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Dear Colleagues,

I’d like to draw your attention to a survey being conducted by Rebekah Taylor, Chief Archivist of the University for Creative Arts’ Animation Archive (Farnham Campus).

Her team are currently investigating the research potential of animation archives within the United Kingdom and methods with which they can be made more accessible, with a view to publishing their findings in a forthcoming journal article.

If any MeCCSA members (either with or without experience of working with material from animation archives in the UK or overseas) would be interested in completing the short survey they have created, I’d be very grateful if you could send your responses to all/some of the questions below to Rebekah Taylor directly at [log in to unmask]<mailto:[log in to unmask]>, preferably along with a copy of the consent form attached to this email.  Also, many thanks in advance for giving up some of your valuable time.  I expect that many of the recipients of this email will be all-too-familiar with the challenges faced by those who, like Rebekah, are endeavouring to recruit a large and wide-ranging group of research participants!

Further information on the UCA animation archive, which includes the personal archive of the Oscar-winning animator Bob Godfrey, digital image collections of works by the animators Halas and Batchelor, the Tessa Boffin photography archive, and the Working Press archive and special collection, can be found at http://community.ucreative.ac.uk/archives

Survey Questions:

  *   Introduce yourself, your background, profession and research interest.
  *   What archives (if any) are you currently using in your work?
  *   How (if you are) are you using archives in your work?
  *   What are the most interesting aspects of using archives in your work?
  *   Why do you think animation archives are so important?
  *   Who do you think can benefit from using an animation archive in their work?
  *   What different ways can animation archives be used?
  *   What would you say to someone who said they were irrelevant today? (e.g 2d/acetate cels and whether they are used)
  *   What are the biggest challenges faced by those working with animation archives?
  *   Do you think animation archives are valued as much as they could be, and if not why not?
  *   Can you think of any ways to make animation archives more accessible - to get people interested - to get them 'through the door’?

Kind regards,

Sonia Friel

Doctoral Candidate
Art History and Animation
Norwich University of the Arts
Francis House
3-7 Redwell St
Norwich
NR2 4SN, UK
email: [log in to unmask]<mailto:[log in to unmask]>
Rated top Specialist Arts Institution in the UK (National Student Survey 2013) and best Specialist Institution in Art and Design (Complete University Guide 2014)


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