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Welcome to the Society for Animation Studies Homepage!

 

The Society for Animation Studies (SAS) is an international organization dedicated to the study of animation history and theory. It was founded by Dr. Harvey Deneroff in 1987. Each year, the SAS holds an annual conference at locations throughout the world, where members present their recent research. For more information, contact SAS President Dr. Paul Ward at pward@aucb.ac.uk .

Benefits to members include:

  • Annual conferences. The 25th SAS conference will be held at The University of Southern California from 24-26 June, 2013. For more information, please visit the conference website available at http://anim.usc.edu/sas2013.html
  • Publication of peer-reviewed conference proceedings in the Society's online journal, Animation Studies (ISSN 1930-1928).
  • Listing in the "SAS Animation Experts" directory.
  • The SAS Newsletter (ISSN 1930-191X), an internal news publication.
  • Members-only email discussion list.
  • Access to the members-only section of this website.
  • Discounts to festivals and other events with participating organizations.
  • Discounts to journal subscriptions with participating publishers.


Currently the SAS counts more than 220 members from all over the world. To join our worldwide community of animation scholars and practitioners, please follow this link to the Membership section of this website.

The SAS is a non-profit 501(c)(3) organization.

Call for Applications: CalArts - Dean of the School of Film/Video

Call for Applications: CalArts - Dean of the School of Film/Video

December 8, 2012
Click to read more.

Call for Applications: CalArts - Dean of the School of Film/Video

Image by Steven Damron via Flickr
 

The CalArts School of Film/Video has been ranked among the t...

calarts3670276873 f65e37ffa0
Image by Steven Damron via Flickr
 

The CalArts School of Film/Video has been ranked among the top 10 film schools in the world by the Hollywood Reporter in 2011 and 2012. CalArts is seeking a dean that will provide the visionary leadership to build upon the current vigorous state of the school as it enters the next stage in an already distinguished history, combining a keen interest in the legacy of CalArts with an openness to forward-looking technologies and ways of thinking. S/He will lead the faculty in articulating and elaborating the school’s future perspective and will represent the school externally to ensure visibility and support. Strong communication skills are required as the dean has a critical responsibility to engage with a range of audiences, from donors and supporters, to practicing artists, film-makers and industry leaders, to students and parents. A deep knowledge of cinema in all its forms of expression is essential, as is a commitment to the language of film culture in the context of wide-ranging experimentation, open to all varieties of image making. The dean will be conversant with the concerns and constituencies of experimental and independent cinema, and the evolving film/animation industries, interested in the productive tension between these arenas and able to move between them effectively to ensure that CalArts supports our students in realizing their career goals.

The dean must be someone of distinguished accomplishment as an artist/film-maker, curator, scholar or critic, with a record of outstanding work commensurate with the internationally-recognized standing of the school. Extensive teaching and administrative experience are desirable, as are strong organizational skills and the ability to productively balance consensus-building and decision-making. The successful candidate will have a demonstrated interest in creative production and interdisciplinary, critical thinking, and s/he will have the possibility of teaching, as well as mentoring students and guiding student projects at her/his discretion.

The dean will collaborate with the president and the Office of Advancement and External Affairs to identify sources of funding and to develop grants for technology, project production and completion to ensure that the school remains at a top level in all its programs and production capabilities. The dean will also participate actively in Deans’ Council with the provost and the deans of the other schools, playing a key leadership role in managing human and fiscal resources in support of institutional priorities. CalArts provides a rare and dynamic opportunity to engage in dialogue and capacity building across the disciplines. The ability to work collaboratively with leaders in all forms of contemporary arts distinguishes the creative ecology of the Institute.

The school consists of five programs, all of which emphasize the individual work of their students through teaching, mentoring and guidance in their professional and artistic growth. The programs include Character Animation, Experimental Animation, the Program in Film and Video, the Film Directing Program and a joint interdisciplinary program (spanning all of the schools of the Institute involving innovative uses of digital technology), with over 385 students enrolled at the undergraduate and graduate levels. The dean supervises a full and part-time faculty that currently includes 89 distinguished artists and scholars whose expertise spans the full range of combined disciplines, as well as a diverse and skilled administrative support staff. The dean works proactively with the faculty and staff on matters of budget, space and technology, supporting school programs to assure their integrity, balance and evolution.
For the full position specification and instructions on how to apply for this position, please visit http://calarts.edu/employment/dean-school-filmvideo

Interviews will begin in early spring 2013, with an anticipated appointment date of July 1, 2013.
CalArts is proud of its diverse student body and deeply committed to supporting the cultural and artistic aspirations of all its students. A commitment to increasing opportunities for low-income students and currently disenfranchised groups is necessary, as is the desire to work to support institutional goals of equity and diversity in an ongoing way. CalArts is an Equal Opportunity Employer (EOE).

Shadow of a mouse: New book by Donald Crafton

Shadow of a mouse: New book by Donald Crafton

November 7, 2012
Click to read more.

Shadow of a mouse: New book by Donald Crafton

 
http://www.amazon.com/Shadow-Mouse-Performance-World-Making-Animation/dp/0520261046
 
"Donald...
 
http://www.amazon.com/Shadow-Mouse-Performance-World-Making-Animation/dp/0520261046
 
"Donald Crafton, our lively guide, shows us around a Tooniverse populated by performers, not just images, who engage us in all the ways their flesh-and-blood counterparts do, and then some. Taking classical animation as his terrain, Crafton nevertheless pushes ongoing discussions of performance, liveness, and corporeality in the directions in which they need to go if they are to help us describe and navigate our increasingly virtual worlds."

Philip Auslander, author of Liveness: Performance in a Mediatized Culture
Commemorate the 25th SAS anniversary with a pin!

Commemorate the 25th SAS anniversary with a pin!

November 7, 2012
Click to read more.

Commemorate the 25th SAS anniversary with a pin!

The Society for Animation Studies is celebrating 25 years with an anniversary pin. You might have se...

The Society for Animation Studies is celebrating 25 years with an anniversary pin. You might have seen it at the Melbourne conference already. For those of you who don't already have one, you can order it via Paypal for $6 (the same for all destinations).

Please click on the pin's image below to order!

Or use this PayPal link: https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=KRKNJQFPF7RDY

UTS SIAF Selected Writings from ‘Animation Histories and Futures' Symposium

UTS SIAF Selected Writings from ‘Animation Histories and Futures' Symposium

November 6, 2012
Click to read more.

UTS SIAF Selected Writings from ‘Animation Histories and Futures' Symposium

A selection of writings from the proceedings of ‘Animation Histories and Futures’, a one-day
symposi...

A selection of writings from the proceedings of ‘Animation Histories and Futures’, a one-day
symposium set up to stimulate discussion between animation researchers, teachers and practitioners, is now available for download.
‘Animation Histories and Futures’ was hosted by the University of Technology, Sydney, Faculty of
Design, Architecture and Building in collaboration with the Faculties of Arts Social Sciences and Humanities
and Information Technology.
The symposium took place on 25 September 2010 as part of the UTS Sydney International Animation Festival
2010. The symposium brought together an international cohort of animation researchers from across a
diversity of animation theory and practice. As the first symposium dedicated to animation held at UTS the
response and diversity of presentations was impressive.
Eminent writers such as Alan Cholodenko and Pierre Floqet provided key note addresses that
further advance the dialogue that each of these writers has undertaken with animation spanning many years
of research and writing. We are privileged to have their contributions to the seminar and this publication of
selected writings from the proceedings.
This collection of papers represents the diversity of animation thinking and research that is occurring
around the world today. As Pierre Floqet points out in his paper, “it is now acknowledged that “virtually all
contemporary cinema is reliant on animation as the key source of its story-telling devices and effects” (Wells, 2002,
p.28)” (Floquet, p.32). As it would follow, where animation plays such a central role there is ample terrain
for writers and practitioners to find a unique line of enquiry on which to think and write and to expand
our ideas on animation further than ever before. As Alan Cholodenko proposes in his paper, animation is
life and death and “bears not merely a significant but a singular importance to the contemporary world”
(Cholodenko, p.8).
What I find particularly relevant to today’s animation practice is the personal narratives that are reflected in
these writings. In particular the writings of Charles de Costa and Rachel Walls who bring forth new
ways of seeing animated films that are familiar to millions of viewers. Other writers like Chavez / Yi and
Rall create insight into the challenges faced by animators engaged in cross-cultural storytelling and the role
of animation in new forms of storytelling for interactive engagement. These writings bring a new perspective
on the way in which animated stories are re-inventing interest in traditional narratives and using innovative
technologies to create new audiences for animation.


http://www.dab.uts.edu.au/research/conferences/siaf/SIAF-SYMPOSIUM-WRITINGS-2011.pdf
http://www.siaf.uts.edu.au/dev/wp-content/themes/siaf2011/pdf/SIAF2010SYMPOSIUM.pdf

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