Portal for Animated Films
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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 -
Sessões Recomendadas Para Crianças L São, Além Das INFANTIS: FUTURO ANIMADOR E ANIMATV
PETROBRAS apresenta k'FTUJWBM*OUFSOBDJPOBM EF"OJNB}{PEP#SBTJM 3JPEF+BOFJSP BEF+VMIP Centro Cultural Banco do Brasil Centro Cultural Correios Casa França-Brasil Oi Futuro Cinema Odeon-BR Unibanco Arteplex Botafogo 4P1BVMP EF+VMIPBnEF"HPTUP Memorial da América Latina Centro Cultural Banco do Brasil 1 ATENÇÃO: Anima Mundi informa que as sessões recomendadas para crianças L são, além das INFANTIS: FUTURO ANIMADOR e ANIMATV. 14 As demais sessões não são recomendadas para menores de 14 anos. RIO DE JANEIRO Locais De Exibição Obs: Pagam meia-entrada: maiores de 60 (sessenta) anos e crianças até 12 (doze) anos. Centro Cultural Casa França-Brasil Banco do Brasil (CCBB) Rua Visconde de Itaboraí, 78, Centro Rua Primeiro de Março, 66, Centro Informações: (21) 2332-5121 Informações: (21) 3808-2020 Horário de funcionamento: Horário de funcionamento: 10h às 21h Estúdio Aberto: Ter a Dom 13h às 19h, Ingresso: R$ 6,00 (meia entrada R$ 3,00) Entrada franca Sessões gratuitas: Infantis, AnimaTV e Futuro Animador, retirada de senhas somente no dia da sessão Unibanco Arteplex Botafogo com 1 hora de antecedência na bilheteria Praia de Botafogo, 316 Térreo, Botafogo Informações: (21) 2559-8750 Centro Cultural Correios Horário de funcionamento: 12h às 22h Rua Visconde de Itaboraí, 20, Centro Ingresso: R$ 6,00 (meia entrada: R$ 3,00), Informações: (21) 2253-1580 Vendas por dia, a partir da abertura da bilheteria Horário de funcionamento: 11h30 às 19h30 Oi Futuro Flamengo · Sala de Cinema Rua Dois de Dezembro, 63, Flamengo Entrada Franca, Classificação Livre, Informações: -
February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN; -
Familienmodelle in Video-On-Demand-Serien: Analyse 3 Der Beispiele
Familienmodelle in Video-on-Demand-Serien: Analyse 3 der Beispiele Das Gesamtbild einer TV-Familie konstituiert sich aus diversen Faktoren. Anhand dieser Faktoren möchte ich den folgenden analytischen Teil strukturieren. Der weitreichenden Analyse meines Korpus geht dabei die exemplarische Analyse der Serie Ozark voran (3.1), die strukturell von der Untersuchung des Korpus abweicht. Zu Beginn der Korpusanalyse sollen die familiären Rollenmuster und geschlechtlichen Konstruktionen analysiert werden, also die Positionen, die eine Figur innerhalb eines Familiengefüges bzw. innerhalb einer familienzentrierten Serienhandlung einnehmen kann (3.2). Dabei unterscheide ich zwischen weibli- chen und männlichen Rollen und thematisiere zudem Bedeutung sowie textinterne Wertung von Rollen, die von heteronormativen Strukturen abweichen. Bezüglich meiner Beispiele bedeutet dies konkret, die Darstellung homo- und transsexueller Charaktere zu untersuchen. Diese Charaktere zählen zwar auch in die Rollenbe- reiche der Mütter, Töchter, Söhne und Väter (und werden in diesem Rahmen auch genannt), nehmen in den analysierten Serien jedoch eine offenkundige Sonder- rolle ein. Ohne dabei in irgendeiner Weise eine ausgrenzende oder abwertende Strategie verfolgen zu wollen, ist dementsprechend eine eigenständige Untersu- chung notwendig. Nach dieser Analyse isolierter Rollen werde ich die möglichen Verhältnisse der Charaktere zueinander untersuchen (3.3). Dies schließt sowohl innerfamiliäre Beziehungen ein als auch Beziehungen von Familienmitgliedern zu außerfamiliären Charakteren. Aus den Beziehungen der Charaktere zueinander ergeben sich diverse Modelle von Familie, die durch die Texte ebenfalls unter- schiedlich gewichtet werden (3.4). Über die Rollen, Beziehungsgeflechte und Elektronisches Zusatzmaterial Die elektronische Version dieses Kapitels enthält Zusatzmaterial, das berechtigten Benutzern zur Verfügung steht https://doi.org/10.1007/978-3-658-34766-6_3. © Der/die Autor(en) 2021 89 J. -
Ca' Foscari Short Film Festival 7
Short ca’ foscari short film festival 7 1 15 - 18 MARZO 2017 AUDITORIUM SANTA MARGHERITA - VENEZIA INDICE CONTENTS × Michele Bugliesi Saluti del Rettore, Università Ca’ Foscari Venezia × Michele Bugliesi Greetings from the Rector, Ca’ Foscari University of Venice × Flavio Gregori Saluti del Prorettore alle attività e rapporti culturali, × Flavio Gregori Greetings from the Vice Rector for Cultural activities and relationships, Università Ca’ Foscari Venezia Ca’ Foscari University of Venice × Board × Board × Ringraziamenti × Acknowledgements × Comitato Scientifico × Scientific Board × Giuria Internazionale × International Jury × Catherine Breillat × Catherine Breillat × Małgorzata Zajączkowska × Małgorzata Zajączkowska × Barry Purves × Barry Purves × Giuria Levi Colonna Sonora × Levi Soundtrack Jury × Concorso Internazionale × International Competition × Concorso Istituti Superiori Veneto × Veneto High Schools’ Competition × Premi e menzioni speciali × Prizes and special awards × Programmi Speciali × Special programs × Concorso Music Video × Music Video Competition × Il mondo di Giorgio Carpinteri × The World of Giorgio Carpinteri × Desiderio in movimento - Tentazioni di celluloide × Desire on the move - Celluloid temptations × Film making all’Università Waseda × Film-making at Waseda University Waseda Students Waseda Students Il mondo di Hiroshi Takahashi The World of Hiroshi Takahashi × Workshop: Anymation × Workshop: Anymation × Il mondo di Iimen Masako × The World of Iimen Masako × C’era una volta… la Svizzera × Once upon a time… Switzerland -
Chapter One: Pre-Westphalian Era up to 1648 9
JANUS PROJECT PHILOSOPHY AND HISTORY OF INTERNATIONAL LAW & RELATIONS BIBLIOGRAPHY By Gregory Lewkowicz This is a first draft version of a comprehensive bibliography prepared in the context of a research project. The author thanks his colleagues for their indulgence in the reading of this first draft. The sections “articles” are particularly incomplete and several entries must be added, deleted or double-checked. Comments are welcomed. Please e-mail; [email protected] March 2009 JANUS Project With the support of the Communauté Française Wallonie-Bruxelles and the Loterie Nationale of Belgium A lot of people have contributed to this first draft of a comprehensive bibliography. Thank you to all of them and especially to Cornelia Schiemann, Jeanne Dupendant and Jörg Krempel for their contributions. 2 TABLE OF CONTENTS TABLE OF CONTENTS 3 INTRODUCTION & METHODOLOGY 7 CHAPTER ONE: PRE-WESTPHALIAN ERA UP TO 1648 9 I. International Law 9 1. Primary Literature 9 2. Secondary Literature 15 a. Monographs 15 b. Collective Works 26 c. Articles 28 II. Diplomacy 30 1. Primary Literature 30 2. Secondary Literature 32 a. Monographs 32 b. Collective Works 41 c. Articles 43 III. Politics 49 1. Primary Literature 49 2. Secondary Literature 51 a. Monographs 51 b. Collective Works 58 c. Articles 60 CHAPTER TWO: AFTER THE TREATY OF WESTPHALIA [1648-1815] 62 I. International Law 62 1. Primary Literature 62 a. Monographs 62 b. Collective Works 84 c. Articles 85 2. Secondary Literature 85 a. Monographs 85 b. Collective Works 91 c. Articles 92 II. Diplomacy 94 1. Primary Literature 94 a. Monographs 94 b. -
Michele Leigh Paper : Animated Music
GA2012 – XV Generative Art Conference Michele Leigh Paper : Animated Music: Early Experiments with Generative Art Abstract: This paper will explore the historical underpinnings of early abstract animation, more particularly attempts at visual representations of music. In order to set the stage for a discussion of the animated musical form, I will briefly draw connections to futurist experiments in art, which strove to represent both movement and music (Wassily Kandinsky for instance), as a means of illustrating a more explicit desire in animation to extend the boundaries of the art in terms of materials and/or techniques By highlighting the work of experimental animators like Hans Richter, Oskar Fishinger, and Mary Ellen Bute, this paper will map the historical connection between musical and animation as an early form of generative art. I will unpack the ways in which these filmmakers were creating open texts that challenged the viewer to participate in the creation of meaning and thus functioned as proto-generative art. Topic: Animation Finally, I will discuss the networked visual-music performances of Vibeke Sorenson as an artist who bridges the experimental animation Authors: tradition, started by Richter and Bute, and contemporary generative art Michele Leigh, practices. Department of Cinema & Photography This paper will lay the foundation for our understanding of the Southern Illinois history/histories of generative arts practice. University Carbondale www.siu.edu You can send this abstract with 2 files (.doc and .pdf file) to [email protected] or send them directly to the Chair of GA conferences [email protected] References: [1] Paul Wells, “Understanding Animation,” Routledge, New York, 1998. -
European Animation Emile Awards 2017 Call For
EUROPEAN ANIMATION EMILE AWARDS 2017 CALL FOR ENTRIES - GENERAL RULES INTRODUCTION The Emile Awards, first ceremony of the European Animation Awards (EAA), will be held Friday 8th December 2017, at le Nouveau Siècle in Lille, France to reward the skills of European professionals. The awards will be voted by the EAA members, representing a large vision of European professionals. CATEGORIES 1. Best Student Film 2. Best Commissioned Film 3. Best Animated Short Film 4. Best Background and Character Design in a Short Film Production 5. Best TV/Broadcast Production (Best Director) 6. Best Background and Character Design in a TV/Broadcast Production 7. Best Character Animation in a TV/Broadcast Production 8. Best Writing in a TV/Broadcast Production 9. Best Storyboard in a TV/Broadcast Production 10. Best Soundtrack in a TV/Broadcast Production 11. Best Feature Film (Best Director) 12. Best Background and Character Design in a Feature Film 13. Best Character Animation in a Feature Film 14. Best Writing in a Feature Film 15. Best Storyboard in a Feature Film 16. Best Soundtrack in a Feature Film 17. Lotte Reiniger Life Achievement Award 1 SELECTION PROCESS Submission To qualify for entry, productions must have had their first release between January 1, 2016 and July 31, 2017. Production Content Requirements Entries submitted will be nominated based on the completed production in its entirety. For some of these categories some additional work will be required too, as designs, scripts, etc.. Submissions must consist only of material used in the final production. Cut sequences, unused music, deleted performances, omitted characters and similar surplus material will not be considered for nomination. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
FIFA and the FIRST WORLD CUP by 1900 Soccer Was Well on Its Way to World Domination
THE WORLD CUP SOCCER’S GLOBAL CHAMPIONSHIP he World Cup is international Tsoccer’s championship tournament, and it rules the global sports stage. Award-winning author Matt Doeden explores the history of international soccer and covers the World Cup’s greatest moments, from the Save of the Century to Diego Maradona’s Hand of God goal to the United States Women’s National Team’s dominance. The most shocking goals, the greatest upsets, and the fun and fanfare of soccer’s biggest event are all here. REINFORCED BINDING Matt Doeden J MILLBROOK PRESS · MINNEAPOLIS Copyright © 2018 by Lerner Publishing Group, Inc. All rights reserved. International copyright secured. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means— electronic, mechanical, photocopying, recording, or otherwise—without the prior written permission of Lerner Publishing Group, Inc., except for the inclusion of brief quotations in an acknowledged review. Millbrook Press A division of Lerner Publishing Group, Inc. 241 First Avenue North Minneapolis, MN 55401 USA For reading levels and more information, look up this title at www.lernerbooks.com. Main body text set in Adobe Garamond Pro Regular 14/19. Typeface provided by Adobe Systems. Library of Congress Cataloging-in-Publication Data Names: Doeden, Matt. Title: The world cup : soccer’s global championship / By Matt Doeden. Description: Minneapolis : Millbrook Press, [2018] | Series: Spectacular sports | Includes bibliographical references and index. Identifiers: LCCN 2017009220 (print) | LCCN 2017014231 (ebook) | ISBN 9781512498684 (eb pdf) | ISBN 9781512427554 (lb : alk. paper) Subjects: LCSH: World Cup (Soccer)—Juvenile literature. -
Download the Program (PDF)
ヴ ィ ボー ・ ア ニ メー シ カ ョ ワ ン イ フ イ ェ と ス エ ピ テ ッ ィ Viborg クー バ AnimAtion FestivAl ル Kawaii & epikku 25.09.2017 - 01.10.2017 summAry 目次 5 welcome to VAF 2017 6 DenmArk meets JApAn! 34 progrAmme 8 eVents Films For chilDren 40 kAwAii & epikku 8 AnD families Viborg mAngA AnD Anime museum 40 JApAnese Films 12 open workshop: origAmi 42 internAtionAl Films lecture by hAns DybkJær About 12 important ticket information origAmi 43 speciAl progrAmmes Fotorama: 13 origAmi - creAte your own VAF Dog! 44 short Films • It is only possible to order tickets for the VAF screenings via the website 15 eVents At Viborg librAry www.fotorama.dk. 46 • In order to pick up a ticket at the Fotorama ticket booth, a prior reservation Films For ADults must be made. 16 VimApp - light up Viborg! • It is only possible to pick up a reserved ticket on the actual day the movie is 46 JApAnese Films screened. 18 solAr Walk • A reserved ticket must be picked up 20 minutes before the movie starts at 50 speciAl progrAmmes the latest. If not picked up 20 minutes before the start of the movie, your 20 immersion gAme expo ticket order will be annulled. Therefore, we recommended that you arrive at 51 JApAnese short Films the movie theater in good time. 22 expAnDeD AnimAtion • There is a reservation fee of 5 kr. per order. 52 JApAnese short Film progrAmmes • If you do not wish to pay a reservation fee, report to the ticket booth 1 24 mAngA Artist bAttle hour before your desired movie starts and receive tickets (IF there are any 56 internAtionAl Films text authors available.) VAF sum up: exhibitions in Jane Lyngbye Hvid Jensen • If you wish to see a movie that is fully booked, please contact the Fotorama 25 57 Katrine P. -
Concordia University Presents
ConcordiaConcordia UniversityUniversity presentspresents THE 30th ANNUAL SOCIETY FOR ANIMATION STUDIES CONFERENCE | MONTREAL 2018 We would like to begin by acknowledging that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtiá:ke/ Montreal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. We respect the continued connections with the past, present and future in our ongoing relationships with Indigenous and other peoples within the Montreal community. Please clickwww.concordia.ca/about/indigenous.html here to visit Indigenous Directions Concordia. TABLE OF CONTENTS Welcomes 4 Schedule 8-9 Parallel Sessions 10-16 Keynote Speakers 18-20 Screenings 22-31 Exhibitions 33-36 Speakers A-B 39-53 Speakers C-D 54-69 Speakers E-G 70-79 Speakers H-J 80-90 Speakers K-M 91-102 Speakers N-P 103-109 Speakers R-S 110-120 Speakers T-Y 121-132 2018 Team & Sponsors 136-137 Conference Map 138 3 Welcome to Concordia! On behalf of Concordia’s Faculty of Fine Arts, welcome to the 2018 Society for Animation Studies Conference. It’s an honour to host the SAS on its thirtieth anniversary. Concordia University opened a Department of Cinema in 1976 and today, the Mel Hoppenheim School of Cinema is the oldest film school in Canada and the largest university-based centre for the study of film animation, film production and film studies in the country.