DOCSLIB.ORG

Coreografías

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Coreografías Coreografías (Choreographies) es una obra de dos videos simultáneos en loop PEDRO IGNACIO ALONSO Pontificia Universidad Católica de Chile presentados en la 4ª edición de la Trienal de Arquitectura de Lisboa (2016). Santiago de Chile _ [email protected] En estos videos se exponen principalmente animaciones infantiles de Estados HUGO PALMAROLA Unidos y de la Unión Soviética, en las que se representan vigas de acero y Pontificia Universidad Católica de Chile Santiago de Chile _ [email protected] paneles de hormigón en el contexto de la construcción de edificios en altura. En muchas ocasiones, el rol de las vigas y los paneles fue dar continuidad a las coreografías sin dejar caer a sus personajes, configurando no solo caminos de infraestructura física, sino que también caminos conceptuales confiables en los que se refleja la fe absoluta en las ideologías soportantes estadounidenses y soviéticas. Choreographies is a work composed of two simultaneously running video loops, presented at the 4th Triennial of Architecture in Lisbon (2016). These videos show mostly children animation films from the US and the Soviet Union, in which steel beams and concrete panels are represented in the context of high-rise building construction. On many occasions, the role of the beams and panels was to provide continuity to the choreographies and to keep the characters from falling, configuring not only physical infrastructure roads, but also reliable conceptual paths that reflect an unflinching faith on American and Soviet supporting ideologies. El proyecto Choreographies The aim of the project (Coreografías) busca presentar la Choreographies is to present the “construcción” conceptual de los conceptual ‘construction’ of the “lugares de construcción” en su ‘construction sites’ in their political dimensión política y cultural. Por and cultural dimension. By means medio de una comparación crítica of a critical comparison of funny de películas cómicas y animaciones movies and children’s animations infantiles realizadas en los Estados created in the United States and Unidos y en la Unión Soviética entre the Soviet Union between 1921 and 1. Never Weaken 1921 y 1980, la obra muestra que 1980, the piece shows that these (EE.UU. /USA, 1921). estos sitios no son solamente el sites are not only the location where Coreografías Protagonista /Main Character: Harold Lloyd. Director /Director: emplazamiento donde se construyen buildings are built, but also places CHOREOGRAPHIES Fred Newmeye. edificios, sino también lugares donde where ideology and imagination are la ideología y la imaginación se 2 PROYECTOS _ PROJECTS Recepción: 13 de enero de 2017 _ Aceptación: 8 de febrero de 2017 Reception: January 13, 2017 _ Acceptance: February 8, 2017 Revista Diseña 11 _ Julio, 2017 _ 00 - 00 páginas _ ISSN: 0718-8447 3 combinan a través de coreografías combined through choreographies 2. Hold Anything definidas cuidadosamente por carefully defined by cranes, by (EE.UU. /USA, 1930). Producción grúas, en el movimiento pendular the oscillating movement of steel / Production: Warner Bros. de vigas de acero en Estados Unidos, beams in the United States and Director /Director: Hugh y de paneles voladores en la Unión flying panels in the Soviet Union. Harman & Rudolf Ising. Soviética. Estos dos elementos These two elements symbolize 2. 3. 4. 3. Building a Building simbolizan la construcción del the construction of the modern (EE.UU. /USA, 1933). Producción mundo moderno, el optimismo world, the technological optimism / Production: Walt Disney tecnológico de la industrialización, of industrialization, the relevance Studios. Director /Director: David la relevancia de los procesos of the productive processes over Hand. productivos por sobre los edificios the finished buildings and the 4. A Dream Walking terminados, y el estatus de los status of workers in the mentioned (EE.UU. /USA, 1934). trabajadores en dichos procesos processes —solders, assemblers Producción / Production: —soldadores, ensambladores y and crane operators—, as opposed Fleischer Studios. Director / operadores de grúas—, en oposición to the conventional role that the Director: Dave Fleischer. al rol convencional que las narratives of modernity ascribe to 5. 6. 7. narrativas de la modernidad asignan the figure of the architect. 5. A Dream Walking a la figura del arquitecto. These Choreographies were (EE.UU. /USA, 1934). Producción En la 4ª edición de la Trienal de presented at the 4th edition of the / Production: Fleischer Studios. Lisboa (2016), estas Coreografías Director /Director: Dave Lisbon Triennial (2016), consisting Fleischer. fueron presentadas a través de of two looping films projected la proyección simultánea de dos simultaneously, which contained 6. The Riveter filmes en loop, que contienen selected fragments, a couple of (EE.UU. /USA, 1940). Producción fragmentos seleccionados de seconds long, of the different films. / Production: Walt Disney algunos segundos de las diferentes Studios. Director /Director: Dick They exposed both the symmetries películas, para así exponer tanto and the differences between the 8. 9. 10. Lundy. las simetrías como las diferencias United States and the Soviet Union. 7. Homeless Hare entre los Estados Unidos y la Unión The selection emphasizes the staging (EE.UU. /USA, 1950), Producción Soviética. La selección enfatiza la of the construction sites in these / Production: Warner Bros. puesta en escena de los lugares de Cartoons, Inc. Director /Director: animations and in cinema in general, Chuck Jones. construcción en estas animaciones y especially in the visual chained en el cine en general, especialmente (Taylorist) gags that are developed, 8. Tot Watchers en gags visuales en cadena also, in the context of an ‘assembly (EE.UU. /USA, 1958). (tayloristas) que son desarrollados, line’ of beams and panels inside Producción / Production: además, en un contexto del “montaje Metro-Goldwyn-Mayer. construction site. Director /Director: William en cadena” de vigas y paneles dentro 11. 12. 14. The silent comedy starring Harold de lugares de construcción. Hanna & Joseph Barbera. Lloyd, Never Weaken (1921), was La comedia silente protagonizada the first of this type of comedies por Harold Lloyd, Never Weaken in the United States. In this film, (1921), fue la cinta inaugural de este a steel beam accidentally enters tipo de comedias en Estados Unidos. through a window in the building En esta película una viga de acero pulling away the main character out entra casualmente por la ventana to the heights. Next, the character de un edificio y saca al protagonista performs all types of acrobatics over a las alturas. A continuación el personaje hace todo tipo de piruetas 4 Coreografías _ Choreographies _ P. Alonso _ H. Palmarola Diseña Magazine # 11_ July, 2018_ 000 pages_ ISSN: 0718-8447 5 sobre vigas, acción que se desarrolla beams, an action that develops in the en el marco de la construcción context of skyscraper construction de rascacielos en el ambiente de and the atmosphere of economic prosperidad económica de los años prosperity of the 20’s. Later, this film veinte. Posteriormente esta cinta fue was taken as referent by different tomada como referente por diversos animation studios like Warner Bros, estudios de animación como Looney Walt Disney and Fleischer. Their Tunes, Walt Disney y Fleischer. Sus renowned characters did then feats reconocidos personajes realizaron similar to those of Lloyd’s, like is the 13. How the House Was Built entonces hazañas similares a las case of Bosko, Mickey Mouse, Popeye, to the Kitten (Kak kotenku de Lloyd, como es el caso de Bosko, Porky, Mr. Magoo, Bugs Bunny, Tom postroili dom) Mickey Mouse, Popeye, Porky, Mr. and Jerry, Daffy Duck and Droopy (URSS /USSR, 1963). Lectura de imágenes pág. 4 Magoo, Bugs Bunny, Tom y Jerry, in a large number of shorts, such Producción / Production: 9. Tot Watchers Daffy Duck y Droopy, dentro de una as Hold Anything (1930), Building a Soyuzmultfilm. Director / (EE.UU. /USA, 1958). Director: Roman Kachanov. gran cantidad de cortos, tales como Building (1933), A Dream Walking Producción / Production: Hold Anything (1930), Building a (1934), Bridge Ahoy (1936), Porky’s Metro-Goldwyn-Mayer. 13. 15. Pent-House Mouse Building (1933), A Dream Walking Building (1937), The Riveter (1940), Director /Director: William (EE.UU. /USA, 1963). (1934), Bridge Ahoy (1936), Porky’s Rhapsody in Rivets (1941), Nix on Hanna & Joseph Barbera. Producción / Production: Building (1937), The Riveter (1940), Hypnotricks (1941), Construction Metro-Goldwyn-Mayer. 10.Cat Feud Director /Director: Rhapsody in Rivets (1941), Nix on Mayhem (1949), Homeless Hare (EE.UU. /USA) 1958. Producción Chuck Jones. Hypnotricks (1941), Construction (1950), Child Sockology (1953), Tot / Production: Warner Bros. Mayhem (1949), Homeless Hare Watchers (1958), Cat Feud (1958), Director /Director: Chuck Jones. 16. Pent-House Mouse (1950), Child Sockology (1953), Tot Pent House Mouse (1960), Base on (EE.UU. /USA, 1963). 11. Cat Feud Watchers (1958), Cat Feud (1958), Bawls (1960), Bad Day at Cat Rock Producción / Production: (EE.UU. /USA) 1958. Producción Metro-Goldwyn-Mayer. Pent House Mouse (1960), Base on (1965), Skyscraper Caper (1968), / Production: Warner Bros. Director /Director: Bawls (1960), Bad Day at Cat Rock Droopy’s Restless Night (1980) y Director /Director: Chuck Jones. Chuck Jones. 15.. 16. (1965), Skyscraper Caper (1968), Droopy’s Good Luck Charm (1980). Droopy’s Restless Night (1980) y 12. The Story of a Crime 17. Cottage Love (Рай в In the case of the Soviet Union,
Load more

Recommended publications
  • The University of Chicago Looking at Cartoons
    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
    [Show full text]
  • El Cine De Animación Estadounidense
    El cine de animación estadounidense Jaume Duran Director de la colección: Lluís Pastor Diseño de la colección: Editorial UOC Diseño del libro y de la cubierta: Natàlia Serrano Primera edición en lengua castellana: marzo 2016 Primera edición en formato digital: marzo 2016 © Jaume Duran, del texto © Editorial UOC (Oberta UOC Publishing, SL) de esta edición, 2016 Rambla del Poblenou, 156, 08018 Barcelona http://www.editorialuoc.com Realización editorial: Oberta UOC Publishing, SL ISBN: 978-84-9116-131-8 Ninguna parte de esta publicación, incluido el diseño general y la cubierta, puede ser copiada, reproducida, almacenada o transmitida de ninguna forma, ni por ningún medio, sea éste eléctrico, químico, mecánico, óptico, grabación, fotocopia, o cualquier otro, sin la previa autorización escrita de los titulares del copyright. Autor Jaume Duran Profesor de Análisis y Crítica de Films y de Narrativa Audiovi- sual en la Universitat de Barcelona y profesor de Historia del cine de Animación en la Escuela Superior de Cine y Audiovi- suales de Cataluña. QUÉ QUIERO SABER Lectora, lector, este libro le interesará si usted quiere saber: • Cómo fueron los orígenes del cine de animación en los Estados Unidos. • Cuáles fueron los principales pioneros. • Cómo se desarrollaron los dibujos animados. • Cuáles han sido los principales estudios, autores y obras de este tipo de cine. • Qué otras propuestas de animación se han llevado a cabo en los Estados Unidos. • Qué relación ha habido entre el cine de animación y la tira cómica o los cuentos populares. Índice
    [Show full text]
  • Hillbilly Bears Cartoon Torrent Download Hillbilly Hare
    hillbilly bears cartoon torrent download Hillbilly Hare. Bugs happily sings “I Like Mountain Music” while vacationing in the Ozarks until he meets Curt Martin pointing a rifle in his face. “Be ya’ all a Martin or be ya’ all a Coy rabbit?” Bugs replies, “My friends say I’m very coy!” Bugs gives the hillbilly a sob story, then ties his rifle barrel into a bow. He then meets brother Pumpkinhead, who also points his gun at him, mistaking him for one of the Coys. Bugs eventually gets out of the Martin-Coy feud by going in drag as a hillbilly gal and then calling a square dance which gets increasingly violent. The mountain men chase the rabbit into a powder house full of explosives. Bugs offers them a lighter to help them see. The shack is blown to bits! List of episodes of The Banana Splits Adventure Hour. The following episode guide has been assembled from a variety of sources. Following the sequential number of each episode are the original airdate and subsequent repeat airdates, when known (based on TV Guide listings), followed by brief episode summaries, also from TV Guide listings. For Season 1 episodes (1968-1969), rundowns of each show (which follow the brief TV Guide descriptions) are based on the shows themselves. The only tape copies available for review originate from rebroadcasts during the 1969-1970 season. These revised prints are identified by the suffix REV in the official episode numbers (for instance, Show #K-01 REV). Show openings, closings, bumpers and sponsor billboards in Season 1 shows were replaced for subsequent NBC reruns to match Season 2 shows (some of the bumpers featured the Season 2 Splits with the blue-and-yellow-vested Snorky, and Goofy Gopher, who was only seen in Season 2); any other changes made to the episodes for subsequent Saturday morning reruns are indicated if known.
    [Show full text]
  • The Animated Movie Guide
    THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues.
    [Show full text]
  • Hakke Hakkespett Vol. 1-4 [4 DVD] Hakke Hakkespett Vol
    Hakke Hakkespett vol. 1-4 [4 DVD] Hakke Hakkespett vol. 1-4 [4 DVD] Gjensyn med Hakke Hakkespett vekker gode minner, men utgivelsen imponerer ikke. Vår anmelder fristes til å direkteimportere fra USA for å få bedre innhold på DVDene. Woody Woodpecker vol. 1-4 Walter Lantz, Alex Lovy, Emery Hawkins, Milt Schaffer, Shamus Culhane, Dick Lundy Walter Lantz Animation Studio 1939-1948 Universal 4:3 Fullskjerm Dolby Digital 2.0 184 min. 2 3 En hakkespett ser dagens lys Fra Walter Lantz' studio og Ben "Bugs" Hardaway (som også skapte uforglemmelige karakterer som Daffy Duck og Snurre Sprett) vokste det på begynnelsen av 40-tallet seg frem en tegnefilmantihelt, så skrullete, så skruppelløs, og så uforsvarlig uetisk at vi sjelden har sett noe liknende siden. Hakke Hakkespett, eller Woody Woodpecker som han egentlig het, var resulatet av et svært kompetativt marked, der studioene kjempet for å overgå hverandre i å ligge lengst mulig unna Disney hva gjalt både historiefortelling, humor og realisme. Walter Lantz forsto at hvis han skulle få en sjanse til å utfordre Warner Bros' fantasifulle karakterverden, var han avhengig av å fornye sine tegnefilmer (i hovedsak bestående av Disney's Oswald the lucky Rabbit, som Lantz vant rettighetene til i et pokerlag). Designteamet hans klarte å koke sammen en haug med karakterer, men av dem var det bare pandabjørnen Andy Panda som hadde en moderat suksess. Og det var i en Andy Panda-episode at en rar (og plagsom) fugl med spisst nebb og digre føtter dukket opp for første gang. Hakke Hakkespett var en umiddelbar suksess, og det tok ikke lange tiden før han fikk sparket Andy ut av tronstolen og overtok showet på heltid.
    [Show full text]
  • Alex Lovy Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
    Alex Lovy 电影 串行 (大全) Life Begins for Andy https://zh.listvote.com/lists/film/movies/life-begins-for-andy-panda-12125710/actors Panda The Tree Medic https://zh.listvote.com/lists/film/movies/the-tree-medic-7770079/actors 3 Ring Wing-Ding https://zh.listvote.com/lists/film/movies/3-ring-wing-ding-106765906/actors See Ya Later https://zh.listvote.com/lists/film/movies/see-ya-later-gladiator-12127381/actors Gladiator Juke Box Jamboree https://zh.listvote.com/lists/film/movies/juke-box-jamboree-1425905/actors The New Alice in https://zh.listvote.com/lists/film/movies/the-new-alice-in-wonderland-1569342/actors Wonderland Hocus Pocus https://zh.listvote.com/lists/film/movies/hocus-pocus-powwow-16251396/actors Powwow Hot and Cold https://zh.listvote.com/lists/film/movies/hot-and-cold-penguin-24905332/actors Penguin Knock Knock https://zh.listvote.com/lists/film/movies/knock-knock-3066819/actors Ace in the Hole https://zh.listvote.com/lists/film/movies/ace-in-the-hole-4673029/actors Ballyhooey https://zh.listvote.com/lists/film/movies/ballyhooey-4852175/actors Billion Dollar Boner https://zh.listvote.com/lists/film/movies/billion-dollar-boner-4911988/actors Cool Cat https://zh.listvote.com/lists/film/movies/cool-cat-5167273/actors Fiesta Fiasco https://zh.listvote.com/lists/film/movies/fiesta-fiasco-5447315/actors Go Away Stowaway https://zh.listvote.com/lists/film/movies/go-away-stowaway-5574713/actors Merlin the Magic https://zh.listvote.com/lists/film/movies/merlin-the-magic-mouse-6819801/actors Mouse Norman Normal https://zh.listvote.com/lists/film/movies/norman-normal-7052646/actors
    [Show full text]
  • Black Representation in American Short Films, 1928-1954
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2002 Black representation in American short films, 1928-1954 Christopher P. Lehman University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Lehman, Christopher P., "Black representation in American short films, 1928-1954 " (2002). Doctoral Dissertations 1896 - February 2014. 914. https://scholarworks.umass.edu/dissertations_1/914 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. m UMASS. DATE DUE UNIVERSITY LIBRARY UNIVERSITY OF MASSACHUSETTS AMHERST BLACK REPRESENTATION IN AMERICAN ANIMATED SHORT FILMS, 1928-1954 A Dissertation Presented by CHRISTOPHER P. LEHMAN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2002 W. E. B. DuBois Department of Afro-American Studies © Copyright by Christopher P. Lehman 2002 All Rights Reserved BLACK REPRESENTATION IN AMERICAN ANIMATED SHORT FILMS, 1928-1954 A Dissertation Presented by CHRISTOPHER P. LEHMAN Approved as to style and content by: Ernest Allen, Chair Johnl|L Bracey, Jr., Member Robert P. Wolff, Member Lynda Morgan, Member Esther Terry, Department Head Afro-American Studies W. E. B. DuBois Department of ACKNOWLEDGMENTS Several archivists have enabled me to find sources for my research. I thank Tom Featherstone of Wayne State University's Walter Reuther Library for providing a copy of the film Brotherhood ofMan for me.
    [Show full text]
  • Walter Lantz
    Walter Lantz Walter Lantz was born COLLECTION PROFILE into an immigrant Italian family in New Rochelle, New York. A newspaper cartoonist during his teens, he became an animator with Gregory La Cava and then worked with the animation pioneers at Bray Studios. In the late twenties he moved to Hollywood, landing a job with Universal Pictures. In 1935 he started his own production company, striking a deal with Universal to provide cartoons on a regular basis. Five years later, Walter Lantz Productions became a completely independent company. Eventually, its activities expanded to other areas such as television and the merchandising of cartoon- related products. Lantz created many popular cartoon characters, including the bird with the trademark laugh, Woody Walter Lantz’s Woody Woodpecker and friend. Woodpecker. The Film and Television Archive holds more and models, storyboards and than twenty-five of Walter UCLA’s Music Library backgrounds. Part II is Lantz’ cartoon shorts, holds the Walter Lantz Music devoted to production spanning the early 1930s to Collection, containing scores, materials, including research the 1960s. Many of the titles parts and detail sheets for materials and notes, scripts, from the 1940s feature the Woody Woodpecker cartoons treatments, storyboard Woody Woodpecker character. and various commercials. It sketches, cutting continuities, At Arts-Special Collections the also features popular sheet publicity materials (clippings, Walter Lantz Archive (1940- music for use as source stills). Part III is a collection of 1979) is available for research. material for productions. comic books featuring Walter It consists of 350 boxes, Lantz cartoon characters. divided into three main areas.
    [Show full text]
  • Sessão Dupla (E-Book).Pdf
    O ORIGINAL E A CÓPIA (O REMAKE, A SÁTIRA, A PARÓDIA) 1 Reitora Ângela Maria Paiva Cruz Vice-Reitor José Daniel Diniz Melo Diretora da EDUFRN Maria da Conceição Fraga Diretor Adjunto da EDUFRN Wilson Fernandes de Araújo Filho Conselho Editorial Maria da Conceição Fragaa (Presidente) Ana Karla Pessoa Peixoto Bezerra Anna Emanuella Nelson dos S. C. da Rocha Anne Cristine da Silva Dantas Carla Giovana Cabral Edna Maria Rangel de Sá Eliane Marinho Soriano Fábio Resende de Araújo Francisco Wildson Confessor George Dantas de Azevedo Lia Rejane Mueller Beviláqua Maria Aniolly Queiroz Maia Maria da Conceição F. B. S. Passeggi Maria de Fátima Garcia Maurício Roberto Campelo de Macedo Nedja Suely Fernandes Paulo Ricardo Porfírio do Nascimento Paulo Roberto Medeiros de Azevedo Regina Simon da Silva Rosires Magali Bezerra de Barros Tânia Maria de Araújo Lima Tarcísio Gomes Filho Supervisão Editorial Alva Medeiros da Costa Editora Kamyla Álvares Supervisão Gráfica Francisco Guilherme de Santana Revisão Wildson Confessor (coordenador) Jenerson Silva (colaborador) Valéria Félix (colaboradora) Design Editorial Rafael Sordi Campos Fotografias Cecilia Baker Coordenadoria de Serviços Técnicos Catalogação da Publicação na Fonte. UFRN / Biblioteca Central Zila Mamede Sessão Dupla [recurso eletrônico] : o original e a cópia, o remake, a sátira, a paródia / organizadores Nelson Marques, Gianfranco Marchi - Natal, RN : EDUFRN, 2016. 4.452 Kb ; PDF Modo de acesso: www.repositorio.ufrn.br ISBN 978-85-425-0401-9 1. Cinema 2. Cinema - Catálogos. I. Marques, Nelson. II. Marchi Gianfranco CDD 791.43 RN/UF/BCZM 2016/02 CDU 791 Todos os direitos desta edição reservados à EDUFRN – Editora da UFRN Av.
    [Show full text]
  • THE WORLD of IMAGIMATION: a Hundred Years of Animation Art from Around the World
    THE WORLD OF IMAGIMATION: A Hundred Years of Animation Art from Around the World By Hal and Nancy Miles (Copyright 2014) Works Descriptions and Labels (INCOMPLETE DESCRIPTIONS 10/27/2014) 1. Gertie The Dinosaur 1914 U.S.A. Original Animation Drawing India Ink on Rice paper Director: Zenas Winsor McCay Producer: Zenas Winsor McCay Animator: Zenas Winsor McCay Assistant Animator: John A. Fitzsimmons Gertie The Dinosaur is considered the first widely viewed, groundbreaking traditional hand drawn animation short. Gertie’s creator and animation pioneer Zenas Winsor McCay, who was quite the showman, astonished audiences by showing the extinct “great monsters that used to inherit the Earth” in action during his lavish stage performances. Several thousand individually hand drawn sheets of rice paper make up the complete animated film. Once Zenas Winsor McCay designed and drew the background for the film, he started on the animation of Gertie, the Woolie Mammoth, Sea Serpent, and additional tree, water, and rock animation as well as animating himself for a section of the film. Once he had created the animation on each piece of rice paper he would pass each one on to his assistant John A. Fitzsimmons who would precisely trace the background over and over again on each one without crossing the background lines into the animated characters. 2. Scientific American Magazine 1916 U.S.A. Original Magazine Lithographic Paper First Published Article on Clay Animation and Inventor Helen Dayton 3. Animated Cartoons 1920 U.S.A. Original First Edition Book Printing Paper Author: Edwin George Lutz This is the first published book on how the hand drawn animation process worked.
    [Show full text]
  • Frame by Frame, As One Would a Microform Periodical, the Relationship Between the Two Media Becomes Even Clearer
    1 Animation and Montage Or, Photographic Records of Documents I would like to make a montage from the fragments discovered by others, but for a different purpose—mine! It is like the cinema: I don’t need to play any part at all. My job is to link all the pieces up. —Sergei Eisenstein1 The first stage [ . ] will be to carry over the principle of montage into his- tory. That is, to assemble large-scale constructions out of the smallest and most precisely cut components. Indeed, to discover in the analysis of the small individual moment the crystal of the total event. —Walter Benjamin2 ORDER AND DISORDER Variations on the same gag appear in the live-action prologues of both Little Nemo in Slumberland (1911) and Gertie the Dinosaur (1914), two pioneering contribu- tions to the art of animation by the cartoonist-cum-vaudevillian-cum-filmmaker Winsor McCay. In the first, an intertitle informs us that “Winsor McCay [has agreed] to make four thousand pen drawings that will move, one month from date.” Assistants shuttle barrels of ink and reams of drawing paper into his studio while he toils away at a desk already teeming with finished sketches. A boy, intrigued by a particularly tall stack of papers, cannot contain his curiosity: Just what does all this amount to, anyway? In his eagerness to flip through McCay’s drawings, he spills the pile—and himself—across the floor. In the later film, shortly after McCay declares that he has “made ten thousand cartoons,—each one a little bit different from the one preceding it,” a hapless assistant, charged with bearing a towering testament to McCay’s feat, tumbles down the stairs and brings hundreds of papers fluttering along with him.
    [Show full text]
  • Renovation Pocket Program
    Renovation The 69th World Science Fiction Convention Reno, Nevada USA August 17–21, 2011 CONVE NTION GUIDE CONTENTS 1 Renovation The 69th World Science Fiction Convention Reno, Nevada USA • August 17–21, 2011 2 . Maps, .Quick .Reference 20 . .Schedule .by .Area 37 . Wednesday 48 . Thursday 77 . Friday 100 . Saturday 123 . Sunday 133 . Participant .Schedules Credits: Chair: Patty Wells Program Division Heads: Jim Mann, Ian Stockdale Deputy Division Head: Laurie Mann Program Software Project Lead: Ruth Leibig Technical Lead: Henry Balen Publications Division Head: Karen Meschke Deputy Division Head: Tim Miller Convention Guide Editor: Paul Selkirk Proofreaaders: Janice Gelb, Mary Ann Anthony Printer Liaison: Sara Felix Renovation Convention Logo: Brad Foster © 2011 by Reno Convention Fandom, Inc. All rights returned to the respective writers and artists upon publication. “Renovation” is a service mark of Reno Convention Fandom, Inc. (RCFI), an Oregon-based nonprofit corporation. “World Science Fiction Society,” “WSFS,” “World Science Fiction Convention,” “Worldcon,” “NASFiC,” “Hugo Award,” and the distinctive design of the Hugo Award rocket are service marks of the World Science Fiction Society, an unin- corporated literary society. 2 QUICK REFERENCE QUICK REFERENCE RSCC .Hall .2 RSCC .Main .Floor Dealers . Art . Room Show Site .Selection Autographing Gaming Teen . Fan . Lounge Lounge Exhibits Bar Stage Shuttle . Volunteers 2 SkyBridge . Hall .Shuttle SkyBridge Renovation THE 69TH WORLD SCIENCE FICTION CONVENTION CONVENTION GUIDE QUICK REFERENCE QUICK REFERENCE Rooms .and .Functions .in .the .Reno-Sparks . Rooms .and .Functions .in .the .Atlantis Convention .Center All functions in the Atlantis, except for parties and lounges, All functions in the RSCC are on the first floor.
    [Show full text]