Animation Practice, Process & Production (Journal)

ISSN 20427875 , ONLINE ISSN 20427883

Animation Practice, Process & Production is a double-blind peer-reviewed journal presenting, analysing and exploring how animation is created and shown.

Animation encompasses a huge variety of practices, many of them unacknowledged or underexplored. This journal attempts to bring all types of animation to the fore and to present insight and analysis about the practice, process and production of such work.

For more information, to access the journal or to subscribe visit the Discover platform here.



Editors

Miriam Harris
Auckland University of Technology, New Zealand
miriam.harris@aut.ac.nz

Samantha Moore
Royal College of Art, UK
s.moore@rca.ac.uk

Founding Editor

Paul Wells
Loughborough University, UK

Aims & Scope

Animation Practice, Process & Production is a double-blind peer-reviewed journal presenting, analysing and exploring how animation is created and shown.

Animation encompasses a huge variety of practices, many of them unacknowledged or underexplored. This journal attempts to bring all types of animation to the fore and to present insight and analysis about the practice, process and production of such work.

Illustrated contributions are invited from practitioners and scholars of animation around the world representing animation from many different perspectives.

Innovative models of critical presentation and analysis are especially encouraged, along with reviews and interviews. It is hoped that this journal will contribute to the expanding richness of knowledge and debate around animation.

Submissions

To submit an article, please follow the 'Submit' button on the left of this page.
 
All articles submitted should be original work and must not be under consideration by other publications.
 
Journal contributors will receive a free PDF copy of their final work upon publication. Print copies of the journal may also be purchased by contributors at half price.
 
Download the Notes for Contributors below for information on format and style of submissions. If you need this document in a more accessible format, please contact info@intellectbooks.com. Find more information on Intellect's Accessibility page.

Peer Review Policy

All articles undergo initial editorial screening either by the journal's Editorial Team and/or incumbent Guest Editors. Articles then undergo a rigorous anonymous peer review by two referees, following the guidance in Intellect's 'Peer review instructions'. Based on this feedback, the Editors will communicate a decision and revision suggestions to authors. To appeal an editorial decision, please contact the main Editor who will consider your case.

Ethical Guidelines

The journal follows the principles set out by the Committee on Publication Ethics (COPE). Read our Ethical Guidelines for more on the journal's standards.


Notes for Contributors Download

Editors

Miriam Harris
Auckland University of Technology, New Zealand
miriam.harris@aut.ac.nz

Samantha Moore
Royal College of Art, UK
s.moore@rca.ac.uk

Founding Editor

Paul Wells
Loughborough University, UK

Editors

Miriam Harris
Auckland University of Technology, New Zealand
miriam.harris@aut.ac.nz

Samantha Moore
Royal College of Art, UK
s.moore@rca.ac.uk

Founding Editor

Paul Wells
Loughborough University, UK

Editors

Miriam Harris
Auckland University of Technology, New Zealand
miriam.harris@aut.ac.nz

Samantha Moore
Royal College of Art, UK
s.moore@rca.ac.uk

Founding Editor

Paul Wells
Loughborough University, UK

General Call for Papers Download


General Call for Papers

All articles submitted should be original work and must not be under consideration by other publications.

Animation Practice, Process & Production (AP3) is dedicated to:

  • revealing the critical and creative approaches to making animation
  • engaging with the work of the many practitioners involved in the production, exhibition, preservation and pedagogy of animation
  • providing an innovative platform of presenting work dedicated to disseminating skills, knowledge and academic critique in non-traditional ways
  • profiling and celebrating all forms of animation practice, across platforms, and in a range of production contexts

Animation has become one of the most significant creative forms available for personal and professional expression in the contemporary era. Its capacity to depict inner passions and preoccupations, changing politics and the shifting dynamics of cultures globally, has helped it become an omnipresent aspect in defining the mass-mediated modern world.

Following an extended historical period of dismissal and marginalization, animation is now finally achieving a major degree of recognition as an art form, a discipline for increased academic study and as a commercially successful application across a range of platforms.

In recognition of this, AP3 is dedicated to addressing the ideas and issues in the process, practice and production of animated screen works. Further, it seeks to find as many new ways of defining and presenting the emotional intelligence, practical endeavour and imaginative spectacle of the animation practitioner.

The animation practitioner will be understood in a number of roles, including, for example, the animator, the independent auteur, the curator, the producer, the scriptwriter, all roles within the studio production pipeline (storyboard, layout, editor, technical director etc.), the archivist, the collector, the festival director, the university/college/school animation tutor, the researcher, the actor, the sound designer, the exhibitor, etc. This approach represents a fundamental attempt to ensure that those who engage with the making, presentation and preservation of animated forms have a key voice in the critical community.

AP3 is committed to the view that there are many different ways of articulating and disseminating knowledge and skills, and that animation might be understood as a research-led and research-based practice – not necessarily comparable to traditional models – but nevertheless informed by questioning, conceptual development and problem solving, drawing upon established historical and intellectual precedents, and offering solutions through creative interventions and outcomes. This, in turn, defines animated screen works as both practice-based research and fundamental artistic achievements.

AP3 wishes to acknowledge and represent technical and applied endeavour as the intellectual currency embedded in practical work. Apprehending and applying tools with a major degree of creative and critical dexterity is at the heart of the visualization and moving image process, but is not properly recognized for its level of conceptual and analytical understanding. Though potentially regarded as a ‘non-traditional' model of intellectual engagement, it is vital that this is understood, acknowledged and evidenced. The emphasis on traditional forms of intellectual output as the expression of knowledge and skills is not necessarily pertinent here, nor does it adequately reflect what is being achieved through the creative intelligence of practitioners through their work.

AP3 is a journal seeking to reflect both the history and contemporary practice of making animation, presenting the evidence and analysis of process and production as the intrinsic vocabulary in visualizing meaning and affect. In essence, this will represent the constant reinvention and redefinition of the form, and articulate its increasing significance both at the margins and in the mainstream.

Editors

Miriam Harris
Auckland University of Technology, New Zealand
miriam.harris@aut.ac.nz

Samantha Moore
Royal College of Art, UK
s.moore@rca.ac.uk

Founding Editor

Paul Wells
Loughborough University, UK

Editorial & Advisory Board

Gregory Bennett
Auckland University of Technology, New Zealand

Rose Bond
Pacific North West College of Art, USA

Leslie Bishko
Emily Carr Institute of Art, Canada

Tania De León
Facultad de Artes y Diseño, Mexico, and Kunsthochschule für Medien Köln, Germany

Max Hattler
City University of Hong Kong, Hong Kong

María Lorenzo Hernández
Universitat Politècnica de València

Ellie Land
Northumbria University, UK

Debjani Mukherjee
Unitedworld Institute of Design, India

Christine Panushka
School of Cinematic Arts, USC, USA

Steve Reinke
Northwestern University, USA

Pedro Serrazina
Universidade Lusófona de Humanidades e Tecnologias Lisboa, Portugal

Pamela Turner
Virginia Commonwealth University, USA

Paul Wells
Loughborough University, UK

Olga Wroniewicz
Polish-Japanese Academy of Information Technology, Poland

Editors

Miriam Harris
Auckland University of Technology, New Zealand
miriam.harris@aut.ac.nz

Samantha Moore
Royal College of Art, UK
s.moore@rca.ac.uk

Founding Editor

Paul Wells
Loughborough University, UK

 
China National Knowledge Infrastructure (CNKI)
 
Design and Applied Art Index (DAAI)
 
Film and Television Literature Index
 
Film and Television Literature Index (with FT)
 
Ulrich's Periodicals Directory

Contents

  • Volume (10): Issue (1)
  • Cover date:


Contents

  • Volume (9): Issue (1)
  • Cover date: 2020


Contents

  • Volume (8): Issue (1)
  • Cover date: 2019


Contents

  • Volume (7): Issue (1)
  • Cover date: 2018


Contents

  • Volume (6): Issue (1)
  • Cover date: 2017


Contents

  • Volume (5): Issue (1)
  • Cover date: 2016


Contents

  • Volume (4): Issue (1)
  • Cover date: 2014


Contents

  • Volume (3): Issue (1)
  • Cover date: 2013


Contents

  • Volume (2): Issue (1)
  • Cover date: 2012


Contents

  • Volume (1): Issue (1)
  • Cover date: 2011


Contents

  • Volume (1): Issue (2)
  • Cover date: 2011


Editors

Miriam Harris
Auckland University of Technology, New Zealand
miriam.harris@aut.ac.nz

Samantha Moore
Royal College of Art, UK
s.moore@rca.ac.uk

Founding Editor

Paul Wells
Loughborough University, UK

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