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@uniroma3.it 

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