Latin American Online Animation: General Overview of Its Contextual Conditions and Analysis of Its Formal Traits

Total Page:16

File Type:pdf, Size:1020Kb

Latin American Online Animation: General Overview of Its Contextual Conditions and Analysis of Its Formal Traits I Latin American Online Animation: General Overview of its Contextual Conditions and Analysis of its Formal Traits. Oslavia Danaé Linares Martínez A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montréal, Quebec, Canada August 2019 © Oslavia Danaé Linares Martínez, 2019 II CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Oslavia Danaé Linares Martinez Entitled: Latin American Online Animation: General Overview of its Contextual Conditions and Analysis of its Formal Traits. and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) 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 _______________________ Examiner Dr. Peter Rist _______________________ Examiner Dr. Fenwick McKelvey _______________________ Supervisor Dr. Marc Steinberg Approved by: ___________________________________________ Dr. Luca Caminati, Graduate Program Director _____________ 2019 ____________________________________ Rebecca Duclos, dean of Fine Arts III Abstract: Latin American Online Animation: General Overview of its Contextual Conditions and Analysis of its Formal Traits. Oslavia Danaé Linares Martínez The Latin American children of the late 1990s and 2000s grew up watching cartoons, just like those decades before; however, for the first time, many of these cartoons were being made by them. That was only the beginning… Benefiting from new digital animation technology and Internet availability as much as from a renewed sense of what cartoons were and for whom, online animation became one of the earliest and most popular forms of online media in Latin America and the world. And yet, their popularity is relatively confined to the Internet and their academic study remains scarce. This thesis aims to remediate this absence and to provide a base from which to give a better account of Latin American online animation. In doing so, it can improve our understanding of other online media’s connection with socio-economic, technological, ideological, and aesthetic imperatives. I highlight the role of economic class and cultural imperialism in online animation’s aesthetic and contents, consider the role of cable networks in both shaping these tastes and offering a precedent for online platforms like YouTube, and review the technological limitations leading to an online animation vernacular (regional and global). I focus on this vernacular’s formal traits as a necessary first step to approach online animation and potentially other media. Ultimately, I provide a socio-economic and techno-historical context for Latin American online animation’s visual culture and its media and geo-cultural specificity. This research is all the more necessary in the face of the impermanence of online media. IV Acknowledgements: I wish to thank those who have helped me and, ergo, the completion of this work, which more than a master’s thesis is a research project into an unstudied but increasingly important mode of online media. Corresponding to my ambitions of research has been the support, encouragement, and patience of my thesis supervisor, professor Marc Steinberg. I’m grateful to my family: my uncle Santos and aunt Rosa for their financial support, and my father, Pablo Linares Linares, for his unconditional support through my studies and my gender transition. Besides him, several of my peers and friends have granted me their help in different capacities through the time I’ve been working on this project. As such, I wish to thank Jordan Adler, for his early disposition to review my thesis on and off campus, Jan Vykidal for his help with (last minute) proofreading, the organizers of the three thesis workshops I attended: William Fech, Jordan Gowanlock, and Meredith Slifkin, and the fellas who came to them and read my work in progress, you know who you are. Outside the program, I owe additional thanks for the financial support Asifa – Hollywood provided me through their Animation Educators Scholarship; thanks to Luis Vázquez for his direct inspiration with undertaking large scale research on Mexico’s animation; to professor William Andrade for his knowledge of Brazilian animation; and to the willing participants in my research, particularly Raul “Rulo” Barrera, for his account of Mexican online animation. As vital as academic support, has been the moral assistance and help from the friends I have made while involved in the program and prior. I wish to thank: Stephanie Durán Castillo, for convincing me (somewhat) to pursue my academic development; Maya Amal, for offering emotional and housing refuge in times of struggle (including the present one); Dasha Vzorova, for the constancy of working together through academic and life’s troubles; Julian Bata, for cheering me up with his art and humor; to Charlie Ellbé for lending me advice and movies at MIRC; to Daria Gamliel, for being my friend in the first cold Montreal winter; René Isadora, for the much needed Mexican comrade in town; Charlotte, for her kindness and empathy; Ellen Freeman for fostering our peer spirit with her parties; to Alana Repstock, for showing me what a friendship can and cannot be; and to Tracey Steer, for nurturing me with love in the last difficult weeks. Spare me the guilt of leaving anyone unacknowledged. I hope to repay in kind for this support. You’ve all made this “one-person” job possible and more rewarding. V Table of Contents: Introduction 1 0.1 On the Medium Specificity of Online Animations …………………………………………………………………3 0.2 Notes on Platforms and YouTube …………………………………………………………………………………………6 0.3 Historical Overview of Animation Production in Latin America …………………………………………….9 0.4 On the study of online animation ……………………………………………………………………………………….14 0.5 On this thesis’ aims and methods. ………………………………………………………………………………………15 Chapter 1: On contextual factors co-determining Latin American online animation 21 1.1 Internet accessibility and consumption in Latin America. ……………………………………………………22 1.1.1 Internet Growth in the Region …………………………………………………………………………….23 Regional Internet Access ……………….…………………………………….………………………….24 National rural and urban disparities in access ..…….…………………………………………25 1.1.2 Socio-economic disparities in access to the Internet in Latin America …………………27 Internet access and computer access. …………………………………………………………….28 Educational level of Latin American online users …………………………………………….31 Gender disparity among Latin American Internet users ………………………………….33 Age range among Latin American Internet users …………………………………………….33 1.1.3 Internet consumption in Latin America and adoption of global consumption behaviours ……………………….…………………………………………….………………………………………..35 VI 1.1.4 On YouTube’s Prevalence among Latin American Viewers ………………………………….37 1.1.5 On Globalized Consumption Behaviours …………………………………………….………………39 1.2 On the cultural role of Japanese anime, MTV, and other cable networks in Latin America …42 1.2.1 On Anime ………………………………….………………………………….…………………………………….43 1.2.2 On MTV and other cable networks in Latin America and their adoption of online animation. …………………………………….………………………………….…………………………………………45 On the influence of MTV’s programming in early and current notions of animation ………………………………….………………………………….………………………………..48 On MTV’s and Much Music’s patronage of Latin American online animation ….49 Chapter 2: On early online animation and a survey of its formal traits 55 2.1. On early online animation from Latin America …….……………….………………………………….……….56 2.1.1. Early Latin American online animation and their study ………………………………………56 2.1.2 Flash ………………………………….………………………………….…………………………………………… 61 2.1.3 On Early Circulation ………………………………….………………………………….……………………. 62 2.1.4 On Newgrounds.com ………………………………….………………………………….…………………..64 2.1.5 On Monetization and the case of Huevocartoon …………………………………………………66 2.2 Formal Traits of Online Animation ………………………………….………………………………….………………71 2.2.1 More on Online Animation’s Medium Specificity ………………………………………………..71 2.2.2 Online Animation’s Durational Traits ………………………………….………………………………73 Individual duration ………………………………….………………………………….………………….73 Serial duration ………………………………….………………………………….…………………………74 VII 2.2.3 on Graphic Composition ………………………………….………………………………….………………74 2.2.4 Representational Style ………………………………….………………………………….…………………77 Rudimentary cartoonish ………………………………….………………………………….………….78 Consistent cartoonish ………………………………….………………………………….………………78 Anime depictions ………………………………….………………………………….…………………….79 Realistic depictions ………………………………….………………………………….………………….79 Live-action based depictions ………………………………….………………………………….……79 Photo cut-out depictions …….……………….………………………………….……………………..80 2.2.5 on Animation Techniques ………………………………….………………………………….……………80 2D vector animation ………………………………….………………………………….……………….81 Limited animation ………………………………….………………………………….……………………81 Prefabricated 2D ……………………………….………………………………….……………………… 82 Frame-by-Frame animation ………………………………….………………………………….……..82 3D computer animation original and pre-fabricated ………………………………….……83 Original 3D computer animation ………………………………….…………………………………83 Prefabricated 3D animation ………………………………….………………………………….…….84 On Rotoscoping ………………………………….………………………………….……………………….86 2.2.6 on Sound ………………………………….………………………………….…………………….……………….87 On Sound: technical aspects and design ………………………………….………………………87
Recommended publications
  • 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
    [Show full text]
  • Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
    Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel
    [Show full text]
  • List of Certified Facilities (Cooking)
    List of certified facilities (Cooking) Prefectures Name of Facility Category Municipalities name Location name Kasumigaseki restaurant Tokyo Chiyoda-ku Second floor,Tokyo-club Building,3-2-6,Kasumigaseki,Chiyoda-ku Second floor,Sakura terrace,Iidabashi Grand Bloom,2-10- ALOHA TABLE iidabashi restaurant Tokyo Chiyoda-ku 2,Fujimi,Chiyoda-ku The Peninsula Tokyo hotel Tokyo Chiyoda-ku 1-8-1 Yurakucho, Chiyoda-ku banquet kitchen The Peninsula Tokyo hotel Tokyo Chiyoda-ku 24th floor, The Peninsula Tokyo,1-8-1 Yurakucho, Chiyoda-ku Peter The Peninsula Tokyo hotel Tokyo Chiyoda-ku Boutique & Café First basement, The Peninsula Tokyo,1-8-1 Yurakucho, Chiyoda-ku The Peninsula Tokyo hotel Tokyo Chiyoda-ku Second floor, The Peninsula Tokyo,1-8-1 Yurakucho, Chiyoda-ku Hei Fung Terrace The Peninsula Tokyo hotel Tokyo Chiyoda-ku First floor, The Peninsula Tokyo,1-8-1 Yurakucho, Chiyoda-ku The Lobby 1-1-1,Uchisaiwai-cho,Chiyoda-ku TORAYA Imperial Hotel Store restaurant Tokyo Chiyoda-ku (Imperial Hotel of Tokyo,Main Building,Basement floor) mihashi First basement, First Avenu Tokyo Station,1-9-1 marunouchi, restaurant Tokyo Chiyoda-ku (First Avenu Tokyo Station Store) Chiyoda-ku PALACE HOTEL TOKYO(Hot hotel Tokyo Chiyoda-ku 1-1-1 Marunouchi, Chiyoda-ku Kitchen,Cold Kitchen) PALACE HOTEL TOKYO(Preparation) hotel Tokyo Chiyoda-ku 1-1-1 Marunouchi, Chiyoda-ku LE PORC DE VERSAILLES restaurant Tokyo Chiyoda-ku First~3rd floor, Florence Kudan, 1-2-7, Kudankita, Chiyoda-ku Kudanshita 8th floor, Yodobashi Akiba Building, 1-1, Kanda-hanaoka-cho, Grand Breton Café
    [Show full text]
  • La Complejidad Narrativa En Los Cuentos De Brujas Del Anime Contemporáneo: Autoconsciencia Y Cognoscibilidad En Kurozuka Y Madoka Magica1
    B R U M A L Revista de Investigación sobre lo Fantástico DOI: https://doi.org/10.5565/rev/brumal.627 Research Journal on the Fantastic Vol. VIII, n.º 2 (otoño/autumn 2020), pp. 183-205, ISSN: 2014-7910 LA COMPLEJIDAD NARRATIVA EN LOS CUENTOS DE BRUJAS DEL ANIME CONTEMPORÁNEO: AUTOCONSCIENCIA Y COGNOSCIBILIDAD EN KUROZUKA Y MADOKA MAGICA1 ANTONIO LORIGUIllO-LÓPEZ Universitat Jaume I [email protected] Recibido: 30-09-2019 Aceptado: 27-07-2020 RESUMEN El fantástico es uno de los principales marcos temáticos de las producciones de la ani- mación comercial japonesa. Dentro de este género, las diversas adaptaciones y reelabo- raciones de mitos y cuentos tradicionales suponen recursos fértiles con los que cubrir las demandas de una industria extremadamente prolífica. Sin embargo, pese a su po- pularidad como objeto de estudio, las exploraciones textuales sobre anime fantástico rara vez se aventuran más allá de las coordenadas temáticas o históricas de sus argu- mentos. El presente artículo persigue atender a la relación entre la intricada narración de dos series televisivas significativas dentro del fantástico en el anime —Kurozuka y Madoka Magica— y la representación de las brujas que las protagonizan. Mediante el uso de las categorías narratológicas de la autoconsciencia y de la cognoscibilidad inda- 1 El autor quiere hacer constar el apoyo de las fuentes de financiación de esta investigación: Conselle- ria d’Educació, Investigació, Cultura i Esport de la Generalitat Valenciana y Fondo Social Europeo de la Unión Europea (ref. APOSTD/2019/067). Universitat Jaume I, proyectos «Análisis de identidades en la era de la posverdad.
    [Show full text]
  • Here Comes Television
    September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business.
    [Show full text]
  • O(S) Fã(S) Da Cultura Pop Japonesa E a Prática De Scanlation No Brasil
    UNIVERSIDADE TUIUTI DO PARANÁ Giovana Santana Carlos O(S) FÃ(S) DA CULTURA POP JAPONESA E A PRÁTICA DE SCANLATION NO BRASIL CURITIBA 2011 GIOVANA SANTANA CARLOS O(S) FÃ(S) DA CULTURA POP JAPONESA E A PRÁTICA DE SCANLATION NO BRASIL Dissertação apresentada no Programa de Mestrado em Comunicação e Linguagens na Universidade Tuiuti do Paraná, na Linha Estratégias Midiáticas e Práticas Comunicacionais, como requisito parcial para obtenção do título de Mestre, sob orientação do Prof. Dr. Francisco Menezes Martins. CURITIBA 2011 2 TERMO DE APROVAÇÃO Giovana Santana Carlos O(S) FÃ(S) DA CULTURA POP JAPONESA E A PRÁTICA DE SCANLATION NO BRASIL Esta dissertação foi julgada e aprovada para a obtenção do título de Mestre em Comunicação e Linguagens no Programa de Pós-graduação em Comunicação e Linguagens da Universidade Tuiuti do Paraná. Curitiba, 27 de maio de 2011. Programa de pós-graduação em Comunicação e Linguagens Universidade Tuiuti do Paraná Orientador: Prof. Dr. Francisco Menezes Martins Universidade Tuiuti do Paraná Prof. Dr. Carlos Alberto Machado Universidade Estadual do Paraná Prof. Dr. Álvaro Larangeira Universidade Tuiuti do Paraná 3 AGRADECIMENTOS Aos meus pais, Carmen Dolores Santana Carlos e Vilson Antonio Carlos, e à Leda dos Santos, por me apoiarem durante esta pesquisa; À minha irmã, Vivian Santana Carlos, por ter me apresentado a cultura pop japonesa por primeiro e por dar conselhos e ajuda quando necessário; Aos professores Dr. Álvaro Larangeira e Dr. Carlos Machado por terem acompanhado desde o início o desenvolvimento deste trabalho, melhorando-o através de sugestões e correções. À professora Dr.ª Adriana Amaral, a qual inicialmente foi orientadora deste projeto, por acreditar em seu objetivo e auxiliar em sua estruturação.
    [Show full text]
  • Animation: Types
    Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film.
    [Show full text]
  • The History of Chinese Animation I
    The History of Chinese Animation China has been one of the first countries to develop its own aesthetic for dynamic images and to create animation films with distinctive characteris- tics. In recent years, however, and subject to the influence of Western and Japanese animation, the Chinese animation industry has experienced sev- eral new stages of development, prompting the question as to where anima- tion in China is heading in the future. This book describes the history, present and future of China’s anima- tion industry. The author divides the business’s 95-year history into six periods and analyses each of these from a historical, aesthetic, and artistic perspective. In addition, the book focuses on representative works, themes, directions, artistic styles, techniques, industrial development, government support policies, business models, the nurturing of education and talent, broadcasting systems, and animation. Scholars and students who are interested in the history of Chinese ani- mation will benefit from this book and it will appeal additionally to readers interested in Chinese film studies. Sun Lijun, Professor, Vice President of Beijing Film Academy and Presi- dent of China Animation Institute of BFA. He was appointed as the Vice President of BFA in 2012. Sun Lijun is one of the experts who receive State Council special allowance. He has directed several animated feature films, such as The Little Solider, Happy Running, Legend of a Rabbit, and Harvest, among others. Since 2005 his animated feature films have been screened internationally, including at the Berlin International Film Festival, Annecy Film Festival, Ukraine International Film Festival, Seoul International Film Festival, and more.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • 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.
    [Show full text]
  • Jobs and Education
    Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation.
    [Show full text]
  • La Extensión Corporativa En El Sector Telecomunicaciones Y Sus Implicaciones En La Producción Y Distribución De Cine Mexicano
    iMex. México Interdisciplinario. Interdisciplinary Mexico, año 4, n° 7, invierno-winter 2014/15 La extensión corporativa en el sector telecomunicaciones y sus implicaciones en la producción y distribución de cine mexicano César Bárcenas Curtis (Universidad Nacional Autónoma de México) 1. Planteamientos iniciales A partir de los apuntes de Fuertes (2010: 39), con respecto al funcionamiento del Eficine1 y el ingreso de ciertos grupos empresariales que se están consolidando como inversionistas en la producción de películas mexicanas, es posible que se esté desarrollando un proceso de concentración que pueda influir en el surgimiento de nuevas productoras y en el acceso a nuevos cineastas. En este caso, a partir del incremento de la producción cinematográfica en México durante los últimos años, es posible señalar a manera de hipótesis preliminar, que este crecimiento sostenido puede ser resultado, entre otras cosas, de la consolidación del poder empresarial en la inversión de películas mexicanas, lo que no sólo extiende el poder corporativo y las diferencias entre algunas compañías productoras de cine mexicano, sino también puede tener influencia en la decisión sobre quién participa en la producción cultural, y sobre todo, en la definición de las características de los contenidos que se desarrollan.2 Por lo tanto, para el desarrollo de este análisis, es posible utilizar algunos conceptos de la Economía de los Medios, los cuales pueden permitir la comprensión de las actividades y funciones de algunas productoras cinematográficas mexicanas.
    [Show full text]