Animation and Advertising
Call for chapter proposals: Animation and advertising
Proposals are invited for chapters in a new edited collection on the topic of ‘Animation and Advertising’.
Animation and advertising have a shared history and affinity, and they have a common social and historical context in modernity. Animators and studios have relied upon regular income from the advertising industry and seized the creative and technical challenges of this form of filmmaking. Corporations and advertising agencies have embraced animation as a way to distinctively embody products, brands, and values, and engage consumers in factual or affective ways. Animated advertising has expanded beyond the cinema screen, ranging from early illuminated billboards to new media ubiquity.
Despite this, cinema studies have until recently attached little value to animated advertising. Commercials have been an important part of the work of famous animation studios (Aardman, Disney, Fleischer, Ghibli, Pixar) and celebrated artists (Lye, Plympton, Fischinger, Fischerkoesen, Richter, Quinn, Reiniger, Ruttmann) yet this is either ignored or marginalised by simple art/commerce binaries. Large volumes of animated advertisements have been produced and seen, yet these are accorded no place in histories of cinema and are often marginalised in archival practices.
Sharing in the growing interest in and theorisation of ‘films that work’ (Hediger and Vonderau, 2009), or indeed ‘films that sell’ (Florin, De Klerk and Vonderau, 2016), this book will address this nexus between advertising and animation to better understand how each has been fundamental to the other’s development.
Areas of interest include, but are not limited to:
- The place of advertising in the histories of famous studios and animators.
- The role of animation in the history of advertising.
- Studies of advertising animation studios (e.g. Jam Handy, Nathan Love).
- Animation theory and advertising: the role of animism, anthropomorphism, graphic design, and commodity fetishism in advertising.
- The affective power and appeal of animated advertising.
- ‘Many-sited’ and historically specific animated advertising: magic lantern slides and other optical toys, animated billboards, 2D and 3D analogue and digital displays, web animation, advertising in video games, music videos, television, mobile apps, interstitials and logos.
- Animated advertising and paracinematic and protocinematic place (the cinema lobby, the public square, specific spaces like Times Square, the Akihibara district and many others), and/or as site of consumption (nibble nook/candy counter, illustrated songs and lobby sheet music sales) and social or temporal practice (cinema intermission, 2D and 3D pop up advertising; TV/streaming web commercials and multitasking, etc).
- Animation in the new global economy and the growth of transnational corporate marketing.
- Nationally or regionally specific animated advertising.
- Animated advertising broadly defined: product placement, sponsored, industrial, propaganda, documentary, and educational animation.
- The impact of new primary materials/research documents on our understanding of animated advertising and the challenges of archival practices: digitised publications, corporate archives, online video repositories.
- Animated advertising and its theorisation across disciplinary boundaries: Animation studies, Cinema and Media Studies, Marketing and Business Administration.
- Animated stars in advertising and advertising characters who become stars (The Flintstones and Winston cigarettes, Bugs Bunny and Kool Aid, Wallace and Gromit and PG Tips tea).
- Advertising and product placement/ synergy/cross promotion across media.
- animation and specific advertising technologies, from mechanical devices to electricity to digital and virtual/augmented forms
- Animation and commercial television.
- Intermedial connections of animated advertising: print cartooning, graphic art, performance.
- Advertising and the digital: augmented reality/virtual reality/360°.
- Animated advertising and surveillance.
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 editors Professor Kirsten Thompson (thompski[at]seattleu.edu) and Dr Malcolm Cook (m.cook[at]soton.ac.uk) before 15th May 2017.