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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 -
Inkwell Management London 2017
InkWell Management London 2017 TABLE OF CONTENTS Fiction Peter Blauner .................................................. Proving Ground ........................................................................ 9 Mary Clyde ..................................................... No Morning Sun ....................................................................... 10 Rene Denfeld .................................................. The Child Finder ...................................................................... 11 Owen Egerton ................................................ Hollow ....................................................................................... 12 Katherine Heiny ............................................. Standard Deviation ................................................................... 13 Elin Hilderbrand ............................................ The Identicals ............................................................................ 14 Lia Hills ........................................................... The Crying Place ....................................................................... 15 Eloisa James .................................................... Wilde in Love............................................................................. 16 Wendy James .................................................. The Golden Child ....................................................................... 17 Jarett Kobek .................................................... The Future Won’t Be Long ....................................................... -
Download the Art of Smallfilms: the Work of Oliver Postgate & Peter
THE ART OF SMALLFILMS: THE WORK OF OLIVER POSTGATE & PETER FIRMIN DOWNLOAD FREE BOOK Oliver Postgate, Peter Firmin, Stewart Lee, Jonny Trunk, Richard Embray | 320 pages | 24 Feb 2015 | FOUR CORNERS BOOKS | 9781909829022 | English | London, United Kingdom RIP Oliver Postgate 1925-2008 Retrieved 23 September Surprisingly for the Guardian, they are recommending a man who hates the Top Gear presenters and co wrote a hit show that offended Christians. Amazon Business Service for business customers. Or push it down hill. I could just close my eyes, but fantasizing about punching Stewart Lee is still more fun than sitting in complete, stony silence. No The Art of Smallfilms: The Work of Oliver Postgate & Peter Firmin, if we don't laugh at your material then it's just not good enough. Arnold Schwarzenegger. A fabulous big book for all oliver postgate and peter firmin fans. More Details To gain experience, he accepted a contract as a television director in the BBC Children's Department inon a show entitled Little Lauraanother animated series made on film, written and drawn by V. Gianmarco Milesi. Categories : Television production companies of the United Kingdom British animation studios Mass media companies established in British companies established in Ivor the engine, bagpuss, clangers, pogles, noggin, tottie and pinny are all included. Bruce Lee. He addressed an insular cadre of socially challenged, prematurely middle-aged, pseudo-intellectual men, I thought. Add to Wish List. In short, if you're a bigoted, socialist worker, civil servant, teacher, social worker or NHS employee then Stuart Lee is the comedian for you. -
Odio Internet
www.elboomeran.com ODIO INTERNET 001-256 odio internet.indd 3 20/07/2017 15:50:37 001-256 odio internet.indd 4 20/07/2017 15:50:37 ODIO INTERNET Jarett Kobek Traducción de Juan Manuel Salmerón Arjona 001-256 odio internet.indd 5 24/07/2017 12:45:49 © Jarett Kobek, 2016 © Traducción: Juan Manuel Salmerón Arjona © Los libros del lince, S. L. Gran Via de les Corts Catalanes, 657, entresuelo 08010 Barcelona www.linceediciones.com Título original: I Hate the Internet ISBN: 978-84-15070-92-4 Depósito legal: B-17.566-2017 Primera edición: septiembre de 2017 Impresión: Novoprint Maquetación: gama, sl Imagen de cubierta: © Malpaso Ediciones, S. L. U. Bajo las sanciones establecidas por las leyes, quedan rigurosamente prohibidas, sin la autorización por escrito de los titulares del copyright, la reproducción total o parcial de esta obra por cualquier medio o procedimiento mecánico o electrónico, actual o futuro (incluyendo las fotocopias y la difusión a través de internet), y la distribución de ejemplares de esta edición mediante alquiler o préstamo, salvo en las excepciones que determine la ley. 001-256 odio internet.indd 6 24/07/2017 12:45:49 Advertencia Esta novela contiene capitalismo, cierto tufo masculino, anacronis- mos, amenazas de muerte, violencia, esclavitud, cultura popular pa- sajera, desesperación, burla despiadada contra los ricos y poderosos, amenazas de violación, mera repetición de ideas epicúreas, industria del cómic, muerte del intelectualismo, situación de las mujeres en una sociedad que las odia, populismo, una pésima frase -
UK@Kidscreen Delegation Organised By: Contents
© Bear Hunt Films Ltd 2016 © 2016 Brown Bag Films and Technicolor Entertainment Services France SAS Horrible Science Shane the Chef © Hoho Entertainment Limited. All Rights Reserved. ©Illuminated Films 2017 © Plug-in Media Group Ltd. UK@Kidscreen delegation organised by: Contents Forewords 3-5 KidsCave Entertainment Productions 29 David Prodger 3 Kidzilla Media 30 Greg Childs and Sarah Baynes 4-5 Kindle Entertainment 31 Larkshead Media 32 UK Delegate Companies 6-53 Lupus Films 33 Accorder Music 6 MCC Media 34 Adorable Media 7 Mezzo Kids 35 Animation Associates 8 Myro, On A Mission! 36 Blink Industries 9 Blue-Zoo Productions 10 Ollie’s Edible Adventures/MRM Inc 37 Cloth Cat Animation 11 Plug-in Media 38 DM Consulting 12 Raydar Media 39 Enabling Genius 13 Reality Studios 40 Eye Present 14 Serious Lunch 41 Factory 15 Sixth Sense Media 42 Film London 16 Spider Eye 43 Fourth Wall Creative 17 Studio aka 44 Fudge Animation Studios 18 Studio Liddell 45 Fun Crew 19 The Brothers McLeod 46 Grass Roots Media 20 The Children’s Media Conference 47 History Bombs Ltd 21 The Creative Garden 48 HoHo Rights 22 Three Arrows Media 49 Hopster 23 Thud Media 50 Ideas at Work 24 Tiger Aspect Productions 51 Illuminated Productions 25 Tom Angell Ltd 52 ITV PLC 26 Visionality 53 Jellyfish Pictures 27 Jetpack Distribution 28 Contacts 54 UK@Kidscreen 2017 3 Foreword By David Prodger, Consul General, Miami, Foreign and Commonwealth Office I am delighted to welcome such an impressive UK delegation to Kidscreen which is taking place in Miami for the third time. -
Delegates Brochure 2020
©ALTTitle Animation Address DM Ltd ‘Monty & Co’ © 2019 Pipkins Productions Limited The Snail and the Whale ©Magic Light Pictures Ltd 2019 Bigmouth Elba Ltd Clangers: © 2019 Coolabi Productions Limited, Smallfilms Limited and Peter Firmin © Tiger Aspect Productions Limited 2019 UK@Kidscreen delegation organised by: 2020 Tuesday 7 July 2020, Sheffield UK The CMC International Exchange is the place to meet UK creatives, producers and service providers. • Broadcasters, co-producers, funders and investors from across the world are welcome to this focused market day. • Meetings take place in one venue on one day (7 July 2020). • Writers, IP developers, producers of TV and digital content, service providers, UK kids’ platforms and distributors are all available to take meetings. • Bespoke Meeting Mojo system is used to upload profiles in advance, present project information and request meetings. • Discover innovative, fresh content, build new partnerships and access the best services and expertise. • Attend the world’s largest conference on kids’ and youth content, 7-9 July 2020 in Sheffield www.thechildrensmediaconference.com • For attendance, please contact [email protected] UK@Kidscreen 2020 3 ContentsTitle Forewords 4-5 Kelebeck Media Nicolette Brent KidsCave Studios Sarah Baynes Kids Industries UK Delegate Companies 6-52 Kids Insights 3Megos KidsKnowBest Acamar Films King Banana TV ALT Animation Lightning Sprite Media Anderson Entertainment LoveLove Films Beyond Kids Bigmouth Audio Lupus Films Cloth Cat Animation Magic Light -
Jarett Kobek
JARETT KOBEK I Hate the Internet.indd 3 25/07/2016 13:45 With many special thanks to James Hopkin First published in Great Britain in 2016 by Serpent’s Tail, an imprint of Profile Books Ltd 3 Holford Yard Bevin Way London WC1X 9HD www.serpentstail.com First published in 2016 in the USA by We Heard You Like Books, A Division of U2603 LLC, Los Angeles, CA Copyright © 2016 by Jarett Kobek Illustrations “Time Magazine” & “Some Advertisements, Bro” Courtesy of Sarina Rahman 10 9 8 7 6 5 4 3 2 1 Printed and bound in Great Britain by Clays, St Ives plc The moral right of the author has been asserted. All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the publisher of this book. The characters and events in this book are fictitious. Any similarity to real persons, dead or alive, is coincidental and not intended by the author A CIP record for this book can be obtained from the British Library ISBN 978 1 78125 761 6 eISBN 978 1 78283 314 7 I Hate the Internet.indd 4 25/07/2016 13:45 chapter one trigger warning: Capitalism, the awful stench of men, historical anach- Long after she had committed the only unforgivable sin of the Twenty- ronisms, death threats, violence, human bondage, faddish First Century, someone on the Internet sent Adeline a message. -
Jarett Kobek and Rita Raley Published in ASAP/Journal
1 “50% Laughter, 50% Despair: A Dialogue with Jarett Kobek” Jarett Kobek and Rita Raley Published in ASAP/Journal 5.3 (2020): 469–487 When Jarett Kobek says he writes garbage, he is not to be believed. The self-laceration is ubiquitous—“this is a bad novel,” the narrator of I Hate the Internet (2016) says in so many words, throughout the text—but it should not be understood as false modesty, an anxious plea for affirmation, or as stylistic affectation. Such pronouncements are instead aspirational. “I try to make everything a little shitty,” Kobek explains in an interview, because, the argument goes, truly holding a mirror up to the surreal horror that is post-9/11 America necessitates a self- conscious abandonment of the figure of the romanticized writer, as well as the aesthetic project of literary realism.1 Writers of “good novels,” his narrator protests, have “missed the only important story in American life,” “the world of hidden persuaders, of the developing communications landscape”—in other words, the internet.2 It may be that the new idioms and genres of self-expression and the accelerated temporal rhythms of multichannel communication are ill-suited to the mode of the good novel. But Kobek’s argument is not about literary form or language, so one cannot point to Flarf, uncreative writing, Alt-Lit, or even Emoji Dick as counterexamples. Kobek’s indictment is more fundamental and his outrage more overtly, unreservedly, political. What US writers in particular have missed, his work suggests, is the extent to which life itself has been altered by an industry that has broken its utopian promise; that captures and capitalizes on every utterance; that rewards extremity, cruelty, and, yes, stupidity— in other words, the internet. -
The True Story of Maddie Bright Mary-Rose Maccoll
AUSTRALIA APRIL 2019 The True Story of Maddie Bright Mary-Rose MacColl The bestselling author of In Falling Snow returns with a spellbinding tale of friendship, love and loyalty Description 'This book has it all: an unforgettable first chapter, a fascinating insight into the Prince of Wales' visit to Australia in 1920 through the eyes of two women who worked for him, and a compelling mystery set in contemporary times, against the backdrop of Princess Diana's death. Truly wonderful storytelling.' - Natasha Lester, bestselling author of The Paris Seamstress In 1920, at seventeen years of age, Maddie Bright takes a job as a serving girl on the Royal Tour of Australia by Edward, Prince of Wales. She meets the prince's young staff - his vivacious press secretary Helen Burns, his most loyal man Rupert Waters - and the prince himself - beautiful, boyish, godlike. Maddie might be on the adventure of a lifetime. Sixty-one years later, Maddie Bright is living a small life in a ramshackle house in Paddington, Brisbane. But an unlooked- for letter has arrived in the mail and there's news on the television from Buckingham Palace that makes her shout back at the screen. Maddie Bright's true story may change. In August 1997, London journalist Victoria Byrd is tasked by her editor with the job of finding the elusive M.A. Bright, author of the classic war novel of ill-fated love, Autumn Leaves. It seems Bright has written a second novel, and Victoria has been handed the scoop. Recently engaged to an American film star, Victoria is horrified by her own sudden celebrity and keen to escape to Australia to follow the story. -
Overcoming Internet Disillusionment: on the Principles of Meme Design
“Artificial intelligence is not the answer to organized stupidity” – Johan Sjerpstra. “Please don’t email me unless you’re going to pay me” – Molly Soda. “Late capitalism is like your love life: it looks a lot less bleak through an Instagram filter” – Laurie Penny. “Wonder how many people going on about the necessity of free speech and 01/11 rational debate have blocked and muted trolls?” – Nick Srnicek. “Post-truth is to digital capitalism what pollution is to fossil capitalism – a by- product of operations” – Evgeny Morozov. “I have seen the troll army and it is us” – Erin Gün Sirer. 1. Internet Disillusionment Our disenchantment with the internet is a fact. Geert Lovink Yet again, enlightenment does not bring us liberation but depression. The once fabulous aura that surrounded our beloved apps, blogs, Overcoming and social media has deflated. Swiping, sharing, and liking have begun to feel like soulless Internet routines, empty gestures. We’ve started to unfriend and unfollow, yet we can’t afford to Disillusionment: delete our accounts, as this implies social suicide. If “truth is whatever produces most eyeballs,” as Evgeny Morozov states, a general On the click strike seems like the only option left.1 But since this is not happening, we feel trapped and Principles of console ourselves with memes. ÊÊÊÊÊÊÊÊÊÊThe multi-truth approach of identity politics, according to Slavoj Žižek, has produced n g Meme Design i 2 s a culture of relativism. Chomsky’s process of e D “manufacturing consent” has taken hold e m completely. As Žižek explains in a British TV e 3 M interview, the Big Other has vanished. -
Inkwell Management London 2016
InkWell Management London 2016 TABLE OF CONTENTS Fiction Nathan Besser ................................................. Man in the Corner ..................................................................... 6 Peter Blauner ................................................... Proving Ground ......................................................................... 7 Matthew Carr .................................................. The Devils of Cardona ................................................................ 8 Blake Crouch ................................................... Dark Matter ............................................................................... 9 Jesse Donaldson .............................................. The More They Disappear .......................................................... 10 Katherine Govier ............................................ The Three Sisters Bar and Hotel ................................................ 11 Pepper Harding .............................................. The Heart of Henry Quantum ................................................... 12 Kaui Hart Hemmings .................................... How to Party With an Infant..................................................... 13 Kathryn Heyman ............................................ Storm and Grace ........................................................................ 14 Elin Hilderbrand ............................................ Here’s to Us .............................................................................. -
Overcoming Internet Disillusionment: on the Principles of Meme Design
Overcoming Internet Disillusionment: On the Principles of Meme Design “Artificial intelligence is not the answer to organized stupidity”—Johan Sjerpstra. “Please don’t email me unless you’re going to pay me”—Molly Soda. “Late capitalism is like your love life: it looks a lot less bleak through an Instagram filter”—Laurie Penny. “Wonder how many people going on about the necessity of free speech and rational debate have blocked and muted trolls?”—Nick Srnicek. “Post-truth is to digital capitalism what pollution is to fossil capitalism—a by- product of operations”— Evgeny Morozov. “I have seen the troll army and it is us”— Erin Gün Sirer. A meme featuring Jean Baudrillard posted at loltheorists.livejournal.com. 1. Internet Disillusionment Our disenchantment with the internet is a fact. Yet again, enlightenment does not bring us liberation but depression. The once fabulous aura that surrounded our beloved apps, blogs, and social media has deflated. Swiping, sharing, and liking have begun to feel like soulless routines, empty gestures. We’ve started to unfriend and unfollow, yet we can’t afford to delete our accounts, as this implies social suicide. If “truth is whatever produces most eyeballs,” as Evgeny Morozov states, a general click strike seems like the only option left.1 But since this is not happening, we feel trapped and console ourselves with memes. The multi-truth approach of identity politics, according to Slavoj Žižek, has produced a culture of relativism.2 Chomsky’s process of “manufacturing consent” has taken hold completely. As Žižek explains in a British TV interview, the Big Other has vanished.3 There is no BBC World Service anymore, the moderate radio voice that once provided us with balanced opinions and reliable information.