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An Analysis of the Character Animation in Disney's Tangled
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Carter, Chris (2013) An analysis of the character animation in Disney’s Tangled. Senses of Cinema, 2013(67), pp. 1-16. This file was downloaded from: https://eprints.qut.edu.au/61227/ c Copyright 2013 Senses of Cinema Inc and the author As under the Copyright Act 1968 (Australia), no part of this journal may be reproduced by any process without the written permission of the editors except for the purposes of private study, research, criticism or review. These works may be read online, downloaded and copied for the above purposes but must not be copied for any other individuals or organisations. The work itself must not be published in either print or electronic form, be edited or otherwise altered or used as a teaching resource without the express permission of the author. Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// sensesofcinema.com/ 2013/ feature-articles/ an-analysis-of-the-character-animation-in-disneys-tangled/ An Analysis of the Character Animation in Disney’s Tangled Title: Tangled (Greno and Howard 2010) Studio: Walt Disney Animation Studios Release: BLU-RAY and DVD - Australia Type: Animated Feature Film Directors: Nathan Greno, Byron Howard Animation Supervisors: Glen Keane, John Kahrs, Clay Kaytis Introduction: In the short time since PIXAR Animation created the first 3D computer animated feature film, Toy Story (John Lasseter 1995), 3D computer graphics (CG) have replaced the classical 2D realist styling of Disney Animation to become the dominant aesthetic form of mainstream animation, (P. -
NARVA AMERICAN SPACE Monthly Report – January 2019 New and Most Popular Programs: American Movie Night: Jersey Girl Narva
NARVA AMERICAN SPACE Monthly Report – January 2019 New and most popular programs: American Movie Night: Jersey Girl Narva Central Library American Space and the U.S. Embassy film series. Jersey Girl is a 2004 American comedy-drama film written, co-edited and directed by Kevin Smith. It stars Ben Affleck, Liv Tyler, George Carlin, Stephen Root, Mike Starr and Raquel Castro. The film follows a young man who must take care of his precocious daughter in the midst of a family tragedy. It was the first film written and directed by Smith not to be set in the View Askewniverse as well as the first not to feature appearances by Jay and Silent Bob, although animated versions of them appear in the View Askew logo. At $35 million, it is Smith's biggest-budgeted film, and went on to become a box-office bomb, grossing just $36 million. The movie screens in English with Russian subtitles. Conversation Club Themes: Reflection, Resolutions, MLK Jr. Day, Education, NYT Article, US Trivia Conversation Club is led by Madeline Williamson our English Teaching Assistant. The club meets on Mondays and Wednesdays. 3-D Master Classes This is a continuation of a master class series on 3D printing, laser cutting, and seeking innovative approaches for introducing new ideas in the MakerLab innovation laboratory at Narva American Space. American Club American club continued its meetings in January. Themes: Asking and giving directions. Parts of a public building; American English. A hotel guest asks directions. Prepositions of movement. Roleplay: Giving directions to a visitor.Vocabulary: Hotel words. -
Aladdin the Musical Masterpiece Edition
MOVIE REVIEW Afr J Psychiatry 2008;11:225 ALADDIN THE MUSICAL MASTERPIECE EDITION A Walt Disney Pictures / Disney Home DVD Presentation Directed by Ron Clements & John Musker Written by Roger Allers & Ron Clements Original score by Alan Menken A film review by Franco P. Visser No, your eyes are not deceiving you, and yes, you court vizier (I ran to the Oxford Dictionary and this did read correctly! The film I am reviewing for is what it said: Vizier – an important official in some this edition of the journal is the musically re- Muslim countries, origin Arabic), and Iago, his very mastered edition of the original 1992 Disney vocal and cheeky companion parrot voiced by Studios animation-adventure release Aladdin. As Gilbert Gottfried. Jafar, together with Iago plots to I took to the recliner, determined and on my way over-throw the Sultan and marry Jasmine and claim to review the film Stephanie Daley (Redbone the throne of Agrabah. Aladdin meanwhile, Films / Silverwood Films / Pathé Production) a unsuccessfully used by Jafar to obtain a magic small but significant tingle of excitement stirred lamp and with it the most outrageous, clever, witty inside me as I saw the ‘new’ Aladdin being and loyal blue Genie (voiced by Robin William, so advertised on television. And these were my you can imagine!) gets to have himself created thoughts behind changing the film to be Prince Ali Ababwa, a very rich and strong middle- reviewed: with our current national climate of eastern royal. In so doing he can claim Jasmine’s political tension, economic uncertainty and hand in marriage as Agrabah law states that only brilliant fuel costs, the foreign political someone from noble descent can marry the developments (or lack thereof), and a general Princess Jasmine. -
TAG21 Mag Q1 Web2.Pdf
IATSE LOCAL 839 MAGAZINE SPRING 2021 ISSUE NO. 13 THE ANIMATION GUILD QUARTERLY GIMMIE SHELTER: CREATING CAPTIVATING SPACES IN ANIMATION GIMME SHELTER SPRING 2021 CREATING CAPTIVATING SPACES IN ANIMATION FOR YOUR CONSIDERATION BEST ANIMATED FEATURE GLEN KEANE, GENNIE RIM, p.g.a., PEILIN CHOU, p.g.a. GOLDEN GLOBE ® NOMINEE BEST ANIMATED FEATURE “ONE OF THE MOST GORGEOUS ANIMATED FILMS EVER MADE.” “UNLIKE ANYTHING AUDIENCES HAVE SEEN BEFORE.” “★★★★ VIBRANT AND HEARTFELT.” FROM OSCAR®WINNING FILMMAKER AND ANIMATOR GLEN KEANE FILM.NETFLIXAWARDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 NETFLIX: OVER THE MOON PUB DATE: 02/25/21 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 13 CONTENTS 46 11 AFTER HOURS 18 THE LOCAL FRAME X FRAME Jeremy Spears’ passion TAG committees’ FEATURES for woodworking collective power 22 GIMME SHELTER 4 FROM THE 14 THE CLIMB 20 DIALOGUE After a year of sheltering at home, we’re PRESIDENT Elizabeth Ito’s Looking back on persistent journey the Annie Awards all eager to spend time elsewhere. Why not use your imagination to escape into 7 EDITOR’S an animation home? From Kim Possible’s NOTE 16 FRAME X FRAME 44 TRIBUTE midcentury ambience to Kung Fu Panda’s Bob Scott’s pursuit of Honoring those regal mood, these abodes show that some the perfect comic strip who have passed of animation’s finest are also talented 9 ART & CRAFT architects and interior designers too. The quiet painting of Grace “Grey” Chen 46 SHORT STORY Taylor Meacham’s 30 RAYA OF LIGHT To: Gerard As production on Raya and the Last Dragon evolved, so did the movie’s themes of trust and distrust. -
Gender, Class and Ethnicity in the Disney Princesses Series – Kirsten Malfroid 1
Universiteit Gent Faculteit Letteren en Wijsbegeerte Gender, Class, and Ethnicity in the Disney Princesses Series Kirsten Malfroid Promotor: Masterproef ingediend met het oog op het behalen van de graad van Dr. Katrien De Moor Master in de Vergelijkende Moderne Letterkunde Academiejaar 2008 - 2009 ii ACKNOWLEDGEMENTS Real heroes and heroines stay in anonymity, but I would still like to extend some words of thankfulness to my family and friends, who “simply” were there with ceaseless support. I would also like to thank the Walt Disney Company, for releasing the movies that became my current material for analysis; my parents, for once taking me to the theater to see them; and Prof. dr. Àngels Carabí Ribera, who teaches at the University of Barcelona, for introducing me to “a whole new world” of gender studies to analyze them. In addition, Sebastian Loll deserves special mention for pointing to Donald Duck‟s collision with fascism, while Kasper Malfroid has spared me the desperation of trying to subdue Microsoft Office. But most of all, I am indebted to my promoter, dr. Katrien De Moor, who guided me with excellent advice and encouraging words until the end. Ghent, augustus 2009 iii TABLE OF CONTENTS Acknowledgements ...................................................................................................... ii Table of Contents ........................................................................................................ iii I. Introduction ......................................................................................................... -
Aldn-Digital-Press-Kit.Pdf
CONTACT DETAILS BridgesPR Email: [email protected] Website: www.bridgespr.com Phone: +61 3 9534 0585 Peter Bridges + 61 417 390 180 Remy Chancerel + 61 403 996 433 To access broadcast quality footage, high-res production shots and audio files please go to: URL: http://www.disney.com.au/ aladdinthemusical/media/index.php Username: MediaUser Password: Al@dd1n AladdinTheMusical.com.au #aladdininaus THE HIT BROADWAY MUSICAL CONTENTS Synopsis 2 Background on Film 5 List of Musical Numbers 6 A Journey to Australia 7 Critical Praise 11 Creative Team Biographies 18 About Disney Theatrical Productions 23 Aladdin Costume Fun Facts 24 Interesting Notes 25 1 SYNOPSIS Act 1 On a desert road, a mysterious traveler welcomes us to the fabled city of Agrabah, where things are indeed “hotter than hot, in a lot of good ways” (Arabian Nights). In the bustling marketplace, Aladdin is shoved out of a bakery, accused of stealing. His ne’er-do-well buddies – Babkak, Omar and Kassim – arrive and stick up for him. Even though Aladdin had promised his dying mother he would stop his thieving ways, Kassim finds a loaf of bread in his bag. The palace guards chase Aladdin, who avoids arrest through cunning and luck (One Jump Ahead). On his way to win the heart of Princess Jasmine, Prince Abdullah confronts Aladdin and calls him an embarrassment to his family name. Hurt and alone, Aladdin vows to make something of his life (Proud of Your Boy). At the palace, Jafar – the Sultan’s royal vizier – and his murder-happy henchman Iago anxiously await news of Abdullah’s meeting with Jasmine. -
Feature Films and Licensing & Merchandising
Vol.Vol. 33 IssueIssue 88 NovemberNovember 1998 1998 Feature Films and Licensing & Merchandising A Bug’s Life John Lasseter’s Animated Life Iron Giant Innovations The Fox and the Hound Italy’s Lanterna Magica Pro-Social Programming Plus: MIPCOM, Ottawa and Cartoon Forum TABLE OF CONTENTS NOVEMBER 1998 VOL.3 NO.8 Table of Contents November 1998 Vol. 3, No. 8 4 Editor’s Notebook Disney, Disney, Disney... 5 Letters: [email protected] 7 Dig This! Millions of Disney Videos! Feature Films 9 Toon Story: John Lasseter’s Animated Life Just how does one become an animation pioneer? Mike Lyons profiles the man of the hour, John Las- seter, on the eve of Pixar’s Toy Story follow-up, A Bug’s Life. 12 Disney’s The Fox and The Hound:The Coming of the Next Generation Tom Sito discusses the turmoil at Disney Feature Animation around the time The Fox and the Hound was made, marking the transition between the Old Men of the Classic Era and the newcomers of today’s ani- 1998 mation industry. 16 Lanterna Magica:The Story of a Seagull and a Studio Who Learnt To Fly Helming the Italian animation Renaissance, Lanterna Magica and director Enzo D’Alò are putting the fin- ishing touches on their next feature film, Lucky and Zorba. Chiara Magri takes us there. 20 Director and After Effects: Storyboarding Innovations on The Iron Giant Brad Bird, director of Warner Bros. Feature Animation’s The Iron Giant, discusses the latest in storyboard- ing techniques and how he applied them to the film. -
Main Character's Personality Conflict in Aladdin Movie
Tonil: Jurnal Kajian Sastra, Teater dan Sinema Copyright © 2020 by 2020, Vol. 17, No. 1, 20-27. Teater FSP - ISI Yogyakarta Main Character’s Personality Conflict in Aladdin Movie Nolen Tomi Arianto Universitas Putera Batam, Batam, Indonesia Universitas Putera Batam, Batam, Indonesia [email protected] [email protected] . Abstrak: Dalam jurnal ini bertujuan untuk menemukan konfilk kepribadian karakter utama yang direpresentasikan melalui id, ego, dan superego dominan yang terdapat dalam karakter Aladdin dalam film Aladdin. Dalam makalah ini digunakan teori psikologi Sigmund Freud yang menyatakan bahwa ada tiga struktur yang dapat membentuk watak seseorang. Tiga struktur tersebut yaitu id, ego, dan superego. Penulis menggunakan metode deskriptif untuk menjelaskan id, ego, dan superego dalam karakter Aladdin. Penulis memperoleh data dari menonton film Aladdin yang dirilis pada tahun 1992, kemudian mencatat dan memberi tanda dimana karakter Aladdin menunjukkan sisi id, ego, dan superegonya. Hasil dari penelitian ini adalah id Aladdin terdapat disaat Aladdin bermimpi ingin menjadikan hidupnya lebih baik dan watak Aladdin yang tegar meskipun dihina oleh orang sekitar. Dalam penelitian ini penulis berharap agar penelitian ini berguna dan membantu untuk siapapun yang membaca, khususnya dalam karya sastra. Kata Kunci: Id, Ego, Superego, Teori Sigmund Freud, Watak. Abstract: In this journal aims to find the main character’s personality conflict reflected from id, ego, and superego dominant that contained in Aladdin's character in film Aladdin. In this paper, the writer will use psychological theory of Sigmund Freud that states that there are three striking features that can shape a person's character. The three structures are id, ego, and superego. -
Theater Reviews
NYC’s #1 FREE DAILY www.metro.us 18 theater WEEKEND, JUNE 24-26, 2011 live on broadway Also playing RETROSPECTIVE: Fast on 44th St. ‘Phantom’ facts: ‘Baby ‘Phantom Opened in London in It’s You!’ 1986; came to N.Y. in 1988 Won 7 Tony Awards that A Jersey housewife dis- year, including Best covers girl group, the Musical Shirelles, in this Became the longest- female-empowerment running show in 2006, story of the ’60s. of the Opera’ surpassing ‘Cats’ Broadhurst Theatre Played more than 9,700 $49-$177 performances on www.babyits Broadway; 65,000 total youonbroadway.com How does Broadway’s longest-running musical hold up after 23 years? Grossed more than $5 ‘Memphis’ Moving love story and powerful music balance dated elements billion worldwide JOAN MARCUS In 1950s Memphis, he challenge of a while scenes change; sim- finding love in a show that’s been on- ple aural tricks and flicker- dance club is anything Tstage for nearly a ing lights are as spooky as but safe; this musical quarter-century is to high-tech craft. However, a is inspired by a remain relevant to audi- rejuvenation of energy and true story. ences who might have ac- vision wouldn’t hurt the Shubert Theatre tually first seen it as chil- play, lest it rest on its lau- $42-$252 dren and can now bring rels and retire before your www.memphis their own. “Phantom of the grandkids can attend. themusical.com Opera,” which debuted on the Great White Way in he crystal-clear, mas- ‘Rock of 1988, is now at the Majestic terfully commanded Theatre showing the same Tvocals required by Ages’ songs you may know from the leads (currently a time when the B-side of Sara Jean Ford as Christine Set on the Sunset your Michael Crawford and Hugh Panaro as the Strip in 1987, this mixtape played George Phantom), held against rock musical features Michael. -
The World of Glen Keane San Francisco, CA, January 10, 2018
The Walt Disney Family Museum Presents Make Believe: The World of Glen Keane San Francisco, CA, January 10, 2018 – The Walt Disney Family Museum is proud to introduce its newest original exhibition, Make Believe: The World of Glen Keane, showcasing the work of this critical Disney animator and artist. Keane’s dynamic artistic talent brings to life some of the most unforgettable characters of our time, from the imposing Beast and fearless Tarzan, to the daring heroines Ariel, Pocahontas, and Rapunzel. The exhibition, curated by Glen Keane in partnership with Michael Labrie, the museum’s Director of Collections and Exhibitions, opens on March 8, 2018 in the museum’s Theater Gallery and will be on view through September 3, 2018. This unique exhibition showcases hand-drawn animation and maquettes of Keane’s most iconic Disney characters, from earlier films, including The Fox and the Hound (1981), to more recent works, such as Tangled (2010). Keane’s methodical approach to his work, honed during a 40- year-career that has witnessed profound technological changes in the field of animation, led to a period now recognized as the Disney animation renaissance. Make Believe features images and animation sketches from numerous films, including The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), Pocahontas (1995), and Tarzan (1999). Of special interest, also on view in this exhibition are Keane’s personal works, many of which emerged from dynamic partnerships. Visitors can get a rare glimpse into Keane’s collaboration with the Paris Opéra (Nephtali), his embracing of innovation and technology with Google on Duet, and his recent 2017 collaboration with Kobe Bryant and legendary composer John Williams on Dear Basketball. -
2-D Or Not 2-D?: How the Iris Closed on Hand-Drawn Feature Animation
City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism 12-31-2014 2-D or Not 2-D?: How the Iris Closed on Hand-Drawn Feature Animation Thad Komorowski How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/17 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 2-D or Not 2-D? How the Iris Closed on Hand-Drawn Feature Animation By Thad Komorowski The Digital Age We Live In In just 20 years, an entire industry went from an all-time zenith to complete annihilation. As the art of 3-D computer-generated imagery triumphed, the hand-drawn animated feature’s position sunk from its position as a centerpiece of mainstream entertainment to a dank corner of seeming nonexistence. For the last decade, acclaimed Japanese filmmaker Hayao Miyazaki has swam against that prevailing cultural tide by making animated feature films with 2-D hand-drawn animation. Films like Howl’s Moving Castle (2004) and Ponyo (2008) exemplify how poetic, dreamlike fantasy is still capable in animation without using pixels to pixilate. Yet time, economics and, seemingly, public taste have finally caught up with Miyazaki. In November, he announced his retirement and confirmed that his Studio Ghibli has put the kibosh on feature film production. After last year’s The Wind Rises, the 73-year-old director accepts the reality that is a disheartening future for the art form he holds dearest: “I do think the era of pencil, paper and film is coming to an end.” One of the gem scenes from Hayao Miyazaki’s Ponyo might have cried for CGI effects in another filmmaker’s movie. -
Celebrating 50 Years of Animation
NEXT GEN ANIMATED EFFECTS IN AN ANIMATED FEATURE PRODUCTION So Ishigaki, Graham Wiebe VOICE ACTING IN AN ANIMATED FEATURE PRODUCTION Charlyne Yi CHARACTER DESIGN IN AN ANIMATED FEATURE PRODUCTION Marceline Tanguay HILDA BEST ANIMATED TELEVISION/BROADCAST PRODUCTION FOR CHILDREN CHARACTER ANIMATION IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION Scott Lewis WRITING IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION Stephanie Simpson TALES OF ARCADIA: TROLLHUNTERS BEST ANIMATED TELEVISION/BROADCAST PRODUCTION FOR CHILDREN ANIMATED EFFECTS IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION David M.V. Jones, Vincent Chou, Clare Yang TALES OF ARCADIA: 3BELOW DIRECTING IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION Guillermo del Toro, Rodrigo Blaas EDITORIAL IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION John Laus, Graham Fisher BIG MOUTH BEST GENERAL AUDIENCE ANIMATED TELEVISION/BROADCAST PRODUCTION WRITING IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION Emily Altman BOJACK HORSEMAN BEST GENERAL AUDIENCE ANIMATED TELEVISION/ BROADCAST PRODUCTION VOICE ACTING IN AN ANIMATED TELEVISION/BROADCAST PRODUCTION Will Arnett ASK THE STORYBOTS BEST ANIMATED TELEVISION/BROADCAST PRODUCTION FOR PRESCHOOL CHILDREN DIRECTING IN AN ANIMATED TELEVISION/ BROADCAST PRODUCTION Evan Spiridellis DINOTRUX: SUPERCHARGED BEST ANIMATED TELEVISION/BROADCAST PRODUCTION FOR PRESCHOOL CHILDREN WATERSHIP DOWN ANIMATED EFFECTS IN AN ANIMATED TELEVISION/ BROADCAST PRODUCTION Philip Child, Nilesh Sardesai F IS FOR FAMILY VOICE ACTING IN AN ANIMATED TELEVISION/ BROADCAST PRODUCTION