The 31^st Conference of the

Society for Animation Studies

June 17-21, 2019

HOSTED BY UNIVERSIDADE LUSÓFONA DE HUMANIDADES E TECNOLOGIAS, LISBOA, PORTUGAL

Background drawing from Estória do Gato e da Lua / Tale About the Cat and the Moon (1995)

Presentations

“THE BUTTERFLIES DO NOT LIVE HERE. AN EARLY EXAMPLE OF ANIMATED DOCUMENTARY ON THE HOLOCAUST.”

(SAS2019-10705)

“ANIMATION AND ITS OTHERS: EXPRESSIVE RECIPROCITIES IN VISUAL, AURAL, AND VERBAL IMAGINATION”

(SAS2019-11050)

“ANIMATION IS MY IDEAL PLACE” – A CLOSER LOOK AT SANDRO DEL ROSARIO’S EXPERIMENTAL ANIMATIONS.

(SAS2019-10751)

“SCROOGIN ON A GREG”: THE ABSURD IN SCOTTISH ANIMATED COMEDY

(SAS2019-10969)

4 STATES OF MATTER – CREATIVE PROCESS

(SAS2019-11033)

A CARTOGRAPHY OF THE INVISIBLE INTERSTICE

(SAS2019-10968)

A CRITICAL REFLECTION ON COOPERATIVE ANIMATION IN MIXED REALITY SPACES

(SAS2019-11034)

A NEW PLACE FOR ANIMATED STORYTELLING: ADAPTING MAJOR SHAKESPEARE TEXTS FOR VR

(SAS2019-10963)

A QUICK TRIP TO THE LABORATORY AND POOF!: CHEMICALLY INDUCED TRANSFORMATIONS IN AMERICAN THEATRICAL CARTOONS

(SAS2019-11099)

ADVENTURE TIME’S OPENING TITLE SEQUENCE AND THE MOBILE MAP: ANALYZING MOVEMENT, WORLD-BUILDING, ACTIVE SPECTATORSHIP AND NARRATIVE PRACTICES

(SAS2019-10989)

AGAINST ENTREPRENEURIALISM? THINKING ABOUT HOW TO EFFECTIVELY TEACH ANIMATION IN THE CONTEMPORARY UNIVERSITY

(SAS2019-10804)

AMBIENT ANIMATION DISPLAYS AND PLACE MAKING IN PUBLIC SPACE

(SAS2019-10987)

ANALYSIS OF CZECH STOP MOTION ANIMATION AS A NATIONAL IDENTITY

(SAS2019-11067)

ANIMATED / SPACES / DOCUMENTED / PLACES

(SAS2019-11060)

ANIMATED HIGH-RISE ARCHITECTURE: SPACE, PLACE AND SYMBOLISM.

(SAS2019-10939)

ANIMATED MEMORIES: THE SUBJECTIVE APPROACH OF BRAZILIAN POLITICAL HISTORY IN “TORRE”

(SAS2019-11063)

ANIMATED TEENAGE MINDSCAPES: ANIMATION AS SUBJECTIVE FANTASY SPACE IN CONTEMPORARY TEEN MOVIES

(SAS2019-10704)

ANIMATED URBAN SURFACES – SPATIAL AUGMENTED REALITY IN PUBLIC DISCOURSE

(SAS2019-11048)

ANIMATING CONSCIENCE: REPRESENTATIONS OF INNER CONFLICT IN ANIMATION

(SAS2019-11038)

ANIMATING DOCUMENTARY MODES: NAVIGATING A THEORETICAL MODEL FOR ANIMATED DOCUMENTARY PRACTICE

(SAS2019-11098)

ANIMATING FEMINISM PAST AND PRESENT

(SAS2019-10708)

ANIMATING IMAGINED COMMUNITIES: MELBOURNE’S CHRISTMAS WINDOWS

(SAS2019-10997)

ANIMATING THE BORDER UNDERGROUND

(SAS2019-10762)

ANIMATION AND ITS CREATIVE LANGUAGE IN CULTURAL ADAPTATION

(SAS2019-10957)

ANIMATION AND SOCIAL HOUSING, AN EXPERIMENT INSIDE SIX HOUSING TOWERS IN LISBON, 1959

(SAS2019-11057)

ANIMATION ARCHIVES ACROSS ENGLAND – PRESERVING PERSONAL STORIES, PRODUCTION HISTORY, AND CULTURAL HERITAGE

(SAS2019-10981)

ANIMATION ARCHIVES: SITES OF KNOWLEDGE AND CONSERVATION

(SAS2019-11070)

ANIMATION AS A TOOL OF RESISTANCE

(SAS2019-11044)

ANIMATION IN SINGAPORE CONTEMPORARY ART: HILMI JOHANDI AND DAVE LIM

(SAS2019-10776)

ANIMATION IS A REFUGE: ‘MIGRANTI’ DWELL IN THE STORIES OF THE MIND.

(SAS2019-11039)

ARTISTIC PERSUASIONS: ANIMATION, PUBLIC AWARENESS AND THE INDIAN STATE

(SAS2019-11030)

AUTHENTICITY IN EXPERIMENTAL DOCUMENTARY ANIMATION. THE SIGNIFICANCE AND VALUE OF SUBJECTIVE ARTISTIC POSITIONS.

(SAS2019-11068)

BEING IN THE DIGITAL WORLD: EMBODIMENT IN THE WORKS OF LU YANG

(SAS2019-10744)

BLANC-GATTI AND MUSICALISM: A PAINTERS’ APPROACH TO SYNESTHESIA AND ANIMATION IN THE INTERWAR PERIOD

(SAS2019-11036)

BODY, BREATH, BREAK: WILLIAM KENTRIDGE’S INTIMATE ECOLOGIES

(SAS2019-11061)

BORN AGAIN: ‘SCAVENGER’ ANIMATION AND THE [RE]BIRTH OF ANIMATED CONSCIOUSNESS IN AFRICA

(SAS2019-10684)

BUREAUCRATIC HIEROGLYPHICS: POSTAGE STAMPS AS ART, CULTURE AND HISTORY

(SAS2019-11074)

CHANGE, MOVEMENT, AND THE FABRIC OF REALITY: ANIMATED IMAGE AS A NEW MODE OF INQUIRY IN SCIENTIFIC RESEARCH

(SAS2019-10924)

CHASING THE ‘ELEPHANT IN THE LIVING ROOM’: ANIMATED DOCUMENTARY AS A SOCIAL TOOL / REALISM AND THE ANIMATED DOCUMENTARY

(SAS2019-10964)

CIGGY BUTT BRAIN: TOWARDS A NATIONAL SENSE OF PLACE IN AUSTRALIAN ANIMATION

(SAS2019-10946)

COMBINED 2D ANIMATION IN NIKO AND THE SWORD OF LIGHT.

(SAS2019-11007)

COMMUNISM, STICKY RICE AND BAMBOO HUTS: ANIMATION IN LAOS

(SAS2019-10750)

CONTRIBUTIONS TO THE HISTORY OF ANIMATION EDUCATION IN PORTUGAL: THE CASE OF THE UNIVERSITY OF ALGARVE

(SAS2019-10927)

CROSS-CULTURALISM AND LOCAL SPECIFICITY UNDER THE LENS OF SEICHIJUNREI AND MAWARU PENGUINDRUM

(SAS2019-11090)

CUBES ON A CARPET

(SAS2019-10764)

DANCING INTO ACOUSTIC SPACE

(SAS2019-10683)

DEVELOPING AN ALTERNATIVE PROCESS FOR BRINGING THE AESTHETICS OF STOP FRAME ANIMATION INTO VIRTUAL REALITY DEVELOPMENT INTERFACES

(SAS2019-11011)

DIGITAL FUTURES

(SAS2019-11029)

DIGITAL REFLEXIVITY

(SAS2019-10992)

DOCUMENTARY ANIMATION AND POLITICAL MEMORY OF THE 20TH CENTURY

(SAS2019-10947)

DOCUMENTS OF GRIEF: AUTOETHNOGRAPHIC PROCESS IN MAKING ANIMATED DOCUMENTARY

(SAS2019-11016)

EMERSIVE STORYTELLING – AN EXPLORATION OF ANIMATION AND THE FOURTH WALL AS TOOLS FOR CRITICAL THINKING

(SAS2019-10696)

ETHNOGRAPHIC ANIMATION: PARTICIPATORY DESIGN WITH THE LONGHORN MIAO

(SAS2019-10938)

EXPLORING THE PHYSICALITY OF THE CINEMATIC SPACE THROUGH MINIATURES

(SAS2019-11093)

EXTENDING EMPATHY: IMAGINED PERSPECTIVES IN ANIMATION RESEARCH AND STORYTELLING

(SAS2019-10951)

FEMALE SEXUALITY AND THE ‘VOCALIC BODIES’ OF NEVER LIKE THE FIRST TIME!, LE CLITORIS, AND PRIVATE PARTS

(SAS2019-11102)

FEMINISMS AND ANIMATION: FEMINIST DISCOURSE ANALYSIS OF QUEBEC ANIMATION FROM THE NATIONAL FILM BOARD OF CANADA (1970-1979).

(SAS2019-10973)

FROM REGIONAL TO TRANSNATIONAL: THE IMPACT OF RECENT SPANISH HISTORY ON FEMALE ANIMATED BODIES

(SAS2019-11005)

FROM SILICON TO PIXEL: EXPLORING THE MATERIAL ORIGINS OF THE SIMULATED IMAGE.

(SAS2019-11019)

HAND-HELD PUPPETS: BEYOND THE LIMITS OF ANIMATION?

(SAS2019-11075)

HANDWOVEN TALES IN CONTEMPORARY CONTEXT: THE TRANSFORMATION AND TRANSPOSITION OF TRADITIONAL ANIMATION TECHNIQUES TO ENVIRONMENTS BEYOND THE SCREEN

(SAS2019-11022)

HAYAO MIYAZAKI: ENVIRONMENTALISM & ANIME

(SAS2019-11084)

HOW 2D ANIMATION HELPS CHILDREN LEARN TO CREATE STORIES USING A TANGIBLE USER INTERFACE

(SAS2019-11101)

HOW CAN SHORT ANIMATED FILM BE USED AS A HEALING AND THERAPEUTIC TOOL FOR CHILDREN LIVING WITH FAMILIAL ADDICTION?

(SAS2019-10737)

HOW VISUALS BRING US TOGETHER WHEN LANGUAGE SEPARATES US

(SAS2019-10949)

INANIMATE LOVE: THE PUPPET AS AN OBJECT OF AFFECTION INSIDE THE PRODUCTION OF A MOVIE.

(SAS2019-11097)

INFINITE COLLECTIVE: HAND-DRAWN ANIMATION AS SOCIALLY-ENGAGED ART PRACTICE (WORKING TITLE)

(SAS2019-11083)

INSISTING ON THE HANDMADE: TANGIBLE ANIMATION FOR THE INTANGIBLE CITY

(SAS2019-11012)

IPAD AS A DIGITAL SOLUTION FOR AN ADVANCED 2D ANIMATION CLASSROOM

(SAS2019-10931)

IRISH WOMEN MODERNISTS AND ANIMATION PRACTICE AS A RECLAMATION OF CULTURAL AND ARTISTIC SPACE

(SAS2019-11066)

LATIN AMERICAN ONLINE ANIMATIONS: AN OVERVIEW AND REFLECTIONS ON ITS RESEARCH METHODS.

(SAS2019-11065)

LET’S GET PHYSICAL: FOSTERING HYBRID ANIMATION PRACTICES AND EMBODYING THE TANGIBLE IN ANIMATION EDUCATION

(SAS2019-11088)

MAGIC HIGHWAYS AND AUTOPIAS: DISNEY AND THE EXPANDED PLACE OF ANIMATED ADVERTISING

(SAS2019-10869)

MONSTER DOCS

(SAS2019-10993)

MOVING MAPS: ANIMATION AND CARTOGRAPHY

(SAS2019-11078)

MOVING THROUGH THE IMAGE: EXPANDED ANIMATION FOR A SHARED PHYSICAL UNDERSTANDING.

(SAS2019-10800)

OPTIC, HAPTIC AND KINETIC APPROACHES TO ANIMATION

(SAS2019-11006)

OUT OF THE VIRTUAL REALM INTO REALITY. HOW 3D PRINTING BLURS THE LINES BETWEEN STOP MOTION AND CG ANIMATION

(SAS2019-10967)

PANTA RHEI (EVERYTHING FLOWS) – ANIMATION AND THE PHILOSOPHY OF HERACLITUS.

(SAS2019-11002)

PARACINEMA AND THE DEMATERIALIZATION OF ANIMATION

(SAS2019-10785)

POST CULTURAL ANTHROPOPHAGY AND CONTEMPORARY BRAZILIAN ANIMATION

(SAS2019-11024)

REINVENTING TEHRAN AS THE SITE OF RESISTANCE, CONTEMPORANEITY AND YOUTH CULTURE IN IRANIAN INDEPENDENT ANIMATION

(SAS2019-11042)

REMEMBERING THE NOSTALGIC ISTANBUL IN ANIMATION: CONSTRUCTION OF THE CULTURAL IDENTITY OF THE ISTANBULITE IN “RAFADAN TAYFA: DEHLIZ MACERASI”

(SAS2019-10933)

RETHINKING THE VERNACULAR: TRANSDISCIPLINARY DESIGN THINKING IN ANIMATION & ARCHITECTURE

(SAS2019-10880)

SHADOWS, MUSIC, AND THEIR JOURNEYS. AN ANIMATED RECONSTRUCTION OF THE SHADOW PLAYS FROM THE CHAT NOIR TOURING THEATRE

(SAS2019-11027)

SITES OF GENDERED CREATION IN AMERICAN AND JAPANESE ANIMATION, 1950S TO PRESENT

(SAS2019-10929)

SOCIO-POLITICAL PERSPECTIVES ON PORTUGUESE ANIMATION CINEMA

(SAS2019-11080)

SPACE JAM: HOW ANIMATORS MAKE SPACE FOR THINKING

(SAS2019-10956)

SUBVERSIVELY CLAUSTROPHOBIC SPACES IN WOMAN’S ANIMATED AUTOBIOGRAPHY.

(SAS2019-10984)

TEACHING AUDIO TO ANIMATORS: RETHINKING SOUND PEDAGOGY IN CONTEMPORARY ANIMATION CURRICULA

(SAS2019-11025)

TEACHING THE ILLUSION OF LIFE: THE FIRST FIFTY YEARS OF THE SHERIDAN ANIMATION PROGRAM

(SAS2019-10983)

THE (IN)VISIBLE LABOUR OF WOMEN IN GLOBAL ANIMATION

(SAS2019-11017)

THE ANIMATED DOCUMENTARY AND THE DIGITAL DOMAIN

(SAS2019-10923)

THE ANIMATED MOCKUMENTARY, ITS MARKERS OF VERIDICTION AND THEIR EVOLUTION ACROSS TIME

(SAS2019-10731)

THE ANIMATION LAB IS ALSO A PLACE: LOCALIZED IDENTITY AND INCLUSIVE LEARNING IN STUDENT-RUN COMMUNITIES OF PRACTICE

(SAS2019-10960)

THE CHROMATIC PLAYHOUSE: COLOR FIELDS IN POSTWAR AMERICAN ANIMATION AND ARCHITECTURE

(SAS2019-11049)

THE ELEPHANT IN THE ROOM

(SAS2019-10752)

THE FOREIGN, THE EXOTIC, AND THE OTHER IN THE MUSIC OF _MULAN_

(SAS2019-11096)

THE LANDSCAPE OF INTRODUCTORY ANIMATION EDUCATION IN BRAZIL

(SAS2019-11026)

THE LIBRARY, A NON-INTRUSIVE GAZE DIRECTED INTERACTIVE VR ANIMATION

(SAS2019-11015)

THE PLACE OF CUT-OUT ANIMATION: LARRY JORDAN’S SURREAL VICTORIAN SETTINGS

(SAS2019-10922)

THE REPRESENTATION OF THE DIEGETIC IMAGINARIUM AS ANIMATION IN LIVE-ACTION CINEMA

(SAS2019-10959)

THE RITUAL IN THE PORTUGUESE ANIMATION

(SAS2019-11077)

THE SHRINKING TRUTH ABOUT DISNEY PLASTIC

(SAS2019-10943)

THE TIMES THEY ARE CHANGIN’ – CULTURAL IDENTITIES IN THREE ANIMATED SHORTS FROM THREE EX YUGOSLAV REPUBLICS

(SAS2019-10971)

THE TRANSFORMATION OF SPACE IN THE SECOND COMING

(SAS2019-10702)

THE VOICE INSIDE SINGS A DIFFERENT SONG: THE POLITICS OF DUBBING MOANA

(SAS2019-11072)

THE WORLDS OF ISAO TAKAHATA: ANIMATING FANTASY AND REALITY

(SAS2019-10953)

THEIR STORY.THEIR VOICE.THEIR WORLD: AN ANIMATION BASED LEARNING PROGRAMME FOR CHILDREN WITH FASD

(SAS2019-10699)

THEORIES ON THE USE OF THEATRICAL ESOTROPIA IN ANIMATED CHARACTER DESIGN AND PERFORMANCE

(SAS2019-10965)

THERE’S A TECHNOLOGICAL PLACE FOR US: ANIMATION, TECHNOLOGY, AND PLACE

(SAS2019-10962)

TOPOLOGIES OF JAPANESE PORNOGRAPHIC ANIMATION AND ITS INTERNATIONAL RECEPTION

(SAS2019-11028)

TRENCH AESTHETICISM RE-VISITED: WHEN ANIMATION FILMS FRAME THE ‘GREAT’ WAR

(SAS2019-10786)

TRUMP IN WACKYLAND: HOLLYWOOD ANIMATION AS REAL ESTATE IN THE AGE OF CRUELTY

(SAS2019-11023)

VIRTUAL HYBRID SPACES. NOTES ON COMBINATIONS OF LIVE-ACTION AND ANIMATION WITHIN VIRTUAL REALITY ENVIRONMENTS

(SAS2019-11035)

VISUALIZING MICROBIAL SEASCAPES: A CASE STUDY OF TEACHING ANIMATION AND MARINE BIOLOGY

(SAS2019-11064)

WAPOS BAY: NO MORE PIPE DREAMS.

(SAS2019-11086)

WHAT CAN COMPARE WITH YOUR BEAUTIFUL SOUND? DISNEY’S MUSICAL UTOPIAS

(SAS2019-11047)

WHEN YOU STOP ANIMATING: ANIMATION EXPERIENCE AND ITS LATER TRANSFERABILITY INTO OTHER CREATIVE AREAS

(SAS2019-11046)

WILLINGTON STREET – THE MEMORIES YOU LEAVE BEHIND

(SAS2019-11062)

ZUM GEMEINWOHL! (FOR THE COMMON GOOD!): ANIMATION EXPRESSING THE LOCAL IN THE GLOBAL

(SAS2019-10961)

Contact us

Email

sas2019secretariat@leading.pt
Address

Campo Grande, 376
1749-024 Lisboa - Portugal

The 31st Conference of the

Society for Animation Studies

June 17-21, 2019

Presentations

Contact us

Organização

Apoios

The 31^st Conference of the