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Final Website Delegate List 2017
Delegate List Updated 27th August 2017 First Name Surname Company Lucy Acfield Guinness World Records Sara Acworth Zeamu Music Patrick Adam The Eggleys Lindsey Adams Daily Madness Productions Rick Adams Rick Adams Productions Folake Adigun Nickelodeon Ivan Agenjo Peekaboo Animation Metsamarja Aittokoski Sun In the Eye Productions Lisa Akhurst DNA Creative Ltd waed al ghabra Sheffield Hallam University Madawi Alahmad University of Sheffield Margret Albers Association for the Promotion of German Milly Ali Timeline Television Shazia Ali Mint Research Ltd Foz Allan Bryncoed Productions Ltd Jo Allen CBBC Ollie Alsop Serious Lunch/Eye Present Vanessa Amberleigh CBeebies Val Ames Kindle Entertainment Xiaomei An The University of Sheffiled Steven Andrew Zodiak Kids Nicola Andrews Keshet International UK Ltd Chris Andrews CA Dev Valentina Andries University of Edinburgh Tom Angell Tom Angell Ltd Laura Annis Blue Zoo Productions Laverne Antrobus Tavistock and Portman NHS Trust Rhodri ap Dyfrig S4C Will Appiah Digital Shoguns Thomas Archibald BT Ben Armstrong BBC Finn Arnesen Hasbro Studios Helen Arntsen Blue Zoo Keith Arrowsmith The Children's Media Conference Nihal Arthanayake BBC Abhi Arya Sandbox Corrina Askin Corrina Askin Films Leigh Aspin BBC Sarah Aspinall Virgin Media Martin Athanasiou I'm Hungry Studios Isabella Atkin Volunteer Tessa Atkins Small Fry Animation Lucy Atkinson BBC Jonathan Attenborough Lost My Name Ros Attille BBC Ami Aubrey The Children's Media Conference Jake Aubrey-Bentley Freelance Lauren Auty Finger Industries Tristan -
A Hidden Culture Anne Wood on How Art Helps Young Children Develop
Perspectives on the value of art and culture Children and the Arts: A Hidden Culture Anne Wood on how art helps young children develop READ ON Anne Wood Back Next 02 Anne Wood is one of the most influential figures in children’s television. Born in Spennymoor, County Durham, she grew up in the mining community of Tudhoe Colliery then began a career as a secondary school teacher. She was a leading voice for children’s literature before launching a career in broadcasting. In 1984, she formed Ragdoll Productions, known for such television series as Rosie & Jim, Tots TV, Brum, In the Night Garden, Twirlywoos – and Teletubbies. She is the founder of The Ragdoll Foundation (www.ragdollfoundation.org.uk), which aims to provide a space for alternative thinking, voices and practices, to seek new creative solutions and partners, and to collaborate and share knowledge. It is currently leading the Save Kids’ Content UK campaign (www.savekidscontent.org.uk), which has the particular objective of safeguarding the production of UK- originated television for children. As a cultural notion, childhood emerged in western society somewhere around the 1850s and lasted until somewhere around the 1950s when the cult of the teenager first made itself felt in the USA, and spread around the world. Now, in the 21st century, we hear children are ‘growing up too fast’ or that ‘childhood is lost’. It is not that children are biologically changing. Although many may be taller, more robust and have greater life expectancy than previous generations, essentially children are no different. They have the same need to explore life and navigate it successfully, which has always been central to humanity. -
Independent Television Producers in England
Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed. -
THE CHILDREN's MEDIA YEARBOOK 20 17 ••• Edit E D B Y Te
The Children’s Media Yearbook 2017 ••• EditEd by tErri LANGAN & frANcEs tAffiNdEr 8 The Children’s Media Yearbook is a publication of The Children’s Media Foundation Director, Greg Childs Administrator, Jacqui Wells The Children’s Media Foundation P.O. Box 56614 London W13 0XS [email protected] First published 2017 © Terri Langan & Frances Taffinder for editorial material and selection © Individual authors and contributors for their contributions All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of The Children’s Media Foundation, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. You must not circulate this book in any other binding or cover. ISBN 978-0-9575-5188-6 (paperback) ISBN 978-0-9575518-9-3 (digital version) Book design by Jack Noel Welcome to the 7 2017 Yearbook research Greg Childs can reading improve 38 children’s self esteem? editor’s introduction 9 Dr Barbie Clarke and Alison David Terri Langan the realitY of 41 virtual for kids current Alison Norrington can You groW an open 45 affairs and mind through plaY? industrY neWs Rebecca Atkinson children’s media 11 rethinking 47 foundation revieW toddlers and tv Anna Home OBE Cary Bazalgette concerns about kids and fake neWs 51 media 14 Dr Becky Parry Anne Longfield OBE coming of age online: 54 animation uk 17 the case for Youth-led Helen Brunsdon and Kate O’Connor digital -
Science Fictional the Aesthetics of Science Fiction Beyond the Limits of Genre
Science Fictional The Aesthetics of Science Fiction Beyond the Limits of Genre Andrew Frost University of NSW | College of Fine Arts PhD Media Arts 2013 4 PLEASE TYPE Tl<E UNIVERSITY OF NEW SOUTH WALES Tht:tltiDittorUdon Sht•t Surname or Fenily name: Frost FIRI neme; Andrew OCher namels: Abbr&Yia~lon fof" dcgrco as given in the Unlverslty caltn<S:ar. PhD tCOde: 1289) Sd'IOOI; Seh.ool Of Media Arts Faculty; Coll999 of A ne Am Title: Science Fletfonar.: The AestheUes or SF Beyond the Limit:t of Gcnt'O. Abstract 350 words maximum: (PLEASE TYPE) ScMtnce Flcdonal: The Anthetics of SF Beyond the Umlts of Genre proposes that oonte~my eufture 1$ * $pallal e)Cl>ertence dom1nS'ed by an aesane(IC or science liction and its qua,;.genefic form, the ·$dence ficdonal', The study explores the connective lines between cultural objects suet! as film, video art. painting, illustration, advertising, music, and children's television in a variety ofmediums and media coupled with research that conflates aspects of ctitical theory, art history a nd cuttural studies into a unique d iscourse. The study argues thai three types of C\lltural e ffeets reverberation. densi'ly and resonanoe- affect cultural space altering ood changing the 1ntel'l)totation and influeooe of a cuUural object Through an account of the nature of the science fictional, this thesis argues that science fiction as wo uncJersland It, a.nd how 11 has beon oooventionally concefved, is in fact the counter of its apparent function within wider culture. While terms such as ·genre~ and ·maln-stream• suggest a binary of oentre and periphery, this lh-&&is demonstrates that the quasi-generic is in fact the dominant partner in the process of cultural production, Ocelamlon ,.~ lo disposition or projoct thnlsJdtuen.tlon I htrOby grltlt t<> I~ Ul'll\IOI'IiiY Of Now SOUIJ'I WaltS or i&& agents the rlg:tlllo ard'llve anct to INike available my ttwrsl9 or di$sertabon '" whole or in 1»Jt il'lllle \Jtlivetsay lbrsrles., at IOtmS Of tnedb, rtOW or hero <~~Ot kncwn, 5tAijod:.lo lho Jl«Mdonll ol lho Co9yrlghlt Act 1968. -
Platform Delegate List
First Name Surname Job Title Company Email Suleeko Abdi Student [email protected] Frances Abebreseh Communications Manager Netflix Lucy Acfield Head of Brand & Product Marketing Guinness World Records James Acken Founder, Freelancer Acken Studios lindsey@dailymadnessproducti Lindsey Adams Producer Daily Madness ons.com Megan Adams Look Mentor Look UK ToyLikeMe Seleena Addai Illustrator / Character Designer The Secret Story Draw [email protected] Animation Production Liaison [email protected] Abigail Addison Executive ScreenSkills om Aiden Adkin Creative Director Harbour Bay [email protected] Selorm Adonu Director XVI Films [email protected] Ivan Agenjo Executive Producer Peekaboo Animation [email protected] Jayne Aguire Walsh Entry Level Creative Freelance [email protected] Andrew Aidman Producer Andrew Aidman [email protected] Sun In Eye Productions, Aittokoski Metsamarja Aittokoski Screenwriter, Director, Producer Experience [email protected] Sonja Ajdin Research Manager Viacom Yinka Akano CRBA Exec BBC [email protected] Production and Development Francesca Alberigi Coordinator Nickelodeon International Aoife Alder Research Executive ITV Candice Alessandra Student Student Laura Alexander Video Producer / Editor Acamar Films Kristopher Alexander Professor of Video Games The Digital Citadel [email protected] Lisa Ali Freelance Freelance Shakila Ali Content Impact BBC Co-Founder and Chief Creative Caroline Allams Officer Natterhub [email protected] Bill Allard -
Comes to America
US$7.95 in the U.S. CA$8.95 in Canada 2 US$9.95 outside of Canada & the U.S. January 2011 ® Watch it on Comes to in 2011 America 40050265 PRINTED40050265 IN USPS CANADA Approved Polywrap AFSM 100 NUMBER NUMBER CANADA POST AGREEMENT POST CANADA KS.18273.Saban.indd 2 15/12/10 4:34 PM KS.18273.Saban.indd 3 15/12/10 4:35 PM Unorthodox ideas. Assured returns kS.18576.KOCCA.indd 2 15/12/10 4:35 PM kS.18576.KOCCA.indd 3 15/12/10 4:36 PM 42 Choose your own 20 adventure—with stickers Technicolor sets sights on original productions 26 Panini US contracts a bit of Bieber fever 29 Fashion-savvy site lets girls january 2011 design real-world wear Special Report Highlights from this issue... 15 Up Front 27 Kid Insight 31 Self-starters.com Toys ‘R’ Us, Fox ramp Nick looks at how kids A look at the gatekeeper-free world of up for Rio retail exclusive choose video games webtoon creation—KidScreen’s exclusive excerpt from David B. Levy’s latest book, Directing Animation. 19 TV 28 Interactive Phase 4 fuels growth in BinWeevils brings DVD biz with kids content social networking to VOD 24 Consumer Products 42 iSpy Kung Zhu line lends It’s an iPhone, no it’s a boy cred to Zhu Zhu Pets plush! Nah, it’s a Woogie! back of the book 38 Industry Events 40 People on the Move Cover Our editorial cover features an image of Blu, Jewel and the gang from Fox’s upcoming animated 3-D film Rio, while international and event copies sport an ad for eOne Family’s Peppa Pig. -
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. -
INNOVATIVE@APIIT About APIIT
APU Foundation Programme UK Degree Programmes Degrees awarded by Staffordshire University (UK) COMPUTING & Animation & DESIGN INNOVATION & BUSINESS COMPUTING VisuaL Effects BRAND MANAGEMENT BSc (Hons) Business Information Technology BA (Hons) Animation BA (Hons) Product Design BSc (Hons) Business Computing BA (Hons) VFX: Visual Effects and BA (Hons) Transport Design BSc (Hons) Business Computing with a Concept Design BA (Hons) Advertising and specialism in E-Commerce BSc (Hons) Digital Film and 3D Brand Management BSc (Hons) Cyber Security Animation Technology BSc (Hons) Forensic Computing BSc (Hons) CGI and Digital Effects % 65% www.apiit.edu.my www.apiit.edu.my | www.staffs.ac.uk www.apiit.edu.my INNOVATIVE@APIIT About APIIT APIIT will introduce you to a world of infinite possibilities. We will equip you with all the skills necessary to make you employable, enterprising & entrepreneurial. • Established in 1993 • Part of APIIT Education Group • Purpose-built campus in Technology Park Malaysia • 20 years of partnership with Staffordshire University (UK) • Students from all over the world • Modern facilities and well qualified staff • Superb employability track record To find out more visit www.apiit.edu.my 2 APIIT t: 03 8996 1000 e: [email protected] • DESIGN INNOVATION > • ANIMATION & VISUAL EFFECTS - VFX • ADVERTISING & BRAND MANAGEMENT • FILM & MEDIA • INTERNATIONAL RELATIONS • ENVIRONMENT & SUSTAINABILITY • JOURNALISM The Asia Pacific Institute of Information Technology offers a range of programmes which are designed to produce highly -
The Thin Line Between Market and Quality
RESEARCH 22/2009/E 53 Jeanette Steemers The thin line between market and quality Balancing quality and commerce in preschool television1 This article raises the question builder, Thomas and friends, Barney are of course not new. Disney recog about the compatibility of qual- and friends), Entertainment Rights nised as early as the 1930s that more ity programming with commercial (Postman Pat, Rupert Bear)2, Cho money could be made with all the considerations linked to licensed rion (Noddy, Mister Men, Olivia) and products connected with content rath merchandising, and whether shows the BBC’s commercial subsidiary, er than the content itself (see Gomery, that are less well-suited to licensed BBC Worldwide, which represents 1994). Even BBC programmes like merchandise can actually survive in a number of independently produced Muffin the mule in the 1940s proved an economic climate where broad- properties, including those produced very profitable for its creators (but cast license fees do not cover the by Ragdoll Productions (Teletubbies, not the BBC) (Oswell, 2002: p. 59) costs of production. In the night garden). Rather than sim because children wanted to have the ply functioning as programmemak characters they saw on screen. The ers, these companies have established difference then was that consumer t the root of children’s tele businesses based on the ownership products were usually considered as vision there is often a very and exploitation of all rights in endur an additional source of income af basic conflict of interest. As ing characterbased preschool prop ter a programme had been made and A erties across territories and different screened. -
Madelines Christmas Free
FREE MADELINES CHRISTMAS PDF Ludwig Bemelmans | 32 pages | 25 Sep 2000 | Penguin Books Ltd | 9780140566505 | English | London, United Kingdom 5 Classic French Christmas Cookie Recipes Goodreads helps you keep track of books you want to read. Want to Read Madelines Christmas. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks Madelines Christmas telling us about the problem. Return to Book Page. Preview — Madeline's Christmas by Ludwig Bemelmans. Madeline's Christmas Madeline by Ludwig Bemelmans. Children can celebrate a Parisian Christmas with Madeline, Pepito and all their friends. Get A Copy. Hardcover32 pages. Published by The Viking Press first published More Details Original Title. Madelines Christmas Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions Madelines Christmas Madeline's Christmasplease sign up. This question contains spoilers… view spoiler [ive loved madeline ever since i Madelines Christmas school to this day??? See 1 question about Madeline's Christmas…. Lists with This Book. Community Madelines Christmas. Showing Average rating 4. Rating details. More filters. Sort order. Start your review of Madeline's Christmas. Dec Madelines Christmas, Hilary rated it liked it Recommends it for: Only readers who are big fans of Madeline. Shelves: male-author-or- illustratorchristmas-books. Madelines Christmas love Madeline books but this one wasn't as good as the others. The rhyming seemed to struggle and used words that didn't quite work. The storyline didn't really work either and wasn't very christmassy. -
The Class of 2018 CAREERSTV Fair
January 2018 The class of 2018 CAREERSTV Fair 6 February 10:00am-4:00pm Business Design Centre, London N1 0QH Journal of The Royal Television Society January 2018 l Volume 55/1 From the CEO Welcome to 2018. In With luck, some of these industry Hector, who recalls a very special this issue of Television leaders will be joining RTS events in evening in Bristol when a certain we have assembled the coming months, so we can hear 91-year-old natural history presenter a line-up of features from them directly. was, not for the first time, the centre that reflects the new Following the excesses – and per- of attention. Did anyone mention TV landscape and haps stresses – of Christmas, our Janu- Blue Planet II? its stellar class of 2018. ary edition contains what I hope read- Our industry map looks like it’s Pictured on this month’s cover are ers will agree is some much-needed being redrawn dramatically. Disney’s some of the sector’s leaders who are light relief. Don’t miss Kenton Allen’s historic $52.4bn bid for 21st Century certain to be making a big splash in pulsating review of 2017. I guarantee Fox is among a number of moves the year ahead – Tim Davie, Ian Katz, that it’s laugh-out-loud funny. responding to the need for scale. We Jay Hunt, Carolyn McCall, Alex Mahon, Also bringing a light touch to this will be looking at this trend in the Simon Pitts and Fran Unsworth. month’s Television is Stefan Stern’s coming months.