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Here Comes Television
September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business. -
The Walt Disney Company and Pixar Inc.: to Acquire Or Not to Acquire?
9-709-462 REV: JANUARY 15, 201 0 J U A N A L C Á CER DAVID COLLIS M A R Y F U R E Y The Walt Disney Company and Pixar Inc.: To Acquire or Not to Acquire? In November 2005, Robert Iger, the newly appointed CEO of the Walt Disney Company, eagerly awaited the box office results of Chicken Little, the company’s second computer-generated (CG) feature film. He knew that, for Disney as a whole to be successful, he had to get the animation business right, particularly the new CG technology that was rapidly supplanting hand-drawn animation.1 Yet the company had been reliant on a contract with animation studio Pixar, which had produced hits such as Toy Story and Finding Nemo, for most of its recent animated film revenue. And the co-production agreement, brokered during the tenure of his predecessor, Michael Eisner, was set to expire in 2006 after the release of Cars, the fifth movie in the five-picture deal. Unfortunately, contract renewal negotiations between Steve Jobs, CEO of Pixar, and Eisner had broken down in 2004 amid reports of personal conflict. When he assumed his new role, Iger reopened the lines of communication between the companies. In fact, he had just struck a deal with Jobs to sell Disney- owned, ABC-produced television shows—such as “Desperate Housewives”—through Apple’s iTunes Music Store.2 Iger knew that a deal with Pixar was possible; it was just a question of what that deal would look like. Did it make the most sense for Disney to simply buy Pixar? Walt Disney Feature Animation Walt Disney Feature Animation began with the production of Snow White and the Seven Dwarfs in 1934. -
Introduction 1 the Good Mother
Notes Introduction 1. By ‘motherhood’ I am referring to the character of the mother and the practice of motherhood on screen. By the ‘maternal’ I am referring to the characteristics and symbolism which evoke motherhood. 2. This is not to suggest that the figure of the mother is entirely absent from pre-1960s cinema, rather that a range of socio-economic factors led to a development in the horror genre. For the purposes of clarity I wish to focus on post-Classical horror cinema. 3. This is not to suggest that no debates about motherhood existed prior to this, rather that discussions of the mother in film increased greatly after these years. 4. The woman’s film centres on a female protagonist, deals with specifically ‘female’ issues (such as motherhood or domesticity) and is aimed at a female audience. For Doane, the maternal melodrama is a sub-category of the woman’s film. While the maternal melodrama is more readily asso- ciated with films of the Classical Hollywood period, it remains a popular sub-genre of modern mainstream cinema. The maternal melodrama, as the name suggests, deals with the figure of the mother and the impact of motherhood on her life or that of the child. 5. This is not to suggest that discussion of the mother/maternal is limited to these genres, simply that they seem to have provoked the most interest. 6. For example, see Alien and the various studies by Creed, Bundtzen or Rosemary’s Baby as discussed by Fischer or Kuhn. 7. See Mulvey (2000); De Lauretis, Teresa, Alice Doesn’t: Feminism, Semiotics, Cinema, Bloomington: Indiana University Press, 1984. -
Film Reviews
Page 104 FILM REVIEWS “Is this another attack?”: Imagining Disaster in C loverfield, Diary of the Dead and [ Rec] Cloverfield (Dir. Matt Reeves) USA 2007 Paramount Home Entertainment Diary of the Dead (Dir. George A. Romero) USA 2007 Optimum Home Entertainment [Rec] (Dir. Jaume Balagueró & Paco Plaza) S pain 2007 Odeon Sky Filmworks In 1965, at the height of the Cold War, Susan Sontag declared in her famous essay ‘The Imagination of Disaster’ that the world had entered an “age of extremity” in which it had become clear that from now until the end of human history, every person on earth would “spend his individual life under the threat not only of individual death, which is certain, but of something almost insupportable psychologically – collective incineration which could come at any time”. Sontag went on to claim that narratives in which this fate was dramatised for the mass audience in fantastical form – like the monster movies of the 1950s – helped society deal with this stress by distracting people from their fate and normalising what was psychologically unbearable: a kind of vaccination of the imagination, if you will. If this is the case, then Cloverfield, in which Manhattan is destroyed by an immensely powerful sea monster, George A. Romero’s latest zombie movie, Diary of the Dead, and claustrophobic Spanish hit [Rec] are not so much preemptive vaccinations against probable catastrophe, but intermittently powerful, if flawed, reminders of actual calamity. In all three films some of the most destabilising events and anxieties of the past decade – including 9/11 (and the fear of terrorist attacks striking at the heart of American and European cities), Hurricane Katrina, the 2004 Tsunami, and the SARS virus– are reconfigured as genrebased mass market entertainment. -
A Regional Study of Secular and Sectarian Orphanages and Their Response to Progressive Era Child-Saving Reforms, 1880-1930
Closer Connections: A Regional Study of Secular and Sectarian Orphanages and Their Response to Progressive Era Child-Saving Reforms, 1880-1930 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy In the Department of History of the College of Arts and Sciences by Debra K. Burgess B.A. University of Cincinnati June 2012 M.A. University of Cincinnati April 2014 Committee Chair: Mark A. Raider, Ph.D. 24:11 Abstract Closer Connections: A Regional Study of Secular and Sectarian Orphanages and Their Response to Progressive Era Child-Saving Reforms, 1880-1930 by Debra K. Burgess Child welfare programs in the United States have their foundation in the religious traditions brought to the country up through the late nineteenth century by immigrants from many European nations. These programs were sometimes managed within the auspices of organized religious institutions but were also found among the ad hoc efforts of religiously- motivated individuals. This study analyzes how the religious traditions of Catholicism, Judaism, and Protestantism established and maintained institutions of all sizes along the lines of faith- based dogma and their relationship to American cultural influences in the Midwest cities of Cincinnati, Cleveland, and Pittsburgh during the period of 1880-1930. These influences included: the close ties between (or constructive indifference exhibited by) the secular and sectarian stakeholders involved in child-welfare efforts, the daily needs of children of immigrants orphaned by parental disease, death, or desertion, and the rising influence of social welfare professionals and proponents of the foster care system. -
BMFF-2017-Program.Pdf
Arch Insurance 2 FUELING THE INDEPENDENT SPIRIT FUELING th THETHE INDEPENDENT 36 ANNUAL BLACK MARIA SPIRITFILM FESTIVALFUELING THE INDEPENDENT SPIRIT FUELING THE INDEPENDENT2017 SPIRIT FUELING THE INDEPENDENT SPIRIT FUELING THE INDEPENDENT This program is copyright © 2017, The Thomas A. Edison Media Arts Consortium, Inc. SPIRIT 3 Lowenstein Sandler 4 The Black Maria Film Festival tour is made possible in part by: New Jersey State Council on the Arts Hudson County Division of Cultural & Heritage Affairs / Tourism Development New Jersey City University Microsoft Corporation* Adobe Systems, Inc. TechSoup Global Individual Donations * “Microsoft is pleased to support Thomas A. Edison Media Arts Consortium, Inc.” The Black Maria Film Festival is a project of the Thomas A. Edison Media Arts Consortium, an independent non-profit organization based at New Jersey City University. The festival was launched in 1981 with the endorsement of the Thomas Edison National Historical Park in West Orange, NJ. To become a sponsor of the Black Maria Film Festival, please contact the consortium’s office or make a donation via the festival website: www.blackmariafilmfestival.org. Thomas A. Edison Media Arts Consortium Black Maria Film Festival c/o Department of Media Arts – Fries Hall NJ City University 2039 Kennedy Blvd., Jersey City, NJ 07305 201.200.2043 [email protected] 5 IN COMMUNITY Withum SM WithumSmith+Brown, PC is proud to support the Black Maria Film Festival for celebrating and preserving the diversity, invention and vitality of the -
Hollywood's VFX Shops: Trouble in Boom Times -- Printout -- TIME Page 1 of 3
Hollywood's VFX Shops: Trouble in Boom Times -- Printout -- TIME Page 1 of 3 Back to Article Click to Print Monday, May. 31, 2010 Hollywood's VFX Shops: Trouble in Boom Times By Rebeccca Keegan / Hollywood If you want to see the names driving Hollywood's growth, you have to stay for the movie's credits. The very end of the credits. After the actors and electricians — sometimes even after the people who serve the tacos on set — come the visual-effects artists. These are the people who make superheroes fly and cities fall into the ocean, and the effects-reliant films they work on, like Avatar and the Harry Potter franchise, are Hollywood's biggest moneymakers. (See the 100 best movies of all time.) Their place in the credits says something about visual effects (VFX) artists' place in the Hollywood pecking order. Ironically, just as they are peaking in creativity and propelling box-office hits, VFX companies are facing a crisis years in the making. Thanks to fierce global competition, the hangover from Hollywood labor unrest and a lack of negotiating power with studios, many VFX firms are closing up shop or outsourcing to stay afloat. "Fundamentally, visual effects is a crappy business," James Cameron told me when I interviewed him for my book, The Futurist: The Life and Films of James Cameron. "You don't make much of a margin. A good year for us was 5%. Sure, we were doing huge volume but at a low margin." In 1998, after the VFX company he helped start, Digital Domain, won an Academy Award for its groundbreaking work on Titanic, Cameron resigned amid dispute about its direction. -
Misleading and Misrepresenting the American Youth: “Little Orphan Annie” and the Orphan Myth in the Twentieth Century ___
MISLEADING AND MISREPRESENTING THE AMERICAN YOUTH: “LITTLE ORPHAN ANNIE” AND THE ORPHAN MYTH IN THE TWENTIETH CENTURY ________________ A Senior Honors Thesis Presented to The Faculty of the Department of The Honors College University of Houston ________________ In Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts _______________ By Amanda G. Beck May 2020 MISLEADING AND MISREPRESENTING THE AMERICAN YOUTH: “LITTLE ORPHAN ANNIE” AND THE ORPHAN MYTH IN THE TWENTIETH CENTURY _______________________________________ Amanda G. Beck APPROVED: _______________________________________ Marina Trninic, Visiting Assistant Professor Honors College Thesis Director ______________________________________ Douglas Erwing, Lecturer Honors College Second Reader _____________________________________ Robert Cremins, Lecturer Honors College Honors Reader _______________________________ William Monroe Dean of the Honors College ! MISLEADING AND MISREPRESENTING THE AMERICAN YOUTH: “LITTLE ORPHAN ANNIE” AND THE ORPHAN MYTH IN THE TWENTIETH CENTURY ________________ An Abstract of a Senior Honors Thesis Presented to The Faculty of the Department of The Honors College University of Houston ________________ In Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts _______________ By Amanda G. Beck May 2020 ! Abstract ____________________________ This interdisciplinary thesis examines the myth of the orphan in twentieth-century America as exemplified through the recurring story of “Little Orphan Annie,” an iconic American figure of independence, resilience, and optimism. By providing historical context and literary analysis for each of Annie’s crucial moments in the twentieth century, this thesis shows how the character has advanced a misguided perception of orphan and youth agency. While evolving to represent different decades of American society in the twentieth century through different mediums, Annie has further misled Americans in their perception of orphan and youth agency. -
Faster Photorealism in Wonderland: Physically Based Shading and Lighting at Sony Pictures Imageworks
Course Notes, Siggraph 2010 Los Angeles, CA, USA Faster Photorealism in Wonderland: Physically based shading and lighting at Sony Pictures Imageworks Presented By: Adam Martinez, Cg Supervisor [email protected] Sony Pictures Imageworks, Culver City, CA All Images © 2010 Sony Pictures Imageworks Biographical Information Adam Martinez is a Computer Graphics supervisor for Sony Pictures Imageworks and a member of the Shading Department, which oversees all aspects of shader writing and production rendering at Imageworks. He is a pipeline developer, look development artist, and technical support liaison for productions at the studio and he is one of the primary architects of Imageworks’ rendering strategy behind 2012 and Alice In Wonderland. Adam started his career in commercial post houses and animation boutiques in New York City as a freelance computer graphics artist. He began his work in film visual effects on the project “Cremaster 3” by artist- filmmaker Matthew Barney. Since then he has served as both effects and lighting technical director, cg supervisor and pipeline developer for various studios in the San Francisco Bay Area. At ESC Entertainment, Adam led the effects team in the creation of complex insect crowd simulation tools for Constantine and destruction effects for Matrix:Revolutions. As computer graphics supervisor for The Orphanage on Superman Returns, Adam oversaw the creation of a ballistics simulation and rendering system. At Lucas Animation Adam was both a rendering pipeline developer and cg concept artist for television and feature animation. Adam’s primary interest is in simulation and the construction of complex, but highly usable, systems for dynamic effects and rendering. -
INDEPENDENT PRODUCTION AGREEMENT (“AGREEMENT”) Between
INDEPENDENT PRODUCTION AGREEMENT (“AGREEMENT”) between THE ALLIANCE OF CANADIAN CINEMA, TELEVISION AND RADIO ARTISTS (“ACTRA”) and THE CANADIAN MEDIA PRODUCERS ASSOCIATION (“CMPA”) and ASSOCIATION QUEBECOISE DE LA PRODUCTION MEDIATIQUE (“AQPM”) (COLLECTIVELY, “THE ASSOCIATIONS”) covering PERFORMERS IN INDEPENDENT PRODUCTION January 1, 2016, to December 31, 2018 © 2016 ACTRA, Canadian Media Producers Association, and Association Québécoise de la Production Médiatique IPA 1 January 2016 – 31 December 2018 ACTRA and the CMPA/AQPM CONTENTS PART A – ARTICLES OF GENERAL APPLICATION A1 Recognition and Application .................................................................................... 1 A101 Bargaining Unit ........................................................................................... 1 A104 Administration of Agreement ...................................................................... 2 A106 Rights of Producer ...................................................................................... 2 A107 Preservation of Bargaining Rights ............................................................... 2 A108 General Provisions ..................................................................................... 3 A2 Exclusions and Waivers ........................................................................................... 4 A201 Performer definition ................................................................................... 4 A205 Consent to Waive Minimum Fees ............................................................... -
DVD MAGAZINE Outstanding Animation, VFX and Motion
DVD MAGAZINE Outstanding animation, VFX and motion graphics for design and advertising 10 �������������������������� ����������������������� ���������������������������������� ������ ��������������������� ���������� ����������������� ��������������������� ����������������� ������ ������� ���������������������� ���������������������������������������������������������������������������������������������������������������������������������� ����������������������������������������������������������������������������������������������������������������������������� ���������� ������ ��������������� ������ �������� ����� ����� ���� ��� ���� �������� �������� ������� �������� ��������� � � �� ����������� ���������������������������������������������������������������������������������������������������������������������������������� ������������������������������������������������������������������������������������������������ ����������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������� SFX_FullPage_STASH.indd 1 3/2/05 2:47:51 PM 2D3105.qxd 3/9/04 16:39 Page 1 Arms Stash From the pioneers in automatic visual arts Trusted by all the high calibre studios: AAV, technology comes a new grade of affordable Asylum Visual Effects, BBC, BSkyB, CBC, CBS camera tracking software. Animation, Cinesite, Double Negative, ESC Entertainment, Frantic Films, Fuel, Fuji TV, Giant Killer -
Christophe Gwynne
Christophe Gwynne Summary: President, Rooster Founder and Big Bird. It was during a 2003 photo-documentary trip to Bangkok that the idea of creating Rooster took seed in Chris’ mind. Impressed by the production quality of the commercials he saw in the Asian market, Chris felt he could elevate the art form by bringing in creative talent from Hollywood and letting their imagination run wild in a new environment. With over 17 years of experience in post-production, he’s worked for some of the most respected names in the industry, representing some the world’s biggest brands, in many different capacities, from technical director, to project management, to creative direction and live action director. With dual American and Swiss citizenship, Chris was born in Greece and grew up in Latin America, Europe and Japan, before moving to the New York area for high school. Chris is the quintessential “citizen of the world.” A Boston University Film School graduate with a degree in Communications concentrating in film, photography and art history he's been a computer graphics fanatic since discovering Space Invaders in Tokyo in 1979. If he wasn’t running his own post-production design studio, he’d be shooting photos for National Geographic. Chris has been a CG Supervisor in Los Angeles since the TV series South Park in 1997 and has gone on to work on features such as Matrix Revolutions, Hellboy, Elektra, Superman Returns and Ironman as well as participate in ground breaking commercial work as a designer/animator at studios such as Imaginary Forces, Logan, Buck, Stardust, Picture Mill and Prologue Films.