Review: Animex Research and Innovation Conference 2024

**Fig. 1 - The Animex Research and Innovation Conference 2024.**

Events like the Animex Research and Innovation Conference are important in drawing together a diverse range of researchers, practitioners, and educators from around the world to discuss and address some of the most critical aspects of animation and gaming. Such events, through the creation of an environment of collaboration, give opportunities to investigate the expanse of these fields: from traditional 2D and 3D animation, including stop motion, digital techniques, and CGI, to the innovative realms of gaming. Meeting professionals with diverse perspectives is not only a great opportunity to enrich one's projects but also an enriching experience that nourishes the individual and inspires new questions to be asked in future research. It is through engaging with this dynamic community that participants gain insight from these creative and technical visions in animation and gaming, but also into deeper societal, cultural, and psychological implications.

The Animex Festival has been a prominent event for the past 25 years, bringing together animation, VFX, and gaming professionals at Teesside University, Middlesbrough (Fig. 1). In 2023, the festival expanded to include the Animex Research and Innovation Conference, an academic forum dedicated to advancing theory and practice in animation and related fields. Chaired this year by Dr Katherine O'Connor (who exhibited her 2024 short film Potter’s Mirror - see Figs. 2-4) and Dr Paul Noble, the second iteration of this conference took place on 13th November 2024, showcasing cutting-edge research, global perspectives, and interdisciplinary approaches.

**Fig. 5 - Anahita Fazaeli on *Postman Pat*.**

The conference started with a welcoming session, followed by two morning panels. Panel 1 discussed the intersection between animation and culture, as well as diplomacy. The presentations varied from the analysis of Postman Pat by Anahita Fazaeli (Fig. 5) as a tool of British cultural diplomacy to Swati Bute's presentation on Indian mythology-inspired TV serials and their audience reception. Swayamsiddha Panigrahi added to that by discussing how traditional and indigenous influences in Disney animations contribute to global animation culture. In contrast, Panel 2 was about technological developments, specifically the use of AI in animation. Lesley Ung discussed the use of AI-driven animation for the representation of grief, while Ryan Laley showed what AI is capable of in terms of mimicry, and Kelvin Lee discussed the use of AI tools in animation education.

**Fig. 6 - Animation practice-as-research presented by Katerina Athanasopoulou**

Later in the morning, the event included application-areas sessions dealing with augmented and virtual realities: In Panel 3, Professor Warren Fearn had focused on primary science education and augmented reality while Sascia Pellegrini spoke on temporal conceptions and video games. New practices in virtual and augmented realities for practice-as-research in animation were presented by Katerina Athanasopoulou (Fig. 6). Simultaneously, the Specialist Panel went on to focus attention more acutely on the discussion arising around AI and hybridization. Topics included Benjamin Seide’s analysis of AI’s role in VFX production and Bernhardt Schmitt’s exploration of creating precise movement using generative AI.

The afternoon session resumed after lunch with discussions that spanned from technical innovation to narrative design. Panel 5 discussed the visual storytelling tools of screens, HUDs, and holograms; Claire O'Brien spoke about communication techniques in animated films, while André Couwen presented a comparison of Dr. Jekyll and Mr. Hyde across media. Panel 6 rounded out these themes by delving into virtual production pipelines and inclusive gaming approaches. Henny Meiß discussed theatre affordances in virtual production, while Rabia Noor proposed a cultural nexus model for inclusive game design.

The final panels of the day brought broader aesthetic, cultural, and educational dimensions of animation into view. The papers in Panel 7 ranged from Marc Russo's “Innovative Networking Technologies and Visual Effects” to a paper on aesthetic continuity in special effects, King Kong versus Planet of the Apes by Benjamin Pinsent and another by Benjamin Hall on the role of animation in school workshops (Fig. 7). Panel 8 offered reflections on how animation itself shapes cultural narrative and teaching. Nomfundo Khumalo-Zwane did a case study on preschooler safety in South African animation, and Jessica Rutherford talked about evolving animation curricula in relation to industry needs.

**Fig. 7 - Benjamin Hall’s paper “The Animated Tea Towel: A Democratic School Workshop.”**

The Animex Research and Innovation Conference showed that animation and gaming are much more than either a vehicle for entertainment or technological innovation. Throughout the panels, the interdisciplinary approach taken by participants brought together the technical with the socio-political, psychological, and humanistic dimensions of such fields. While the panels in Panels 2 and 3 discussing AI and augmented reality showed how these could serve to extend original formal usage in order to create enriched human relationships, respond to emotional needs, and serve greater good. For instance, Lesley Ung's use of animated media to examine grief or Rabia Noor's model for gaming inclusivity shows such areas innately connect to the heart of human experience that has the capacity to create empathy and inclusiveness.

Moreover, several panels underscored the significant cultural and psychological layers embedded in animation and gaming projects. Panel 1, with its exploration of cultural diplomacy and mythology, revealed how animated stories transcend national boundaries and convey complex cultural narratives. These works reflect the diverse backgrounds of their creators, which enriches their depth and global resonance. Similarly, presentations in Panels 5 and 7 demonstrated that technical advancements like HUDs, motion capture, and visual effects are not isolated achievements but are informed by the creators’ cultural and individual perspectives, shaping how audiences interpret the world around them.

**Fig. 8 - Warren Fearn's AR project to improve primary science education.**

Animation and gaming are not just technical enterprises but have emerged as ways in which creators address real-world issues and construct meaningful narratives. The interdisciplinary approaches presented at the conference highlighted their potential to educate, inspire, and solve problems faced by both adult and younger audiences. Warren Fearn's AR project to improve primary science education (Fig. 8) and Nomfundo Khumalo-Zwane's work on preschooler safety in South Africa are examples of how these mediums can provide tangible solutions to pressing issues. Moreover, such projects underpin a role for animation and gaming in fostering dialogue on mental health, identity, and social justice-interesting topics that are increasingly important in today's globalized, interconnected world.

The diversity of ideas at the conference was a testament to the richness of cultural and individual backgrounds informing animation and gaming studies. Such fields are uniquely positioned to bridge divides, offering new ways to connect with audiences while reflecting their creators' diverse lived experiences. Through storytelling, interactive design, and technological innovation, animation and gaming help construct and reshape our understanding of the world, making them indispensable tools in addressing the complexities of modern life.

Ultimately, the Animex Research and Innovation Conference proved to be not only a venue to present technological advancements but also a chance to reflect on the deeper social, cultural, and psychological roles of animation and gaming. This cross-disciplinary and international exchange underlined their potential for transformation in a manner that illustrated how these creative fields keep on changing as reflections of, and responses to, the challenges and opportunities thrown up by the world.

**Article published: December 13, 2024**

Biography

Anahita Fazaeli is a second-year PhD student at UCA, focusing on the representation of ethnic minority groups in children's animations, with a specific case study on Postman Pat (1981–2017). Born in Iran, Anahita earned her BA in English Language and Literature and her MA in British Cultural Studies before moving to the UK. She is also an associate lecturer at UCA, supervising film production students and delivering lectures on topics like cinematic representation, race, ethnicity, and identity in animation. Her research interests lie in the socio-political and ideological readings of children's literature and cinema.