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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 -
Animação Em Stop-Motion
THIAGO FRANCO RIBEIRO Animação em stop-motion : Tecnologia de produção através da história Belo Horizonte Escola de Belas Artes 2009 THIAGO FRANCO RIBEIRO Animação em stop-motion : Tecnologia de produção através da história Dissertação apresentada ao Curso de Mestrado da Escola de Belas Artes da Universidade Federal de Minas Gerais como requisito parcial de obtenção do título de Mestre em Artes. Área de concentração: Arte e tecnologia da imagem. Orientador: Prof. Dr. Heitor Capuzzo Filho. Belo Horizonte Escola de Belas Artes 2009 i Dedico este trabalho a Antônio Franco, que por muitas vezes me deu asas através de suas histórias e eu não soube quão valorosas e saudosas estas seriam. ii AGRADECIMENTOS A Deus, sempre presente nos momentos mais questionáveis. Aos meus pais Luiz Carlos (In Memoriam) e Marisa, pelo incontestável apoio ao passar dos anos. Aos amados, Thaís, Luizinho e Lara. À Juliana Carolina, minha querida amada. Ao meu orientador Heitor Capuzzo, pela cumplicidade, competência, amizade e admiração a mim transmitida. À Ana Lúcia Andrade, pelos fundamentais apontamentos e apoio a este trabalho. Ao meu revisor Ruzembergue Carvalho Jr., pela atenção e carinho com as minhas frases desconexas. Aos amigos, eternos, cujo trabalho tem nos afastado. À Marcela Simões Nascimento, por tudo que você representa. Aos colegas e amigos de trabalho no Centro Pedagógico – UFMG, pelo ensinamento e paciência adquirida e compartilhada. À Geuva, Wagner e D. Zina, pelo apoio nas horas mais difíceis. Aos colegas animadores, pelo estímulo e troca de experiências, especialmente a Willian Salvador ( In Memoriam ), cujos sonhos ainda nos matem tão próximos. À FUMP, por tanto apoio ao longo destes seis anos, que acredito ser impossível eu estar onde estou sem vocês. -
Spatial Design Principles in Digital Animation
Copyright by Laura Beth Albright 2009 ABSTRACT The visual design phase in computer-animated film production includes all decisions that affect the visual look and emotional tone of the film. Within this domain is a set of choices that must be made by the designer which influence the viewer's perception of the film’s space, defined in this paper as “spatial design.” The concept of spatial design is particularly relevant in digital animation (also known as 3D or CG animation), as its production process relies on a virtual 3D environment during the generative phase but renders 2D images as a final product. Reference for spatial design decisions is found in principles of various visual arts disciplines, and this thesis seeks to organize and apply these principles specifically to digital animation production. This paper establishes a context for this study by first analyzing several short animated films that draw attention to spatial design principles by presenting the film space non-traditionally. A literature search of graphic design and cinematography principles yields a proposed toolbox of spatial design principles. Two short animated films are produced in which the story and style objectives of each film are examined, and a custom subset of tools is selected and applied based on those objectives. Finally, the use of these principles is evaluated within the context of the films produced. The two films produced have opposite stylistic objectives, and thus show two different viewpoints of applying the toolbox. Taken ii together, the two films demonstrate application and analysis of the toolbox principles, approached from opposing sides of the same system. -
A Totally Awesome Study of Animated Disney Films and the Development of American Values
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2012 Almost there : a totally awesome study of animated Disney films and the development of American values Allyson Scott California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Scott, Allyson, "Almost there : a totally awesome study of animated Disney films and the development of American values" (2012). Capstone Projects and Master's Theses. 391. https://digitalcommons.csumb.edu/caps_thes/391 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Social and Behavioral Sciences Department Senior Capstone California State University, Monterey Bay Almost There: A Totally Awesome Study of Animated Disney Films and the Development of American Values Dr. Rebecca Bales, Capstone Advisor Dr. Gerald Shenk, Capstone Instructor Allyson Scott Spring 2012 Acknowledgments This senior capstone has been a year of research, writing, and rewriting. I would first like to thank Dr. Gerald Shenk for agreeing that my topic could be more than an excuse to watch movies for homework. Dr. Rebecca Bales has been a source of guidance and reassurance since I declared myself an SBS major. Both have been instrumental to the completion of this project, and I truly appreciate their humor, support, and advice. -
Cinema: Reframed, Restored & Rediscovered, 26
PRESS RELEASE: 20 JUNE 2018 | Cinema Rediscovered returns to Bristol for its 3rd edition, 26 - 29 July followed by UK wide tour; putting lesser known cinematic visions centre stage and asking questions about the role of cinema. CINEMA: REFRAMED, RESTORED & REDISCOVERED, 26 - 29 July Cinema Rediscovered Bristol is thrilled to announce two major focuses; Reframing the Archive (Thu 26 July) and Restored & Rediscovered including brand new restorations of Maurice (1987), The Apartment (1960) and Le Crime de Monsieur Lange (1936), Aardman’s earliest films Animated Conversations (1977) and Conversation Pieces (1983) plus a 20th anniversary launch preview of The Big Lebowski (1998) REFRAMING THE ARCHIVES Pictured: Jema Desai, Founder of I am Dora (left), Danny Leigh, Senior Curator of fiction film and television at BFI National Archive, writer/curator Karen Alexander, The Final Girls, Joan Parsons, Time is Now & Head of Queen’s Film Theatre (right) Some of the most distinctive voices in cinema curation open up a conversation on the importance of re-presenting and reframing archives, and in shifting our perspective on the past. Speaker guests include Jemma Desai (Founder of I am Dora), The Final Girls, Joan Parsons (Time is Now), Sally Griffith (Anim18), Charlotte Harman (Compass Presents) and writer/curator Karen Alexander. Co-presented with BFI Film Audience Network (FAN) partners including Film Hub North, now leading on major FAN wide screen heritage activity, this is the first in a series of initiatives aimed at inspiring and challenging the exhibition and archive sector to reframe film heritage in the context of BFI2022 priorities and beyond. Danny Leigh, writer, broadcaster and Senior Curator of fiction film and television at BFI National Archive, gives his perspective on reframing the past, present and future of the archive looking at the very recent history of film with a focus on his personal interest in class representation. -
Free-Digital-Preview.Pdf
THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
Wallace and Gromit: Anoraknophobia Pdf, Epub, Ebook
WALLACE AND GROMIT: ANORAKNOPHOBIA PDF, EPUB, EBOOK Tristan Davies | none | 01 Sep 2000 | Hodder & Stoughton General Division | 9781840323016 | English | London, United Kingdom Wallace and Gromit: Anoraknophobia PDF Book The name derives from the Dutch phrase "aard man" meaning Nature Man, when joined together, "aardman" becomes "Earthman" more commonly translated to: "goblin"[citation needed]. A series of 5-minute films showcasing Wallace's latest wacky inventions. Nice tight copy, no names or marks inside. Published by Boxtree More information about this seller Contact this seller 4. I Agree This site uses cookies to deliver our services, improve performance, for analytics, and if not signed in for advertising. Gromit becomes increasingly suspicious of Preston, who is the sheep rustler, along with Gwendolene. Log in or register to write something here or to contact authors. This listing has ended. Retrieved on 2 November So begins the first compelling story. Home Groups Talk More Zeitgeist. Park also developed the clay modelled shorts featuring the adventures of Wallace and Gromit , a comical pair of friends: Wallace being a naive English inventor with a love of cheese, and Gromit his best friend, the intelligent but silent dog. A good rule of thumb is that series have a conventional name and are intentional creations , on the part of the author or publisher. Avoid series that cross authors, unless the authors were or became aware of the series identification eg. Wallace is the human of the pair and mostly the leader. Joy Bechtold added it Mar 15, Universal Conquest Wiki. Comic book art illustrator. This wiki All wikis. -
Shaun the Sheep's Creator
PRODUCTION NOTES STUDIOCANAL RELEASE DATES: UK – OCTOBER 18th 2019 SOCIAL MEDIA: Facebook - https://www.facebook.com/shaunthesheep Twitter - https://twitter.com/shaunthesheep Instagram - https://www.instagram.com/shaunthesheep/ YouTube - https://www.youtube.com/user/aardmanshaunthesheep For further information please contact STUDIOCANAL: UK ENQUIRIES [email protected] [email protected] 1 Synopsis Strange lights over the quiet town of Mossingham herald the arrival of a mystery visitor from far across the galaxy… For Shaun the Sheep’s second feature-length movie, the follow-up to 2015’s smash hit SHAUN THE SHEEP MOVIE, A SHAUN THE SHEEP MOVIE: FARMAGEDDON takes the world’s favourite woolly hero and plunges him into an hilarious intergalactic adventure he will need to use all of his cheekiness and heart to work his way out of. When a visitor from beyond the stars – an impish and adorable alien called LU-LA – crash-lands near Mossy Bottom Farm, Shaun soon sees an opportunity for alien-powered fun and adventure, and sets off on a mission to shepherd LU-LA back to her home. Her magical alien powers, irrepressible mischief and galactic sized burps soon have the flock enchanted and Shaun takes his new extra-terrestrial friend on a road-trip to Mossingham Forest to find her lost spaceship. Little do the pair know, though, that they are being pursued at every turn by a mysterious alien- hunting government agency, spearheaded by the formidable Agent Red and her bunch of hapless, hazmat-suited goons. With Agent Red driven by a deep-seated drive to prove the existence of aliens and Bitzer unwittingly dragged into the haphazard chase, can Shaun and the flock avert Farmageddon on Mossy Bottom Farm before it’s too late? 2 Star Power The creative team behind the world’s favourite woolly wonder explain how, in Farmageddon, they’ve boldly gone where no sheep has gone before.. -
9781474410571 Contemporary
CONTEMPORARY HOLLYWOOD ANIMATION 66543_Brown.indd543_Brown.indd i 330/09/200/09/20 66:43:43 PPMM Traditions in American Cinema Series Editors Linda Badley and R. Barton Palmer Titles in the series include: The ‘War on Terror’ and American Film: 9/11 Frames Per Second Terence McSweeney American Postfeminist Cinema: Women, Romance and Contemporary Culture Michele Schreiber In Secrecy’s Shadow: The OSS and CIA in Hollywood Cinema 1941–1979 Simon Willmetts Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema Linda Badley, Claire Perkins and Michele Schreiber (eds) Vampires, Race and Transnational Hollywoods Dale Hudson Who’s in the Money? The Great Depression Musicals and Hollywood’s New Deal Harvey G. Cohen Engaging Dialogue: Cinematic Verbalism in American Independent Cinema Jennifer O’Meara Cold War Film Genres Homer B. Pettey (ed.) The Style of Sleaze: The American Exploitation Film, 1959–1977 Calum Waddell The Franchise Era: Managing Media in the Digital Economy James Fleury, Bryan Hikari Hartzheim, and Stephen Mamber (eds) The Stillness of Solitude: Romanticism and Contemporary American Independent Film Michelle Devereaux The Other Hollywood Renaissance Dominic Lennard, R. Barton Palmer and Murray Pomerance (eds) Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown www.edinburghuniversitypress.com/series/tiac 66543_Brown.indd543_Brown.indd iiii 330/09/200/09/20 66:43:43 PPMM CONTEMPORARY HOLLYWOOD ANIMATION Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown 66543_Brown.indd543_Brown.indd iiiiii 330/09/200/09/20 66:43:43 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. -
Managing Creativity in a Successful Company – Aardman Animations
<CN>Chapter 14:</CN> <CT>‘It’s Our Property and Our Passion’: Managing Creativity in a Successful Company – Aardman Animations <AU>Andrew Spicer <NP>It has become a cultural and commercial necessity for media firms to promote themselves as dynamic and innovative ‘creative companies’ and therefore attractive to potential employees, associated companies or funders. Although the concept of creativity has been extensively discussed, as Philip Schlesinger argued a decade ago in his critique of the ‘doctrine’ of creativity, the central question for critical empirical research is ‘in what form ideas about creativity and innovation become organizationally embedded and to what extent they shape the actual management of creative practice […] how ideas about creativity are actually interpreted in the practice of production’ (2007: 387, original emphasis). A central problem, which Mark Banks argues ‘is the distinctive feature of cultural production’, is the tension between the rational, accumulative and standardising logic of capitalist production and the irrational, unruly, unpredictable and potentially disruptive demands of the creative worker who values her autonomy (2007: 30, original emphasis). Although creativity and commerce are often polarized, in modern media firms they are always ‘intermingled and interfused’ in an unstable and shifting interplay that evolves over time (Negus and Pickering 2004: 46–67). <TEXT>This chapter develops an extended analysis of the management of creative practice in one of the most successful UK film and television companies, Aardman Animations, which has evolved from a hand-to-mouth two-person operation in 1976 to a medium-sized firm with a £22.3 million turnover in 2014 and over 150 employees, a number that rises to more than 600 when two films are being produced simultaneously (Baker 2014). -
Frozen and the Evolution of the Disney Heroine
It’s a Hollywood blockbuster animation that is set to become one of the most successful and beloved family films ever made. And unlike much of Disney’s past output, writes MICHELLE LAW, this film brings positive, progressive messages about gender and difference into the hearts and minds of children everywhere. SISTERS DOIN’ IT FOR THEMSELVES Frozen and the Evolution Screen Education of the Disney Heroine I No. 74 ©ATOM 16 www.screeneducation.com.au NEW & NOTABLE & NEW P MY SISTERS DOIN’ IT FOR THEMSELVES 74 No. I Screen Education 17 ince its US release in November 2013, Disney’s latest an- imated offering,Frozen (Chris Buck & Jennifer Lee), has met with critical acclaim and extraordinary box- office success. It won this year’s Academy Awards for Best Animated Feature Film and Best Original Song (for ‘Let It Go’), and despite being released less than six months Sago, it has already grossed over US$1 billion worldwide, making it the highest-earning Disney-animated film of all time. At the time of printing, the film’s soundtrack has also spent eleven non- consecutive weeks at number one on the US Billboard charts, the most held by a soundtrack since Titanic (James Cameron, 1997). Following the success of Frozen – and Tangled (Nathan Greno & Byron Howard, 2010), Disney’s adaptation of the Rapunzel story – many are antici- pating the dawn of the second Disney animation golden age. The first was what has come to be known as the Disney Renaissance, the period from the late 1980s to the late 1990s when iconic animated films such asThe Little Mermaid (Ron Clements & John Musker, 1989) and Aladdin (Ron Clements & John Musker, 1992) – films that adopted the structure and style of Broadway musicals – saved the company from financial ruin.