{"id":4850,"date":"2024-03-26T22:03:18","date_gmt":"2024-03-26T14:03:18","guid":{"rendered":"https:\/\/acas.world\/?p=4850"},"modified":"2024-03-26T22:10:23","modified_gmt":"2024-03-26T14:10:23","slug":"call-for-papers-cinephile-summer-issue-18-2-2024","status":"publish","type":"post","link":"https:\/\/acas.world\/ja\/2024\/03\/26\/call-for-papers-cinephile-summer-issue-18-2-2024\/","title":{"rendered":"Call for Papers: Cinephile<\/em>, Summer Issue 18.2, 2024"},"content":{"rendered":"

Cinephile\u2019s Summer Issue 18.2 is calling for papers and video essays on the alchemical potential of animated media works: that is, the creative, generative, transformative processes through which animation artists reimagine the medium\u2019s form, aesthetic, and cross-cultural linkages.<\/p>\n

With several smaller animation productions gaining commercial success [Ne Zha<\/em> (China, 2019), Wolfwalkers<\/em> (Ireland, 2020), Nimona<\/em> (US, 2023) etc.] it becomes clear that film audiences are increasingly charmed by a range of diverse animated works beyond blockbuster fare. Paired with an expanding body of alternative, independent television series [Helluva Boss<\/em> (2020-), Scissor Seven<\/em> (2018-), The Midnight Gospel<\/em> (2020) etc.] these works continue to push the capabilities of the medium across cultural and conventional aesthetics.<\/p>\n

There is much to explore within the history and lineages of animation: the early work of the Fleischer brothers (Koko the Clown, Betty Boop, Popeye\u2026) and their reinforcement of varying gender roles, reductive personas and ideologies; the blatant colonial and at times racist legacies of Walt Disney\u2019s animations (Song of the South, Peter Pan, Pocahontas\u2026); the invoking of soft power through national artforms like ink wash calligraphy or anim\u00e9; or, the agency and structures of power surrounding animation institutions (incl. companies working in video game design); the environmental impact of 3D animation; the tensions between hand-drawn and CGI animation in traditional media storytelling\u2026 Drawing on Hamid Naficy\u2019s notes on \u2018accented\u2019 cinema, we are especially invested in the works of diasporic and racialised writers and creators in animation. Oft marginalised or forgotten, the experimental works of queer, transnational, and accented artists are quickly transcending mainstream barriers to entry through other social media platforms like TikTok, Vimeo, Twitch and YouTube.<\/p>\n

Applicants are encouraged to engage with the aforementioned ideas and themes, but all submissions that explore the aspects of animation\u2019s creation, production, consumption, or reception are welcome.<\/p>\n

Other possible topics may include (but are not limited to) the following:<\/p>\n

\u25cf Animation theory and interdisciplinary approaches to animation studies;<\/p>\n

\u25cf Independent animation and video game production\/design;<\/p>\n

\u25cf \u2018Accented\u2019 and exilic filmmaking, incl. narrative or non-fiction (e.g. Breadwinner 2017; Flee 2021);<\/p>\n

\u25cf Discussions of national style, transnational influences, or cross-cultural works;<\/p>\n

\u25cf The histories and ongoing legacies (either helpful or harmful) of specific films, corporations, and animators\/ writers\/ creators;<\/p>\n

\u25cf Animation fandom culture (fanfiction, recreations, comics, conventions, art\/prints, merchandise, zines, etc);<\/p>\n

\u25cf Animation series that evolve with their audiences (e.g., Adventure Time 2010-18 and Adventure Time: Fionna and Cake 2023);<\/p>\n

\u25cf Queer-coding and\/or queer expression in animation (e.g., Heaven Official\u2019s Blessing (Tian Guan Ci Fu, 2020\u2014), Nimona 2023, The Grandmaster of Demonic Cultivation (Mo Dao Zu Shi, 2018\u20142021), Steven Universe 2013-19);<\/p>\n

\u25cf Social and\/or technological developments in animation, AI intervention in animation and its accompanying ethical questions;<\/p>\n

\u25cf Issues of censorship and\/or toxic work environments<\/p>\n

We encourage submissions from graduate students, postdoctoral researchers, and established scholars. Papers should be between 2000-3500 words, follow MLA guidelines, and include a detailed works cited page. Video essays should stay within the range of 8-20 minutes, and formatted as a shareable link through either YouTube or Vimeo.<\/p>\n

Submissions should be directed toward SUBMISSIONS@CINEPHILE.CA and general inquiries toward INFO@CINEPHILE.CA. Please additionally include a short (50-word) biography of the author. Deadline for video essay submissions is April 5th; deadline for paper submissions extended to March 22nd.<\/p>\n\r\n\t\t