DOCSLIB.ORG

Catalogues and Over 150 Refereed Journal Articles Email and Book Chapters

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogues and Over 150 Refereed Journal Articles Email and Book Chapters The Cosmos of Animation 28th Annual Conference of the Society for Animation Studies presented by College of Humanities, Arts and Social Sciences, School of Art, Design and Media, Nanyang Technological University Society of Animation Studies in partnership with Goethe Institute Introduction 02 1.0 — The Cosmos of Animation SECTION 01 - introduction - page 06 1.1 The Cosmos of Animation 07 1.2 Welcome Message - SAS President’s Welcome Address - Conference Chair’s Welcome Address - Conference Co-Chair’s Welcome Address 10 1.3 Conference Schedule 16 1.4 Keynote Speakers 03 IntroductionSpeakers & Presenters © 2016 SAS The Cosmos of Animation 28th Annual Conference of the Society for Animation Studies College of Humanities, Arts, and Social Sciences, School of Art, Design and Media, Nanyang Technological University, Singapore printer Garden City Publishers Taipei, Taiwan paper Uncoated woodfree paper 04 1.0 — 2.3Acknowledgements — Abstract List 1.0— Conference Committee and Acknowledgments ADM CONFERENCE COMMITTEE ADM TECHNICAL SUPPORT STAFF EXTERNAL CURATORS Conference Chair Abdul Rashid Bin Rahim Best of ADM Digital Animation Students Hannes Rall Abdul Shukor Bin Mohammad Best of ADM Digital Animation Faculty Associate Professor, Ahmad Azahki Bin Mustafa Ishu Patel School of Art, Design and Media, Arifin Bin Ami Nanyang Technological University Best of Singapore Independent Animation Kumar Chockanathan Tan Wei Keong Conference Co-Chair Lau Kheng Hock Vibeke Sorensen Lim Pheng Yew Potpourri: A Selection of Malaysian Anima- tion Shorts Professor and Chair, Poh Zhuang Yu School of Art, Design and Media, Hassan Muthalib Nanyang Technological University Wendy Chua Chiew Ping Tan Wee Liang Constellation: A Survey of Yeong Chen Hui ADM Animation EXTERNAL CONFERENCE MANAGE- MENT SUPPORT Assoc.Prof. Biju Dhanapalan Assoc.Prof. Ben Seide ADM ADMINISTRATIVE SUPPORT STAFF Conference Management Michelle Ho, Assistant Director for Mary Teng ADM Gallery Aw Lee Ting Stanley Teng The Magical Pen Line-Ronald Searle Bharat Singh Asst.Prof. Kathrin Albers Michelle Lin Kit Yee Asst.Prof. Davide Benvenuti Muhammad Mustajab Bin Mohamad Michelle Ho, Assistant Director for Tan Sian Ting ADM Gallery Tew Siew Yong Clara Financial Manager Tan Sian Ting ADM DESIGN TEAM Web Design and Web Management Cindy Wang I-Hsuan Juan Camilo Gonzalez Chong Yee Cher Cheryl ADM Library Events Chong Jie Hua Keith Phoebe Lim Choon Lan V Somasundram 05 IntroductionSpeakers & Presenters The Cosmos of Animation by Society For Animation Studies 28th Annual SAS Conference 2016 date 26—30 The Society for Animation Studies has always excelled in bringing to- JUNE 2016 gether theorists and practitioners from different fields and cultures in an international framework. “The Cosmos of Animation” reflects and venue continues this proud tradition in the multi-cultural and cosmopolitan city of Singapore- a wonderful place to establish transcultural dialogue College of Humanities, Arts, and Social Sciences, School of Art, Design and Me- through scholarly debate. As the universe itself, animation is constantly dia, Nanyang Technological University, evolving and often rapidly changing. We look forward to papers and Singapore presentations that embrace the conceptual and cultural diversity of ani- mation in all of its many incarnations. official website The 2016 conference will include presentations, discussions, exclusive sas2016.adm.ntu.edu.sg exhibitions and special events. society for animation studies animationstudies.org 06 1.1 —2.3 Welcome — Abstract Message List SAS President’s Welcome Address by Nichola Dobson 28th Annual SAS Conference 2016 Welcome to the 2016 Society for Animation Studies Conference. This years’ conference, in beautiful, Singapore sees us in Asia for the first time and we are lucky to be in such a wonderful setting with great links to local institutions and industry, all key areas of animation educa- tion in the East. I extend my thanks to our hosts, Nanyang Technologi- cal University, and hope that they enjoy having the SAS in town! The program reflects the growth and increasing diversity in animation studies as a discipline over the last few years and the expanding global scholarship. It is very exciting to see so many topics presented, particu- larly giving some unique insights into Asian animation, though it will be a struggle to choose what to attend! It is great to see so many new mem- title / affiliation bers on the delegate list and I hope that they, along with our established Dr. Nicholas Dobson members, will continue to support the SAS through the coming years. University of Edinburgh, UK President of the Society for Special thanks of course go to chair Hannes Rall and his conference Animation Studies team, particularly as he is organizing this massive conference while still travelling all over the world showing his own animated films. The pro- gram Hannes and his team have put together consists of a wide range of paper sessions, roundtable discussions, micro talks, keynote speeches and special events! I wish you all a wonderful conference. Best wishes. 07 IntroductionSpeakers & Presenters Conference Chair’s Welcome Address by Hannes Rall 28th annual sas conference 2016 Dear honored guests, speakers and attendees, Welcome to Singapore! We are incredibly honored and pleased to host the 28th Annual Conference of the Society for Animation Studies “The Cosmos of Animation” at the School of Art, Design and Media at Nan- yang Technological University. Judging from the impressive scope of the accepted presentations, this conference will allow unparalleled insights into the state of animation studies on a global and particularly Asian- Pacific scale. title / affiliation I am sure that a lot of new research connections will emerge and many Associate Professor, new friendships made-a true meeting of East and West in the best sense School of Art, Design and possible. It has always been the strength of the conference to enable Media, Nanyang Technological communication and collaboration across cultures and connect people University, Singapore from all the corners of the world. We are happy to carry on this great tradition and possibly be able to expand into formerly “uncharted ter- ritories”. The overwhelmingly positive feedback from our country and the greater region is certainly providing a positive indication for a suc- cessful outcome. Last but not least: enjoy the atmosphere and flavors of Asia and explore the many cultural facets of Singapore-it will be a fantastic experience. Enjoy the conference! 08 1.1 —2.3 Welcome — Abstract Message List Conference Co-Chair’s Welcome Address by Vibeke Sorensen 28th annual sas conference 2016 Dear Distinguished Speakers, Colleagues, and Guests, A very warm welcome to the School of Art, Design and Media at Nan- yang Technological University Singapore and to the Cosmos of Anima- tion, the 28th Annual Conference of the Society for Animation Studies (SAS)! We are delighted to host you and so many accomplished scholars and animators from around the world for an inspiring array of talks, exhibi- tions, and special events that will surely provide each and every one of you with unique and memorable opportunities for meeting colleagues, title / affiliation sharing the latest knowledge and artwork, and stimulating innovative Professor and Chair, new creative work and research. School of Art, Design and Media, Nanyang Technological University, Singapore Singapore is a global city-state that has for hundreds of years been a gateway between East and West, a dynamic hub for the exchange of ideas and cultures. We are truly delighted that this vibrant living his- tory is continuing to expand and flower in this year’s exciting conference taking place at our wonderful School and University in our beautiful Garden City. We wish you a joyful conference and visit to Singapore! Cheers! 09 Programs / Venue 26 JUNE - sunday - AUDITORIUM LOBBY / GALLERY 12-6 PM Registration Open 5.00 PM Opening Speeches by Chair of ADM, Conference Chair 5.30 PM Gallery Opening Ronald Searle Exhibition Tour 6.00 PM Dinner Buffet Reception 7.30 PM Opening Screening Best of ADM Digital Animation Students / Curated by Ishu Patel 60 minutes: 7.30-8.30 pm 10 1.2 — Conference Schedule 27 JUNE - monday - AUDITORIUM LECTURE THEATRE 1 LECTURE THEATRE 2 ART 2-15 9.00 AM Keynote 1/ Opening: Pierre Floquet Associate Professor INP, Bordeaux University 10.00 AM Coffee Break at Lobby, Level 1 Expanding Ap- Psychoanalysis Animation Studies in AM 10.30 proaches to Anima- and Medicine in Southeast Asia SESSION 1 tion Studies / Chair: Animation / Chair: / Chair: Peter Chan- PANELS Ann Bridget Owen Savannah Logsdon thanakone PM 12.30 Lunch Buffet at Lobby, Level 1 1.30 PM Ephemeral, Invisible: The Scientific Cos- Indian Animation Animation Out of Sight mos of Animation 1 / Chair: Kristy Kang SESSION 2 PANELS / Chair: Paul Ward / Chair: Mihaela Mihailova 3.00 PM Tea Break at Lobby, Level 1 3.30 PM Animation History / Digital Affect: The Adaptation and Transcending Barriers Chair: Eileen Reynolds Power Within Digital Illustration in Through Animation SESSION 3 Animation to Move Asian Animation PANELS / Chair: Christine / Chair: Miriam Harris / Chair: Yin Ker Veras 5.00 PM Screening: Special Presenta- tion on Korean SPECIAL Best of ADM Digital Animation: EVENTS Animation Faculty / Curated by Ishu Patel Korean Animation Today: Conferences, 60 minutes: Festivals and Industry 5.00-6.00 pm Initiatives / Chaired by Dallim Park 7.30 PM Complimentary bus transport to Satay by the Bay Bus
Load more

Recommended publications
  • La Generazione Dell'ottanta and the Italian Sound
    LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND A DISSERTATION IN Trumpet Performance Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by ALBERTO RACANATI M.M., Western Illinois University, 2016 B.A., Conservatorio Piccinni, 2010 Kansas City, Missouri 2021 LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND Alberto Racanati, Candidate for the Doctor of Musical Arts Degree University of Missouri-Kansas City, 2021 ABSTRACT . La Generazione dell’Ottanta (The Generation of the Eighties) is a generation of Italian composers born in the 1880s, all of whom reached their artistic maturity between the two World Wars and who made it a point to part ways musically from the preceding generations that were rooted in operatic music, especially in the Verismo tradition. The names commonly associated with the Generazione are Alfredo Casella (1883-1947), Gian Francesco Malipiero (1882-1973), Ildebrando Pizzetti (1880-1968), and Ottorino Respighi (1879- 1936). In their efforts to create a new music that sounded unmistakingly Italian and fueled by the musical nationalism rampant throughout Europe at the time, the four composers took inspiration from the pre-Romantic music of their country. Individually and collectively, they embarked on a journey to bring back what they considered the golden age of Italian music, with each one yielding a different result. iii Through the creation of artistic associations facilitated by the fascist government, the musicians from the Generazione established themselves on the international scene and were involved with performances of their works around the world.
    [Show full text]
  • Holliday, Christopher. " Toying with Performance: Toy Story, Virtual
    Holliday, Christopher. " Toying with Performance: Toy Story, Virtual Puppetry and Computer- Animated Film Acting." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 87–104. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781501324949.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 07:14 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 87 Chapter 6 T OYING WITH PERFORMANCE: TOY STORY , VIRTUAL PUPPETRY AND COMPUTER-A NIMATED FILM ACTING C h r i s t o p h e r H o l l i d a y In the early 1990s, during the emergence of the global fast food industry boom, the Walt Disney studio abruptly ended its successful alliance with restaurant chain McDonald’s – which, since 1982, had held the monopoly on Disney’s tie- in promotional merchandise – and instead announced a lucrative ten- fi lm licensing contract with rival outlet, Burger King. Under the terms of this agree- ment, the Florida- based restaurant would now hold exclusivity over Disney’s array of animated characters, and working alongside US toy manufacturers could license collectible toys as part of its meal packages based on characters from the studio’s animated features Beauty and the Beast (Gary Trousdale and Kirk Wise, 1991), Aladdin (Ron Clements and John Musker, 1992), Th e Lion King (Roger Allers and Rob Minkoff , 1994), Pocahontas (Mike Gabriel and Eric Goldberg, 1995) and Th e Hunchback of Notre Dame (Gary Trousdale and Kirk Wise, 1996).1 Produced by Pixar Animation Studio as its fi rst computer- animated feature fi lm but distributed by Disney, Toy Story (John Lasseter, 1995) was likewise subject to this new commercial deal and made commensu- rate with Hollywood’s increasingly synergistic relationship with the fast food market.
    [Show full text]
  • Disney Pinocchio Pdf, Epub, Ebook
    LEVEL 3: DISNEY PINOCCHIO PDF, EPUB, EBOOK M Williams | 24 pages | 21 Feb 2012 | Pearson Education Limited | 9781408288610 | English | Harlow, United Kingdom Level 3: Disney Pinocchio PDF Book The Fairy cryptically responds that all inhabitants of the house, including herself, are dead, and that she is waiting for her coffin to arrive. Just contact our customer service department with your return request or you can initiate a return request through eBay. Reviews No reviews so far. The article or pieces of the original article was at Disney Magical World. Later, she reveals to Pinocchio that his days of puppethood are almost over, and that she will organize a celebration in his honour; but Pinocchio is convinced by his friend, Candlewick Lucignolo to go for Land of Toys Paese dei Balocchi a place who the boys don't have anything besides play. After Pinocchio find her tombstone instead of house she appears later in different forms including a giant pigeon. The main danger are the rocks. They can't hurt you, but if they grab you they'll knock you to a lower level. After finishing this last routine you beat the level. Il giorno sbagliato. By ryan level Some emoji powers don't change As the player levels Up, the emojis are available for fans to play 6 with a blue Emoji with The article or pieces of the original article was at Disney Magical World. Venduto e spedito da IBS. The order in which you should get the pages is: white, yellow, blue and red. To finish the level, you have to kill all the yellow moths.
    [Show full text]
  • The Eau Pleine 1923
    EAU PLEINE VOLUME I EDITED BY SENIORS COLBY HIGH SCHOOL Pleasant thoughtR of true fellowship with High "" chool friends and faculty, now vivid and seem­ ingly indelible, will g ~·adually fade and pass. To pre~erve the e memories for future moments of enjoyment is the object of this book. FORWARD DEDICATION IN MEMORIAM FACULTY CLASSES ACTIVITIES MISCELLANEOUS HUMOR DEDICATIOl\ Appreciation is an intangible quality. It can be expre~~~ed only through some outward token. Therefore, as a concrete symbol of our sincere ap­ pn:ciation, we, the Class of 192:3, dedicate this \'olume of ''192:3 Eau Pleine" to Harry Bender, who both as insLuctor and as class patron has proved our loyal friend and sympathetic ach isor. IL\HUY BE~ 'DEit 1:\ \IEMORL\i\1 \Vaunette: Sturner was born at Dorchester, \Vis., l\Iay 30, 1903. She entered the Colby High School with the Cla~.· of 1S2:3, but completEd the course in three years, graduating .June 2, 1922. At the time of her death, Dec. 7, 1922, she was attending i\Iadison ColleQ."e at Madison. OUR ALMA MATER Harry Bender ---------------------------- _ .P ~·incipal Mathematics Lacrosse Normal Graduate \Vork at University of \\risconsin "Now don't be carried away with that kind of :::;tuff" Leone Ander::>on ------ _ ---------------- 'ommercial \Vhitewater Normal Graduate "One, two, thr e, four. STOP!!!" Pearl Blancha:-d _________________________________ English Library University of \Vbconsin, B. A. Degree "Let's have no more talking in the library" \\randa Bahl ------------- _________________ History Oshkosh Normal "Nov.· see here-- Get busy." \\'alter E. Kopplin ---------­ Science Eau Claire ormal "Look here young man, stop or you'll go out on your ear." \Vm.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Program Notes Program
    Program Notes Program Notes by April L. Racana 24 Jun Leonard Bernstein (1918-1990) Overture to "Candide" It has been said that Leonard Bernstein never approached any work the same way twice, and his score for Candide may very well be the epitome of the extent to which he would go to continually rework and revise his compositions. The opening for this show, which has been dubbed both 24 musical and operetta, came on December 1st, 1956 and was based on Jun Voltaire’s eighteenth-century satire, which had been adapted by author Lillian Helman. The first run of the show only lasted 73 performances, however it didn’t take long for the ‘Overture’ to become an orchestral piece on its own, making its debut performance with the New York Philharmonic in January 1957. Over the next thirty years Bernstein continually revised the entire musical numerous times, with varying success in its many transformations. The ‘Overture’ contains a mixture of tunes from the show, including The Best of All Possible Worlds, Oh Happy We, and Glitter and Be Gay. So closely associated with the New York Philharmonic was Bernstein, and so well-loved was this work, that at a memorial concert following Bernstein’s death in 1990, members of the orchestra performed the ‘Overture’ without a conductor as a tribute to the symphony’s Laureate Conductor. Work composed: 1956 World premiere: 26th January, 1957 Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3,trombones, tuba, timpani, percussion (snare drum, tenor drum, bass drum, triangle, cymbals, glockenspiel, xylophone）, harp, strings 26 Program Notes Program Notes George Gershwin (1898-1937) Rhapsody in Blue Originally titled American Rhapsody, George Gershwin was apparently convinced by his lyricist brother, Ira, that the title needed some re-thinking.
    [Show full text]
  • Jobs and Education
    Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation.
    [Show full text]
  • Here Was Obviously No Way to Imagine the Event Taking Place Anywhere Else
    New theatre, new dates, new profile, new partners: WELCOME TO THE 23rd AND REVAMPED VERSION OF COLCOA! COLCOA’s first edition took place in April 1997, eight Finally, the high profile and exclusive 23rd program, years after the DGA theaters were inaugurated. For 22 including North American and U.S Premieres of films years we have had the privilege to premiere French from the recent Cannes and Venice Film Festivals, is films in the most prestigious theater complex in proof that COLCOA has become a major event for Hollywood. professionals in France and in Hollywood. When the Directors Guild of America (co-creator This year, our schedule has been improved in order to of COLCOA with the MPA, La Sacem and the WGA see more films during the day and have more choices West) decided to upgrade both sound and projection between different films offered in our three theatres. As systems in their main theater last year, the FACF board an example, evening screenings in the Renoir theater made the logical decision to postpone the event from will start earlier and give you the opportunity to attend April to September. The DGA building has become part screenings in other theatres after 10:00 p.m. of the festival’s DNA and there was obviously no way to imagine the event taking place anywhere else. All our popular series are back (Film Noir Series, French NeWave 2.0, After 10, World Cinema, documentaries Today, your patience is fully rewarded. First, you will and classics, Focus on a filmmaker and on a composer, rediscover your favorite festival in a very unique and TV series) as well as our educational program, exclusive way: You will be the very first audience to supported by ELMA and offered to 3,000 high school enjoy the most optimal theatrical viewing experience in students.
    [Show full text]
  • Upin & Ipin: Promoting Malaysian Culture Values Through Animation
    Upin & Ipin: Promoting malaysian culture values through animation Dahlan Bin Abdul Ghani Universiti Kuala Lumpur [email protected] Recibido: 20 de enero de 2015 Aceptado: 12 de febrero de 2015 Abstract Malaysian children lately have been exposed or influenced heavily by digital media entertainment. The rise of such entertainment tends to drive them away from understanding and appreciating the values of Malaysian culture. Upin and Ipin animation has successfully promoted Malaysian folklore culture and has significantly portrayed the art of Malaysian values including Islamic values by providing the platform for harmonious relationship among different societies or groups or religious backgrounds. The focus of this research is to look into the usage of Malaysian culture iconic visual styles such as backgrounds, lifestyles, character archetypes and narrative (storytelling). Therefore, we hope that this research will benefit the younger generation by highlighting the meaning and importance of implicit Malaysian culture. Key words: Upin and Ipin; animation; narrative; folklore; culture; character archetypes. Upin e Ipin: promoviendo la cultura malasia a través de los valores de la animación Resumen Recientemente los niños en Malasia están siendo fuertemente expuestos cuando no influenciados por los medios masivos de entretenimiento digital. Esto les lleva una falta de comprensión y apreciación de la importancia de los valores de su propia cultura. La serie de animación propia Upin & Ipin ha promovido con éxito las diferentes culturas de Malasia y obtenido valores culturales significativos que representan a su arte, incluyendo el islámico, y proporcionando así una plataforma de relación armónica entre los diferentes grupos que componen la sociedad en Malasia, ya sea civil o religiosa.
    [Show full text]
  • Harry Gregson-Williams
    HARRY GREGSON-WILLIAMS AWARDS / NOMINATIONS IVOR NOVELLO AWARD NOMINATION (2011) UNSTOPPABLE Best Original Film Score ANNIE AWARD NOMINATION (2010) SHREK FOREVER AFTER Music in a Feature Production ACADEMY OF INTERACTIVE ARTS & METAL GEAR SOLID 4 SCIENCES AWARD (2009) Outstanding Achievement in Original Music INTERNATIONAL FILM MUSIC CRITICS CALL OF DUTY 4: MODERN WARFARE ASSOCIATION NOMINATION (2007) Original Score for a Video Game or Interactive Media* WORLD SOUNDTRACK AWA RD SHREK THE THIRD NOMINATION Best Original Score of the Year (2007) WORLD SOUNDTRACK AWA RD DÉJÀ VU, SHREK THE THIRD, THE NUMBER 23, NOMINATION FLUSHED AWAY Film Composer of the Year (2007) GRAMMY AWARD NOMINATION THE CHRONICLES OF NARNIA: Best Score Soundtrack Album (2006) THE LION, THE WITCH AND THE WARDROBE GOLDEN GLOBE AWARD NOMINATION THE CHRONICLES OF NARNIA: Best Original Score (2005) THE LION, THE WITCH AND THE WARDROBE BAFTA AWARD NOMINATION* Anthony Asquith Award for Achievement in Film SHREK Music (2002) ANNIE AWARD* SHREK Outstanding Achievement for Music Score in an Animated Feature (2001) * shared nomination The Gorfaine/Schwartz Agency (818) 260-8500 1 HARRY GREGSON-WILLIAMS MOTION PICTURES EXODUS: GODS AND KINGS Peter Chernin / Mark Huffam / Michael Schaefer, prods. 20 th Century Fox Ridley Scott, dir. BLACKHAT Jon Jashni / Michael Mann / Thomas Tull, prods. Universal Pictures Michael Mann, dir. THE EQUALIZER Todd Black / Jason Blumenthal / Tony Eldridge / Sony Pictures Mace Neufeld / Alex Siskin / Michael Sloan / Steve Tisch / Denzel Washington / Richard Wenk, prods. Antoine Fuqua, dir. THE EAST Ben Howe / Brit Marling / Jocelyn Hayes-Simpson / Fox Michael Costigan, prods. *theme Zal Matmanglij, dir. TOTAL RECALL Toby Jaffe / Neal H.
    [Show full text]
  • International Journal of Creative Multimedia
    International Journal of Creative Multimedia Promoting Positive Values While Emphasising on Aesthetical Perspectives in University Students through Adaptation of Knowles Seven Step Process of Andragogical Approach Juhanita Jiman [email protected] University Malaysia of Computer Science and Engineering (UNIMY) Abstract This paper intends to illustrate how Knowles’ seven step process of androgogical approach can help educators to better facilitate animation students with acquired technological knowledge and skills while exposing them to critical aesthetical elements and ethical principles. It is important for educators to understand that they are dealing with young adults who are highly affected by their environments in this borderless world. Therefore, educators are responsible for more than just academics; they also have social roles. To resolve these concerns, an effective androgogical approach can be advantageous for both educators and students. We used to assume that teaching pedagogy was necessary at all levels of education; however, since university students are no longer children, pedagogical methods are not entirely relevant to them. Pedagogy is a teaching method that focuses on children, while andragogy is a teaching approach that focuses on adults and helps them learn more effectively. When people grow older, they become more self- reliant and accountable for their actions. The pedagogical model, in several ways, fails to take care for such developmental shifts, resulting in individual stress, frustration, and resistance. Due to the rapid development in technology, animation students have become highly aggressive in their pursuit of technological expertise, leading them to ignore and overlook the importance of a story's core values. As educators, we must not only help them achieve their goals in terms of technical abilities, and professional experience, but also teach them what is right and wrong, and inspire them to instil moral principles in their work.
    [Show full text]