CFP: Velvet Light Trap on CGI, Animation, and Effects
Call for Papers
The Velvet Light Trap
Issue #69, Spring 2012
Issue #69, Spring 2012
Recontextualizing CGI, Animation, and Visual Effects
Submission Deadline: January 30, 2011
Has animation overtaken "live-action" as the dominant form of production practice?
As contemporary film and television increasingly relies on digital imagery, CGI, animation and visual effects have been seamlessly integrated into "live-action." The recent popularity of films such as 300, Avatar, Inception and Scott Pilgrim vs. the World suggests an atmosphere in which audiences may expect to find more digital, visual effects and animation in live-action media. At the same time, as animation has become a staple in the corporate bottom line, they also constitute their own major category of film and television products. It seems that animation, visual effects, and cgi have been significant to the way that all films are made. It is therefore important that we recontextualize animation studies to rethink what we mean when we say "animation."
Issue #69 of The Velvet Light Trap, "Recontextualizing CGI, Animation, and Visual Effects," thus seeks to engage the intersections between these techniques in all aspects of the labor practices, production, exhibition, distribution, and reception of media. It is critical that this scholarship challenge traditional views, while suggesting new avenues for scholarly pursuit. This includes re-reading and reassessing traditional histories of animation, as well as examining the aesthetic, economic, and technological ways in which visual effects and animation impact contemporary cinema and television, especially with regards to (though not limited by) the following topics:
Submission Deadline: January 30, 2011
Has animation overtaken "live-action" as the dominant form of production practice?
As contemporary film and television increasingly relies on digital imagery, CGI, animation and visual effects have been seamlessly integrated into "live-action." The recent popularity of films such as 300, Avatar, Inception and Scott Pilgrim vs. the World suggests an atmosphere in which audiences may expect to find more digital, visual effects and animation in live-action media. At the same time, as animation has become a staple in the corporate bottom line, they also constitute their own major category of film and television products. It seems that animation, visual effects, and cgi have been significant to the way that all films are made. It is therefore important that we recontextualize animation studies to rethink what we mean when we say "animation."
Issue #69 of The Velvet Light Trap, "Recontextualizing CGI, Animation, and Visual Effects," thus seeks to engage the intersections between these techniques in all aspects of the labor practices, production, exhibition, distribution, and reception of media. It is critical that this scholarship challenge traditional views, while suggesting new avenues for scholarly pursuit. This includes re-reading and reassessing traditional histories of animation, as well as examining the aesthetic, economic, and technological ways in which visual effects and animation impact contemporary cinema and television, especially with regards to (though not limited by) the following topics:
- cinema of attractions
- changing standards of realism
- global and Local Labor practices
- pre-production and post-production
- 3-D technologies
- motion capture and rotoscoping
- video games and media convergence
- historical perspectives
- earlier visual effects practices, such as mattes and process shots
Submission guidelines and details available at the journal's website.
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