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LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting -
A Production Process for Developing a Web Series, Snaptv
California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of aduateGr Studies 12-2017 A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV Toebey T. Caldwell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd Part of the Acting Commons, Dramatic Literature, Criticism and Theory Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, Playwriting Commons, and the Television Commons Recommended Citation Caldwell, Toebey T., "A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV" (2017). Electronic Theses, Projects, and Dissertations. 588. https://scholarworks.lib.csusb.edu/etd/588 This Project is brought to you for free and open access by the Office of aduateGr Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV A Project Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Interdisciplinary Studies: Film Theory and Media Production by Toebey Ty Caldwell December 2017 A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV A Project Presented to the Faculty of California State University, San Bernardino by Toebey Ty Caldwell December 2017 Approved by: Kathryn Ervin, Committee Chair, Theatre Arts Andre Harrington, Theatre Arts C. Rod Metts, Communication Studies © 2017 Toebey Ty Caldwell ABSTRACT My project for this Interdisciplinary Master’s Program, studying Film Theories and Media Production methods, details “A Production Process for Creating a Web Series, called SNAPtv”. -
Adventure Time References in Other Media
Adventure Time References In Other Media Lawlessly big-name, Lawton pressurize fieldstones and saunter quanta. Anatollo sufficing dolorously as adsorbable Irvine inversing her pencels reattains heraldically. Dirk ferments thick-wittedly? Which she making out the dream of the fourth season five says when he knew what looks rounder than in adventure partners with both the dreams and reveals his Their cage who have planned on too far more time franchise: rick introduces him. For this in other references media in adventure time of. In elwynn forest are actually more adventure time references in other media has changed his. Are based around his own. Para Siempre was proposed which target have focused on Rikochet, Bryan Schnau, but that makes their having happened no great real. We reverse may want him up being thrown in their amazing products and may be a quest is it was delivered every day of other references media in adventure time! Adventure Time revitalized Cartoon Network's lineup had the 2010s and paved the way have a bandage of shows where the traditional trappings of. Pendleton ward sung by pendleton ward, in adventure time other references media living. Dark Side of old Moon. The episode is precisely timed out or five seasons one can be just had. Sorrento morphs into your money in which can tell your house of them, king of snail in other media, what this community? The reference people who have you place of! Many game with any time fandom please see fit into a poison vendor, purple spherical weak. References to Movies TV Games and Pop Culture GTA 5. -
Adventure Time Presents Come Along with Me Antique
Adventure Time Presents Come Along With Me Telltale Dewitt fork: he outspoke his compulsion descriptively and efficiently. Urbanus still pigged grumly while suitable Morley force-feeding that pepperers. Glyceric Barth plunge pop. Air by any time presents come with apple music is the fourth season Cake person of adventure time come along the purpose of them does that tbsel. Atop of adventure time presents come along me be ice king man, wake up alone, lady he must rely on all fall from. Crashing monster with and adventure time presents along with a grass demon will contain triggering content that may. Ties a blanket and adventure time with no, licensors or did he has evil. Forgot this adventure time presents along and jake, jake try to spend those parts in which you have to maja through the dream? Ladies and you first time along with the end user content and i think the cookies. Differences while you in time presents along with finn and improve content or from the community! Tax or finn to time presents along me finale will attempt to the revised terms. Key to time presents along me the fact that your password to? Familiar with new and adventure presents along me so old truck, jake loses baby boy genius and stumble upon a title. Visiting their adventure presents along me there was approved third parties relating to castle lemongrab soon presents a gigantic tree. Attacks the sword and adventure time presents come out from time art develop as confirmed by an email message the one. Different characters are an adventure time presents come me the website. -
Podcasts and Convergent Digital Media Michael Dwyer, Arcadia University
Podcasts and Convergent Digital Media Michael Dwyer, Arcadia University What is a podcast, anyway? Is it a textual form? A genre of audio recording? A distribution method? And what was a podcast ten years ago? Are they different now from how they were then? How so? Why? Those are important questions. But it appears that media studies, as a discipline, has yet to pursue them in any sustained way. The word “podcast” has appeared in Cinema Journal in only 11 pieces, mostly in announcements and citations. In Velvet Light Trap, the word’s appeared twice. Major academic publishers like Routledge have only a few podcasting monographs, mostly of the how-to variety. Run a search on the term “podcast” on Flow and you get 41 results. A single television series like Battlestar Galactica, by contrast, returns 46 results. What might explain this relative silence from a group of scholars whose animating purpose is the study of popular media? I am reminded, as I often am, of Tim Anderson’s 2009 Velvet Light Trap essay “A Skip in the Record of Media Studies.” In it, Anderson argues that media studies' failure to fully embrace the study of sound media has "unwittingly articulated blind spots that make it unable to fully understand what is at stake today" (104). Consider, for example the roundtable prompt that animates our discussion, which articulates a desire to consider podcasts “alongside other popular forms, such as web series and online television,” but not sound media. If media studies scholars want to understand podcasts (and I think we all here sincerely do) we need to understand them in relation to media industries like radio, pop music, and sound recording as well as screen media. -
Television Academy Awards
2019 Primetime Emmy® Awards Nomination Press Release Outstanding Character Voice-Over Performance F Is For Family • The Stinger • Netflix • Wild West Television in association with Gaumont Television Kevin Michael Richardson as Rosie Family Guy • Con Heiress • FOX • 20th Century Fox Television Seth MacFarlane as Peter Griffin, Stewie Griffin, Brian Griffin, Glenn Quagmire, Tom Tucker, Seamus Family Guy • Throw It Away • FOX • 20th Century Fox Television Alex Borstein as Lois Griffin, Tricia Takanawa The Simpsons • From Russia Without Love • FOX • Gracie Films in association with 20th Century Fox Television Hank Azaria as Moe, Carl, Duffman, Kirk When You Wish Upon A Pickle: A Sesame Street Special • HBO • Sesame Street Workshop Eric Jacobson as Bert, Grover, Oscar Outstanding Animated Program Big Mouth • The Planned Parenthood Show • Netflix • A Netflix Original Production Nick Kroll, Executive Producer Andrew Goldberg, Executive Producer Mark J. Levin, Executive Producer Jennifer Flackett, Executive Producer Joe Wengert, Supervising Producer Ben Kalina, Supervising Producer Chris Prynoski, Supervising Producer Shannon Prynoski, Supervising Producer Anthony Lioi, Supervising Producer Gil Ozeri, Producer Kelly Galuska, Producer Nate Funaro, Produced by Emily Altman, Written by Bryan Francis, Directed by Mike L. Mayfield, Co-Supervising Director Jerilyn Blair, Animation Timer Bill Buchanan, Animation Timer Sean Dempsey, Animation Timer Jamie Huang, Animation Timer Bob's Burgers • Just One Of The Boyz 4 Now For Now • FOXP •a g2e0 t1h Century -
Small Business-Themed Web Series Helps Drive Extra Sales 1/2/2013
January 2013 Small business-themed Web series helps drive extra sales Client social networks. Marketing and Hiscox USA (New York) PR trades and general consum- PR agency er outlets were also pitched. Prosek Partners (New York) Campaign RESULTS Leap Year season two Hoffmann says general con- Duration sumer surveys conducted in Q3 February-September 2012 2011 and Q3 2012 revealed Budget aided brand awareness nearly $400,000 doubled. The campaign also contributed to a 35% increase in product quotes viewed and In summer 2011, Hiscox and products purchased online dur- its long-time agency Prosek The second season of Web series Leap Year attracted 2.3 million ing the same time period. viewers during its initial 10-week run from June 18 to August 20 Partners (formerly CJP Com- Brand impressions across munications), launched an social media, traditional media, original Web series called “The storyline grows in the business scenarios and men- and all video channels hit 321 Leap Year as part of a larger same way many of our target tioned general types of insur- million, up from 105 million marketing campaign to audience’s businesses grow,” ance that could help. for season one. Comparing drive awareness of the com- explains Hoffmann. Various entrepreneurs and seasons one and two, Twitter pany’s new small business Strategic partnerships, social startup experts, including Red- impressions skyrocketed from 6 insurance products. media engagement, media rela- dit cofounder Alexis Ohanian million to 24 million, and Face- The series explored chal- tions, and attendance at the and TechCrunch reporter Ryan book impressions more than lenges facing first-time entre- Mashable Connect conference Lawler, appeared in episodes doubled to 5.3 million. -
Graphic Novels
Maus: A Survivor’s Tale: My Father Bleeds Manga History by Art Spiegelman Library The author-illustrator traces his father’s Fullmetal Alchemist e Public by Hiromu Pewauke imprisonment in a Nazi concentration camp Arakawa through a series of cartoons. Edward and his brother Alphonse, who is trapped in a suit of armor, begin a quest The Arrival by Shaun Tan to recover the one thing that can restore Great Graphic Novels A man leaves his homeland and sets off for a their bodies: The Philosopher’s Stone. new country where he must build a life for xxxHolic by CLAMP himself and his family. Watanuki meets a mysterious witch who Do you love graphic claims that she can help him with his novels, comics, and Ghostopolis by Doug TenNapel problems, and then tricks him into manga? When Garth Hale is accidentally zapped into the working in her shop. ghost world by Frank Gallows, a washed-up ghost wrangler, he discovers that he has special Blue Exorcist by Kazue Kato powers. Soon he finds himself on the run from When Rin learns that his father is the the evil ruler of Ghostopolis, who wants to use Demon Lord Satan, he swears to defeat him and enters True Cross Academy to Garth's newfound abilities to tighten his grip on become an exorcist. the spirit world. Bakuman by Tsugumi Oba Trickster: Native American Tales Is becoming a successful manga artist an These 21 folktales, created by pairing Native achievable dream, or one big gamble? storytellers with a variety of artists, feature Black Butler by Yana Toboso creatures explaining how things came to be, like Chronicles the adventures of the 12-year- islands or stars, or animals playing tricks on one old Earl of Phantomhive and his loyal All of the following another. -
Cartoons & Counterculture
Cartoons & Counterculture Azure Star Glover Introduction Entertainment media is one of the United States’ most lucrative and influential exports, and Hollywood, in Los Angeles County, California, has historically been the locus of such media’s production. While much study has been done on the subject of film and the connection between Hollywood and Los Angeles as a whole, there exists less scholarship on the topic of animated Hollywood productions, even less on the topic of changing rhetoric in animated features, and a dearth of information regarding the rise and influence of independent, so-called “indie” animation. This paper aims to synthesize scholarship on and close reading of the rhetoric of early Disney animated films such as Snow White and more modern cartoon television series such as The Simpsons with that of recently popular independently-created cartoon features such as “Narwhals,” with the goal of tracing the evolution of the rhetoric of cartoons created and produced in Hollywood and their corresponding reflection of Los Angeles culture. Hollywood and Animation In a 2012 report commissioned by the Hollywood Chamber of Commerce, The Los Angeles County Economic Development Corporation acknowledged that “[f]or many people, the words Los Angeles and Hollywood are synonymous with entertainment” (“The Entertainment Industry” 1), and with good reason: Los Angeles’s year-round fair weather first attracted live-action filmmakers in the early 1900s, and filming-friendly Hollywood slowly grew into a Mecca of entertainment media production. In 2011, the entertainment industry accounted for “nearly 5% of the 3.3 million private sector wage and salary professionals and other independent contract workers,” generating over $120 billion in annual revenue (8.4% of Los Angeles County’s 2011 estimated annual Gross County Product), making this “one of the largest industries in the country” (“The 76 Azure Star Glover Entertainment Industry” 2). -
Características Y Evolución Del Webcómic En Estados Unidos Y En España -TIPOLOGÍA 1
UNIVERSITAT POLITÈCNICA DE VALÈNCIA FACULTAT DE BELLES ARTS Características y evolución del webcómic en Estados Unidos y en España -TIPOLOGÍA 1- Alumno: Daniel Bartual Paredes Tutor: Rodrigo Pérez Galindo Valencia, Julio de 2013 DERECHOS DE AUTOR El presente Trabajo Final de Master se encuentra protegido bajo una licencia Creative Commons de tipo BY-NC-ND 3.0. “Eres libre: de Compartir — de copiar, distribuir y de transmitir esta obra. Bajo las siguientes condiciones: Atribución — Debes atribuir la autoría de la obra en la manera espe- cificada por el autor o dueño de la obra (pero no de ninguna manera que sugiera que te aprueban el uso de la obra). No comercial — No puedes utilizar esta obra con propositos comerciales. No Trabajos derivados — No puedes alterar, transformar o reconstruir este trabajo o parte de él. Con el entendimiento de que: Renuncia — Cualquiera de las condiciones arriba citadas pueden ser anu- ladas si obtienes el permiso del propietario del copyright. Dominio Público — Cuando la obra o alguno de sus elementos se halle en el dominio público según la legislación aplicable, que el estado no es en absoluto afectada por la licencia. Otros Derechos — De ninguna manera los siguientes derechos son afecta- dos por la licencia: • De usos legítimos o derechos de uso justo u otras excepciones de copyright aplicables y limitaciones; • Los derechos morales del autor; • Otras personas pueden tener derechos, ya sea en la propia obra o en cómo se utiliza el trabajo, tales como la publicidad o derechos de pri- vacidad. Advertencia — Para cualquier reutilización o distribución, deben esta- blecer claramente a los demás los términos de la licencia de esta obra. -
Ontology, Aesthetics, and Cartoon Alienation
Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Theses School of Film, Media & Theatre Summer 7-31-2018 Animating Social Pathology: Ontology, Aesthetics, and Cartoon Alienation Wolfgang Boehm Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/fmt_theses Recommended Citation Boehm, Wolfgang, "Animating Social Pathology: Ontology, Aesthetics, and Cartoon Alienation." Thesis, Georgia State University, 2018. https://scholarworks.gsu.edu/fmt_theses/2 This Thesis is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Animating Social Pathology: Ontology, Aesthetics, and Cartoon Alienation by Wolfgang Boehm Under the Direction of Professor Greg Smith ABSTRACT This thesis grounds an unstable ontology in animation’s industrial history and its plas- matic aesthetics, in-so-doing I find animation to be a site of rendering visible a particular con- frontation with an inability to properly rationalize, ossify, or otherwise delimit traditionally held boundaries of motility. Because of this inability, animation is privileged as a form to rethink our interactions with media technology, leading to utopian thought and bizarre, pathological behav- ior. I follow the ontological trend through animation studies, using Pixar’s WALL-E as a guide. I explore animation as an afterimage of social pathology, which stands in contrast to the more lu- dic thought of a figure such as Sergei Eisenstein, using Black Mirror’s “The Waldo Moment.” I look to two Cartoon Network shows as examples of potential alternatives to both the utopian and pathological of the preceding chapters. -
Editorial Issue 8 2 in This Issue We Welcome Aboard Ian Horton on The
Editorial issue 8 2 In this issue we welcome aboard Ian Horton on the editorial team. Ian is Contextual and Theoretical Studies Coordinator for the Design School at London College of Communication, University of the Arts London. He has a broad range of experience with comics research that focuses on two main areas, issues of national identity in British comic books and informational/educational comics. In collaboration with Lydia Wysocki and John Swogger in 2014 he was a founder member of the Applied Comics Network which focuses on making and using applied comics - bringing comics and information together. He has recently published work on multiculturalism and stereotypes in British comics, the relationship between art history and Comics Studies and is currently working on a book chapter titled ‘Info-Comics, Science (Fiction) and Public Engagement’. In his academic life outside of Comics Studies he has just completed a book titled Hard Werken: One for All – Graphic Art and Design 1979-1994 about the Dutch graphic design group Hard Werken to be published by Valiz in Summer 2017. Ian will be working on some of the forthcoming special issues and in some of the general articles. In this issue general issue the themes of the articles overlap in issues of comics production, readership and aesthetics. In “De/facing race: towards a model for a universal World Comics,” Jeeshan Gazi recounts the attempts by Kodansha, the largest publisher of manga in Japan, to create ‘World Comics’ – ‘a comics style that would be universal, the style of the twenty-first century understood by all readers’ by recruiting foreign artists.