Animation Journal

Animation Practice, Process & Production (AP3)

journal cover
In May 2011, the Animation Academy launched a new practice based animation journal, Animation Practice, Process & Production (AP3). This is a twice yearly hard copy text but the first issue is available for download and subscription.

Aims and scope

Contributions are invited for Animation Practice, Production & Process, or AP3, a new peer-reviewed journal engaging with all forms and approaches to animated moving image practice, process and production. The journal encourages submission of innovative models of critical presentation, not merely in the form of the traditional essay, but also reflective production diaries, visual discussions of production processes, DVD works / works-in-progress with contextual material, process reports, interview / conversation pieces, image sequence analysis, archive projects, festival panel / presentations, etc.

AP3 is dedicated to defining and presenting the animation practitioner – understood here, as the animator, the independent auteur, the curator, the producer, the scriptwriter, all the roles within the studio production pipeline (storyboard artist, layout artist, editor, technical director etc.), the archivist, the collector, the festival director, the animation tutor, the researcher, the actor, the sound designer, the exhibitor, and more. The journal will showcase the constant reinvention and redefinition of the form, and articulate its increasing significance both at the margins and in the mainstream, through the voices of practitioners themselves, and those that study and admire their endeavours.

Article submissions: Illustrated articles should be between 4,000 and 8,000 words in length.

Topics may include (but are not limited to):

  • Definitions of animation practice
  • Auteurist / collaborative / studio processes
  • Single roles (animator, editor, director, technical director etc.)
  • Single aspects of production (storyboards, scripts, sketches, layout, character development, technique, abstract forms, performance, sound, etc.)
  • Relationship between theory/ practice; practice-led research; practice-based research
  • Technologies/ applications
  • Historical forms and outcomes
  • Archiving – preservation/ conservation
  • Narrative
  • Visual effects
  • Pedagogic approaches
  • Analogue/ Digital production
  • Animation for exhibition/ Exterior spaces
  • Trans / Cross / Inter-disciplinary models

Notes for Contributors

The guidance on this page is by no means comprehensive and must be read in conjunction with the Intellect Style Guide, which can be found here:

AP3 seeks to encourage innovative approaches to presenting material. This may include presenting art work, storyboards, images, graphics and diagrams etc in a variety of approaches, and the possibility of annotating images or directing readers to read images in a particular way. This will require preliminary dialogue with the Editor and the Intellect design team before submission. Please adhere to this requirement.

We welcome images illustrating an article. All images need a resolution of at least 300 dpi. All images should be supplied independently of the article, not embedded into the text itself. The files should be clearly labelled and an indication given as to where they should be placed in the text. The image should always be accompanied by a suitable caption and the following is the agreed style for captions: Figure 1: Caption here. Copyright clearance should be indicated by the contributor and is always the responsibility of the contributor.

The journal follows standard British English. Please use ‘ize’ endings instead of ‘ise’.

Length of articles
Articles should be 4000-8000 words long and must not exceed 8000 words (including notes and references, but excluding the author biography, keywords or abstract).

Contributors must check that each of the following have been supplied correctly:

  • Article Title
  • Author’s Name
  • Author’s postal and email address (these do not have to be included in the final article, but are needed for correspondence purposes)
  • Author’s Biography of 50-100 words
  • Abstract of 100-200 words (this will appear on Intellect’s website)
  • Keywords (six to eight, listed one per line, in lower case where possible)

Endnotes may be used for comments and additional information only. In general, if something is worth saying, it is worth saying in the text itself. A note will divert the reader’s attention away from your argument. If you think a note is necessary, make it as brief and to the point as possible. Use Microsoft Word’s note-making facility and ensure that your notes are endnotes, not footnotes. Place note calls outside the punctuation, i.e. after the comma or the full stop. The note call must be in superscripted Arabic (1, 2, 3).

The views expressed in this journal are those of the authors and do not necessarily coincide with those of the Editors or the Editorial or Advisory Boards.

Copyright clearance is the responsibility of the contributor and should be indicated by the contributor. If your article is accepted for publication, please complete a copyright consent form (downloadable from,name=journalresources/) and send it to the journal editor. Unless a specific agreement has been made, accepted articles become the copyright of the journal.

Presentation/House Style
All articles should be written in Word. The font should be Times New Roman, 12 point. The title of your article should be in bold at the beginning of the file, but not enclosed in quotation marks. Bold is also used for headings and subheadings (which should also be in Times New Roman, 12 point) in the article. Italics may be used (sparingly) to indicate key concepts.

Any matters concerning the format and presentation of articles not covered by the above notes should be addressed to the Editor.

Intellect’s style for quotations embedded into a paragraph is single quote marks, with double quote marks used for a second quotation contained within the first. All long quotations (over 40 words) should be ‘displayed’– i.e. set into a separate indented paragraph with an additional one-line space above and below, and without quote marks at the beginning or end. Please note that for quotations within the text, the punctuation should follow the bracketed reference. For a displayed quotation the bracketed reference appears after the full stop. All omissions in a quotation are indicated thus: [...] Note that there are no spaces between the suspension points. When italics are used for emphasis within quotations, please ensure that you indicate whether the emphasis is from the original text or whether it is your own.

This is a peer-reviewed journal. Strict anonymity is accorded to both authors and referees.

All references in the text should be according to the Harvard system, e.g. (Bordwell 1989: 9). Please do not group films together under a separate Filmography heading. Instead, incorporate all films into the main body of references and list them alphabetically by director. The same rule applies to television programmes/music/new media: identify the director/composer and list alphabetically with books, journals and papers.

Please note in particular:

  • ‘Anon.’ for items for which you do not have an author (because all items must be referenced with an author within the text)
  • A blank line is entered between references
  • Year date of publication in brackets
  • Commas, not full stops, between parts of each reference
  • Absence of ‘in’ after the title of a chapter if the reference relates to an article in a journal or newspaper.
  • Name of translator of a book within brackets after title and preceded by ‘trans.’, not ‘transl.’ or ‘translated by’.
  • Absence of ‘no.’ for the journal number, a colon between journal volume and number.
  • ‘pp.’ before page extents.

The following samples indicate conventions for the most common types of

Anon (1931), Les films de la semaine, Tribune de Genéve, 28 January.

Brown, J. (2005), ‘Evaluating surveys of transparent governance’, in UNDESA (United Nations Department of Economic and Social Affairs), 6th Global Forum on Reinventing Government: Towards Participatory and Transparent Governance, Seoul, Republic of Korea, 24–27 May, United Nations: New York.

Denis, Claire (1987), Chocolat, Paris: Les Films du Paradoxe.

Flitterman-Lewis, S. (1990), To Desire Differently: Feminism and the French Cinema, Urbana and Chicago: University of Chicago Press.

Grande, M. (1998), ‘Les Images non-dérivées’, in O. Fahle, (ed.), Le Cinéma selon Gilles Deleuze, Paris: Presse de la Sorbonne Nouvelle, pp. 284–302.

Gibson, R., Nixon, P. and Ward, S. (eds) (2003), Political Parties and the Internet: Net Gain?, London: Routledge.

Gottfried, M. (1999), ‘Sleeve notes to “Gypsy”’, [Original Broadway Cast Album] [CD], Columbia Broadway Masterworks, SMK 60848.

Hottel, R. (1999), ‘Including Ourselves: The Role of Female Spectators in Agnès Varda’s Le bonheur and L’une chante, l’autre pas’, Cinema Journal, 38: 2, pp. 52–72.

Johnson, C. (1998), ‘The Secret Diary of Catherine Johnson’, programme notes to Mamma Mia! [Original West End Production], dir. Phyllida Lloyd.

Richmond, J. (2005), ‘Customer expectations in the world of electronic banking: a case study of the Bank of Britain’, Ph.D. thesis, Chelmsford: Anglia Ruskin University.

Rodgers, Richard and Hammerstein II, Oscar (n.d.), Carousel: A Musical Play (vocal score ed. Dr Albert Sirmay), Williamson Music.

Roussel, R. ([1914] 1996), Locus Solus, Paris: Gallimard.

Stroöter-Bender, J. (1995), L’Art contemporain dans les pays du ‘Tiers Monde’ (trans. O. Barlet), Paris: L’Harmattan.

UNDESA (United Nations Department of Economic and Social Affairs) (2005), 6th Global Forum on Reinventing Government: Towards Participatory and Transparent Governance, Seoul, Republic of Korea, 24–27 May, United Nations: New York.

Woolley, E. and Muncey, T. (in press), ‘Demons or diamonds: a study to ascertain the range of attitudes present in health professionals to children with conduct disorder’, Journal of Adolescent Psychiatric Nursing. (December 2002).

Personal communications
Personal communications are what the informant said directly to the author, e.g. ‘Pam loved the drums (personal communication)’. This needs no citation in the references list. Equally the use of personal communications need not refer back to a named informant. However, a more formal research interview can be cited in the text (Jamieson 12 August 2004 interview) and in the references list.

Website references
Website references are similar to other references. There is no need to decipher any place of publication or a specific publisher, but the reference must have an author, and the author must be referenced Harvard-style within the text. Unlike paper references, however, web pages can change, so there needs to be a date of access as well as the full web reference. In the list of references at the end of your article, the item should read something like this:

Bondebjerg, K. (2005), ‘Web Communication and the Public Sphere in a European Perspective’, Accessed 15 February 2005.

Submission Procedures
Articles submitted to this journal should be original and not under consideration by any other publication. Contributions should be submitted electronically as an email attachment. Please contact the journal’s editor for further details.

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