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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Russian History: a Brief Chronology (998-2000)
Russian History: A Brief Chronology (998-2000) 1721 Sweden cedes the eastern shores of the Baltic Sea to Russia (Treaty of Nystad). In celebration, Peter’s title Kievan Russia is changed from tsar to Emperor of All Russia Abolition of the Patrarchate of Moscow. Religious authority passes to the Holy Synod and its Ober- prokuror, appointed by the tsar. 988 Conversion to Christianity 1722 Table of Ranks 1237-1240 Mongol Invasion 1723-25 The Persian Campaign. Persia cedes western and southern shores of the Caspian to Russia Muscovite Russia 1724 Russia’s Academy of Sciences is established 1725 Peter I dies on February 8 1380 The Battle of Kulikovo 1725-1727 Catherine I 1480 End of Mongol Rule 1727-1730 Peter II 1462-1505 Ivan III 1730-1740 Anne 1505-1533 Basil III 1740-1741 Ivan VI 1533-1584 Ivan the Terrible 1741-1762 Elizabeth 1584-98 Theodore 1744 Sophie Friederike Auguste von Anhalt-Zerbst arrives in Russia and assumes the name of Grand Duchess 1598-1613 The Time of Troubles Catherine Alekseevna after her marriage to Grand Duke Peter (future Peter III) 1613-45 Michael Romanoff 1762 Peter III 1645-76 Alexis 1762 Following a successful coup d’etat in St. Petersburg 1672-82 Theodore during which Peter III is assassinated, Catherine is proclaimed Emress of All Russia Imperial Russia 1762-1796 Catherine the Great 1767 Nakaz (The Instruction) 1772-1795 Partitions of Poland 1682-1725 Peter I 1773-1774 Pugachev Rebellion 1689 The Streltsy Revolt and Suppression; End of Sophia’s Regency 1785 Charter to the Nobility 1695-96 The Azov Campaigns 1791 Establishment fo the Pale of Settlement (residential restrictions on Jews) in the parts of Poland with large 1697-98 Peter’s travels abroad (The Grand Embassy) Jewish populations, annexed to Russia in the partitions of Poland (1772, 1793, and 1795) and in the 1698 The revolt and the final suppression of the Streltsy Black Sea liitoral annexed from Turkey. -
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. -
Sergey Abashin Institute of Ethnology and Anthropology of the Russian Academy of Sciences (Moscow) [email protected]
Sergey Abashin Institute of Ethnology and Anthropology of the Russian Academy of Sciences (Moscow) [email protected] Cultural Processes and Transcultural Influences In Contemporary Central Asia Issues addressed and the aims of the text What is this text about? What are the goals of its author? Some preliminary explanations may help shape the expectations of the reader and prevent possible disappointment. My main purpose is to give a three-dimensional overview of the state of cultural affairs in Central Asian societies after the states in the region achieved independence and to describe the main current tendencies defining local cultural processes and transcultural influences in the long term. I am interested in such themes as: culture and the changing political landscape; the institutional environment for culture; culture and education; culture and language; culture and ethnic minorities; culture and religion; the cultural marketplace; culture and business; culture and globalisation. My questions: how is the Soviet experience of "cultural construction” used and transformed in the modern nation-states of Central Asia? what restrictions on cultural production are imposed by the political situation and economic possibilities of these countries? how do the processes of isolationism and globalisation interact? what changes are being wrought by the islamisation of these societies? what is the future potential of secular, European-style, culture? who are the main players in the region’s cultural space? These questions might seem too general, but without considering and judging them, any attempt to understand the essence of events in narrower fields of cultural life is, surely, doomed to failure. In an “analytical note”, a number of general recommendations for the work of international organisations in the cultural sphere of Central Asia are presented. -
Arctic and North
Arctic and North. 2012. № 6 1 ISSN 2221-2698 Arctic and North Arkhangelsk: Northern (Arctic) Federal University Named after М. V. Lomonosov 2011. № 4 (November) Arctic and North. 2012. № 6 2 ISSN 2221-2698 Arctic and North. 2011. № 4 (November) Electronic periodical edition © Northern (Arctic ) Federal University named after M. V. Lomonosov, 2011 © Editorial Board of the journal «Arctic and North», 2011 Published 4 times a year The journal is registered like electronic periodical edition on Russian and English languages. The testimony of the Federal service for Supervision of Communications, Information Technologies and communications (№ FC77-42809 from the 26 of November 2010.) The journal is registered in the system of the Russian Index of the scientific quotations (RINZ), where should be placed all the regular issues of the journal. A license agreement is № 96- 04/2011R on April 12, 2011.12. The journal is registered in the Depository in the electronic editions FSUE STC «Informreg- istr» (registration certificate № 543 от 13 October 2011) and it was also given a number of state registrations 0421200166. Founder: The federal state autonomous institution of higher education «The Northern (Arc- tic) Federal University» named after M.V. Lomonosov. The chef editor − Lukin Urii Fedorovich, Doctor of History, Professor. Editorial council Editorial board Vostryakov Lev Evgenievich Vertishin Aleksey Nikolaevich Glazichev Vyacheslav Leonidovich Dregalo Aleksandr Alekseevich Dergachev Vladimir Aleksandrovich Zalivskii Nikolai Pavlovich Kefeli -
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production. -
Licensing World Russia 2020 Report
Report 2 0 2 0 www.licensingworld.ru www.kidsrussia.ru KIDS RUSSIA 2020: EXHIBITOR PROFILE Exhibitors TOP-5 reasons to participate 2019 2020 at Kids Russia: TOTAL: 203 168 1. Successful positioning of new products National: 168 144 2. Quality of visitors International: 12 24 No countries: 15 13 3. Post-fair business (expected) 4. Number of contacts with new customer Exhibition space: 7.000 м2 5. Number of firm sales talks «We represent our region and promote companies of the Udmurt Republic and Made in Udmurtia brand throughout Russia. We are participating in this exhibition of children’s products collectively for the first time, before that our regional companies took part in it individually. I actually really like the organization of this exhibition. 90,0% A large territory, bright, beautiful, large-scale stands, a lot of interesting things.» of exhibitors intend to participate Svetlana TRUDOLYUBOVA, Event Specialist, in Kids Russia 2021 (2019: 75%) Business Development Center of the Udmurt Republic «We are exhibiting at Kids Russia for the first time. All in one place,all is centralized, it is very convenient. The Russian market is large enough, and we are trying and doing everything we can to show our products and saturate the Russian market with high-quality and inexpensive 45,0% toys.» Aren MYASORUKOV, marketing manager, representative of the of new exhibitors (2019: 35%). collective exposition of the Republic of Uzbekistan «This is the first time when our company participates in such a large-scale exhibition as a manufacturer of children’s products. MARKET LEADERS – PARTICIPANTS We really liked the exhibition, it was so vivid and positive. -
Canadian and Russian Animation on Northern Aboriginal Folklore
Canadian and Russian Animation on Northern Aboriginal Folklore Elena Korniakova A Thesis in The Individualized Program of The School of Graduate Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Fine Arts) at Concordia University Montreal, Quebec, Canada September 2014 Elena Korniakova, 2014 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Elena Korniakova Entitled: Canadian and Russian Animation on Northern Aboriginal Folklore and submitted in partial fulfillment of the requirement for the degree of Master of Arts (Fine Arts) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _________________________________Chair Chair's name _________________________________Examiner Examiner's name _________________________________Examiner Examiner's name _________________________________Supervisor Supervisor's name Approved by ______________________________________________________ Chair of Department or Graduate Program Director _____________2014 ____________________________________________________ Dean of Faculty -iii- ABSTRACT Canadian and Russian Animation on Northern Aboriginal Folklore Elena Korniakova Aboriginal legends depict the relationships between humans and nature as deeply symbolic and intertwined. When adapted to films by non-Aboriginal filmmakers, these legends are often interpreted in ways which modify human-nature relationships experienced by Aboriginal peoples. I explore such modifications by looking at Canadian and Russian ethnographic animation based on Northern Aboriginal folklore of the two countries. In my thesis, I concentrate on the analysis of ethno-historical and cinematic traditions of Canada and Russia. I also explore the Canadian and Russian conventions of animated folktales and compare ethnographic animation produced by the National Film Board of Canada and Russian animation studio Soyuzmultfilm. -
Association for Slavic, East European, & Eurasian Studies
1 Association for Slavic, East European, & Eurasian Studies 46th Annual Convention • November 20-23, 2014 San Antonio Marriott Rivercenter • San Antonio, TX “25 Years After the Fall of the Berlin Wall: Historical Legacies and New Beginnings” Stephen E. Hanson, College of William and Mary ASEEES Board President We are most grateful to our sponsors for their generous support. GOLD SPONSOR: East View Information Services BRONZE SPONSORS: College of William and Mary Reves Center for International Studies National Research University Higher School of Economics Indiana University Russian and East European Institute • University of Texas, Austin Center for Russian, Eastern European and Eurasian Studies and Department of Slavic and Eurasian Studies 2 Contents Convention Schedule Overview ..................................................................................................... 2 List of the Meeting Rooms at the Marriott Rivercenter .............................................................. 3 Visual Anthropology Film Series ................................................................................................4-5 Diagram of Meeting Rooms ............................................................................................................ 6 Exhibit Hall Diagram ....................................................................................................................... 7 Index of Exhibitors, Alphabetical ................................................................................................... 8 -
Soldier, Structure and the Other
CORE Metadata, citation and similar papers at core.ac.uk Provided by Helsingin yliopiston digitaalinen arkisto SOLDIER, STRUCTURE AND THE OTHER SOCIAL RELATIONS AND CULTURAL CATEGORISATION IN THE MEMOIRS OF FINNISH GUARDSMEN TAKING PART IN THE RUSSO- TURKISH WAR, 1877-1878 Teuvo Laitila Dissertation in Cultural Anthropology, University of Helsinki, Finland, 2001 1 ISSN 1458-3186 ISBN (nid.) 952-10-0104-6 ISBN (pdf) 952-10-105-4 Teuvo Laitila 2 ABSTRACT SOLDIER, STRUCTURE AND THE OTHER:SOCIAL RELATIONS AND CULTURAL CATEGORISATION IN THE MEMOIRS OF FINNISH GUARDSMEN TAKING PART IN THE RUSSO-TURKISH WAR, 1877-1878 Teuvo Laitila University of Helsinki, Finland I examine the influence of Finnish tradition (public memory) about the ’correct’ behaviour in war and relative to the other or not-us on the ways the Finnish guardsmen described their experiences in the Russo-Turkish war, 1877-1878. Further, I analyse how the men’s peacetime identity was transformed into a wartime military one due to their battle experiences and encounters with the other (the enemy, the Balkans and its civilian population) and how public memory both shaped this process and was reinterpreted during it. Methodologically I combine Victor Turner’s study of rituals as processes with Maurice Halbwachs’s sociologial insights about what he termed mémoire collective and what I have called public memory, and Eric Dardel’s geographical view about the meaning of space in remembering. My sources are the written recollections of the Finnish guardsmen, both volunteers and professionals. I have broken each recollection (nine together) down into themes (military ideals, views of the enemy, battle, the civilians or Bulgarians, etc.) and analysed them separately, letting every author tell his story about each thema. -
RAFA 2015.Pdf
www.mkrf.ru RAFA is Russian animated film association. RAFA represents the interests of the Russian animation industry and helps to create favorable conditions for the effective development of anima tion in Russia and worldwide. RAFA represents the interests of animation studios of all sizes, as well as individual flmmakers working in animation, including indep endent directors, production designers, animators etc. The association also includes organizations which are involved in animation: TV networks with an interest in animation,distribution companies and Internet companies, that is, all organizations whose business is related to the field of animation and who are interested in joining forces. • If you need to communicate with any Russian studio, organization or animator, • If you need assistance in participation in festivals and film markets in Russia, • If you need to organize the presentation of your services to Russian partners, • If you need talents and studios for co-production JUST CONTACT RAFA! RAFA is proud to present opportunity of Russian animation to you. Today RAFA is 40 best Russian studios that able for cooperation with you and 200 animators, composers, producers etc that would like to join your team. 4 5 CONTENTS RAFA 3 OPENING WORD 7 RUSSIAN ANIMATION TODAY 8 STUDIOS 10 SHORTS 180 ALPHABETICAL LIST 200 ON THE CATALOG WORKED 203 6 7 Dear friends, Russian Animated Film Association offers you the fourth edition of a catalogue of current animated films. In the new release, you will find information on all latest releases in the Russian animated film industry in 2014 and early in 2015. The new catalogue fundamentally differs from its predecessors. -
Khanty Mansiysk Autonomous Region Yugra Russia Siberia Россия
Россия Сибирь ХантыМансийский автономный округ Югра KhantyMansiysk Autonomous Region Yugra Russia Siberia ДУХ ОГНЯ / НАЙ АНГКИ / SPIRIT OF FIRE / 2007 ОРГКОМИТЕТ ФЕСТИВАЛЯ / ORGANIZING COMMITTEE OF THE FESTIVAL Ìèõàèë Åôèìîâè÷ Øâûäêîé Nail Kashapov Alexey Ovsyannikov Ðóêîâîäèòåëü Ôåäåðàëüíîãî àãåíòñòâà ïî Chief medical officer of the territorial admin- Deputy Chairman of the Government of the êóëüòóðå è êèíåìàòîãðàôèè, ñîïðåäñåäàòåëü istration of Rospotrebnadzor in the Khanty- autonomous district for problems of small îðãêîìèòåòà Mansiysk autonomous district – Yugra nationalities of the North, Director of the Mikhail Shvydkoy Department of the autonomous district for Head of the Federal Agency for Culture and Âÿ÷åñëàâ Ìèõàéëîâè÷ Êîçëîâñêèé problems of small nationalities of the North Cinema, co-chairman of the organizing committee Çàìåñòèòåëü íà÷àëüíèêà Óïðàâëåíèÿ âíóòðåííèõ äåë àâòîíîìíîãî îêðóãà, Çèíàèäà Áîðèñîâíà Ñàõàóòäèíîâà Àëåêñàíäð Âàñèëüåâè÷ Ôèëèïåíêî íà÷àëüíèê ìèëèöèè îáùåñòâåííîé Ïðåäñåäàòåëü Êîìèòåòà ïî âíåøíèì Ãóáåðíàòîð, Ïðåäñåäàòåëü Ïðàâèòåëüñòâà áåçîïàñíîñòè ñâÿçÿì àâòîíîìíîãî îêðóãà àâòîíîìíîãî îêðóãà, ñîïðåäñåäàòåëü îðãêîìèòåòà Vyacheslav Kozlovsky Zinaida Sakhautdinova Alexander Filipenko Deputy Chief of the Department of internal Chairman of the Ñommittee for foreign Governor, Chairman of the Government of affairs of the autonomous district, chief of relations of the autonomous district the Autonomous District, co-chairman police of public safety of the organizing committee Àëåêñàíäð Ïàâëîâè÷ Ñåìåíîâ Àëåêñàíäð Âèòàëüåâè÷