screenwriting and Scene Construction - Hannes Rall (Nanyang Technological University, Singapore)
11:35-12:05 Emersive Storytelling - An Exploration of Animation and the Fourth Wall as Tools for Critical Thinking - Eva Wijers (AKV St. Joost Master Institute, Netherlands)
12:10-12:40 Main Ballet Tanks. Researching the Possibilities of Transferring Aestheticized, Anthropomorphic Locomotion and Gestures to Non-Anthropomorphic, Mechanical Machinery by Means of Experimental Animation - Bernhard Schmitt (Nanyang Technological University, Singapore)
PANEL 4: ANIMACIJA I OBRAZOVANJE / ANIMATION AND EDUCATION
Moderator / Moderation: Holger Lang
14:30-15:00 "Everybody Is a Director" – Case Studies on Collaborative, Chained Animation in Education - Jürgen Hagler, Remo Rauscher (University of Applied Sciences Upper Austria, School of Informatics/Communications/Media)
15:05-15:35 Animated Documentaries: A Practice through Community Filmmaking - Debjani Mukherjee (IIT Bombay, BOL, India)
15:50-16:20 Animation Techniques and Graphic Style in Representation of Deep Space - Olivier Cotte (independent scholar, France)
16:25-16:55 Explanatory Power of Diagrammatic Animation - Hrvoje Turković (Academy of Dramatic Art, Zagreb University, Croatia