Steven Stanchfield

Steven Stanchfield is an Assistant Professor in the Department of Visual Development at the College for Creative Studies, where he has been teaching since 2000. His academic and professional work bridges animation, drawing, and the historical and technological aspects of creative media production.

His research focuses on animation and drawing, particularly innovations in technology for creative work; animation history with an emphasis on forgotten creators and studios; and motion picture and animation restoration and preservation, utilizing both physical media and digital technologies. His work is deeply rooted in archival practices and cultural recovery of early animation.

The recent publications and curated projects reflect a strong engagement with animation history, preservation, and public exhibition. Themes include the work of Ub Iwerks, Van Beuren Studios, and curated screenings such as 'Watch Me Move,' indicating a consistent focus on restoring and presenting historically significant animated works to modern audiences.

Stanchfield has extensive professional experience in the animation industry, beginning in 1991 and working full-time since 1993 at Media Station on projects for Disney, Mattel, and Warner Brothers, including Space Jam. He has directed commercials, television shows, games, and interactive websites. He is also active in film restoration, collaborating with UCLA Film and Television Archives, Library of Congress, Museum of Modern Art, and through his company, Thunderbean Animation, serving clients like Warner Brothers, Disney, HBO, and Turner Classic Movies.

Notable curated and restoration projects include:

• Ub Iwerks’ Studios (2018) – Curated show for TCM Fest at the Chinese Theatre
• Van Beuren Classics (2014) – Curated, restored, and co-hosted for Turner Classic Movies
• Watch Me Move (2013) – Curation and liner notes for twelve programs at the Detroit Institute of Art’s Detroit Film Theatre

He advises on creative and archival practices in animation and leads restoration initiatives through industry and institutional collaborations. There is no mention of formal grants or student advisement in the provided text. His work is supported through professional contracts and institutional partnerships rather than academic grant funding.