Call for chapter proposals: Indian Animated Media

Proposals are invited for chapters in a new edited collection on the
topic of ‘Indian Animated Media and Culture.’

Indian animation has transformed dramatically over the last twenty-five
years. No longer a cottage industry or government-funded communication
enterprise, a diverse globally-engaged production sector has emerged.
Large Indian studios have built global reputations securing animation
and visual effects production contracts, while other artists and firms
have made strides in original content for local television and film
festival audiences. While outsourcing still represents a majority of
entertainment output, work-for-hire contracts have slowly given way to
co-production. International brands have also set up shop in India, from
multinational distributors like Disney XD or AT&T’s Cartoon Network, to
producers like Technicolor and Ubisoft. In striking contrast to these
developments, artisanal and even explicitly non-commercial animation
continues to be produced, and in some cases thrive.

There are also persistent challenges. Industry growth has rarely met
predicted targets. The domestic animated features many thought would
drive expansion have largely failed to materialize, as outsourcing to
other Asian nations has increased television competition as well.
Bankruptcies at both local and international firms have shaken investors
while a not-yet-united animation community has struggled to secure
policy recognition apart from the dominant Hindi-language cinema and
Information Technology (IT) sectors. However, taking an expanded view of
animation to incorporate related areas – visual effects, games, comics,
fine art, educational, and industrial visualization – shows both a more
complex and optimistic picture – from growing Indian investment in
global visual effects to children’s animation workshops in rural
Adivasi communities.

Both the successes and challenges of Indian animation have largely
escaped attention from audiences, critics, and scholars alike. While a
growing body of scholarship draws global critical attention to the
cultural practice of Indian – and especially Hindi – cinema, animation
remains for the most part missing from these accounts. This volume aims
to fill this glaring gap by addressing a range of expanded animation
practices in India, as well as their social, economic, and political

Areas of interest include, but are not limited to:

* Case studies of diverse active and historical animators in cultural
* Regional industry clusters: relationships with live-action cinemas
* Television animation: from Doordarshan to multinational networks
* Animation, Information Technology (IT), and global visual effects
* Globalization: the 1991 New Economic Policy, outsourcing, and
* Government animation: Films Division and the Cartoon Film Unit
* Education and training: from Clair Weeks, Charles and Ray Eames and
the National Institute of Design (NID) to the Media and
Entertainment Skills Council (MESC)
* Fine art, documentary, and avant-garde animation
* Animation and the sacred
* Adivasi animation: animation by, for, and about indigenous communities
* Animation and emerging media: Virtual and Augmented Reality (VR/AR)
* Women in animation, animation and identity: from caste to LGBTQ rights
* Applied/Industrial animation
* India and her neighbors/the South Asian diaspora
* The status of animation studies itself in India

Proposals for chapters (7000-8000 words) in this edited collection
should include a chapter title, a brief abstract (400 words), and
academic biography (100 words). These should be sent to the editor Dr.
Timothy Jones ( before 25th January 2019.

CFP SAS 2019 – 31st Edition of the Society for Animation Studies Conference – Amination is a Place

We are proud to announce that Lusofona University in Lisbon will host the 31st Edition of the Society for Animation Studies Conference.

SAS holds an annual conference at a different international location each year. The upcoming Annual Conference will be held June 17-21, 2019 in Lisbon, Portugal.

For over a century, the art of the moving image has captured and reconstructed our surroundings, simultaneously reassuring and questioning our perception(s) of the real.

Under the theme ANIMATION IS A PLACE , the 31st SAS conference aims to celebrate animation as one of the most vital contemporary forms of visual expression.

We invite practitioners and scholars to address animation as a privileged space within the realm of the moving image, a unique position that allows animators to not only create imaginary worlds but also, importantly, to look at and challenge the world we live in.

Although we welcome submissions on any topic within the field of Animation Studies, this year we particularly welcome a focus on animation practice and theory as a reflection of its time and place, as a tool of cultural expression, and invite proposals to respond to a wide range of topics:

The Impact Of Geography And/Or Cultural Identity On Animation Production

Independent Animation: Case Studies

Globalisation and The Rise Of International Co-Productions: A Platform To Sustain Small Industries Or A Homogenizing Agent Of Aesthetics And Content?

Teaching And Learning: An Education In Animation And Animation In Education

Spatial Constructions: Animation, Architecture, And Place

Expanded Animation, Beyond The Screen: Public Space, Installation,

Practice-Based Animation Research

Documentary Animation

Animation As Therapy

Animation And Gender, Gendered Geographies

Sonic Landscapes – Sound And Composition In Animation

Cross-Disciplinary And Interdisciplinary Approaches To Animation,
Including Sociological And Anthropological Perspectives

We also inform that the call for papers is already open. All interested
individuals should submit the abstract to:,
*the deadline is December 21st 2018. *

Proposals will be blind reviewed by a panel of SAS members, and
acceptance will be announced by the end of January, 2019. Please be
aware that spaces for presentations are limited. Late proposals will not
be considered until all other proposals have been read. Late proposals
and non-members of SAS at the time of submission will be given lower

You will need to be a fully paid member of the SAS to present at the
conference, but you can submit a proposal for consideration even if you
are not currently a member.

Membership/renewal in the Society for Animation Studies for 2019 is
mandatory for all conference presenters.
For more information on the Society, go to

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