Annual Report 2O1o–2O11
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting -
(TMIIIP) Paid Projects Through August 31, 2020 Report Created 9/29/2020
Texas Moving Image Industry Incentive Program (TMIIIP) Paid Projects through August 31, 2020 Report Created 9/29/2020 Company Project Classification Grant Amount In-State Spending Date Paid Texas Jobs Electronic Arts Inc. SWTOR 24 Video Game $ 212,241.78 $ 2,122,417.76 8/19/2020 26 Tasmanian Devil LLC Tasmanian Devil Feature Film $ 19,507.74 $ 260,103.23 8/18/2020 61 Tool of North America LLC Dick's Sporting Goods - DecembeCommercial $ 25,660.00 $ 342,133.35 8/11/2020 53 Powerhouse Animation Studios, In Seis Manos (S01) Television $ 155,480.72 $ 1,554,807.21 8/10/2020 45 FlipNMove Productions Inc. Texas Flip N Move Season 7 Reality Television $ 603,570.00 $ 4,828,560.00 8/6/2020 519 FlipNMove Productions Inc. Texas Flip N Move Season 8 (13 E Reality Television $ 305,447.00 $ 2,443,576.00 8/6/2020 293 Nametag Films Dallas County Community CollegeCommercial $ 14,800.28 $ 296,005.60 8/4/2020 92 The Lost Husband, LLC The Lost Husband Feature Film $ 252,067.71 $ 2,016,541.67 8/3/2020 325 Armature Studio LLC Scramble Video Game $ 33,603.20 $ 672,063.91 8/3/2020 19 Daisy Cutter, LLC Hobby Lobby Christmas 2019 Commercial $ 10,229.82 $ 136,397.63 7/31/2020 31 TVM Productions, Inc. Queen Of The South - Season 2 Television $ 4,059,348.19 $ 18,041,547.51 5/1/2020 1353 Boss Fight Entertainment, Inc Zombie Boss Video Game $ 268,650.81 $ 2,149,206.51 4/30/2020 17 FlipNMove Productions Inc. -
Copyright 2013 Shawn Patrick Gilmore
Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way. -
Making Magic with Murray an Interview with the Illustrious Illustrator, Murray Tinkelman
designer The Official Publication of the University & College Designers Association / Vol. 32, No. 2 Making Magic with Murray An Interview with the Illustrious Illustrator, Murray Tinkelman 1 INSPIRATION Recently at New Jersey City University (NJCU) we were afforded the rare privilege of hosting a remarkable illustration show called The Artist and the Baseball Card curated by Illustration legend Murray Tinkelman. NJCU illustration faculty member, and illustrator of the baseball card Catfish Hunter, Dennis Dittrich introduced his long time friend, professor, and mentor by saying: “When someone reaches a point—and very few people do—but when someone reaches a point in their field where they are absolutely peerless—where whatever that person does cannot be duplicated, imitated, or replicated—they can go by one name. Prince. MacGyver. Santa. in my everyday work. I am even comfortable in the Above: Murray role of teaching those very same principles. I have Tinkelman with NJCU And in illustration circles it’s Murray. Go to any my degree in studio art with an emphasis in graphic illustration faculty illustration department, in just about any art school design, and therefore was taught an overview of member Dennis or university in the country, and you say: “Did visual arts with a broad brush stroke, and although Dittrich and Ella Rue. you work with Murray?” Nobody says: “Murray I can draw, and I can paint, I honed my skills in the who?”. (Nobody says: “Santa who?”) It’s just that area of design. I am fully confident in my ability Below: Mac Baldrige, everybody knows who he is. -
Graphic Novels for Children and Teens
J/YA Graphic Novel Titles The 9/11 Report: A Graphic Adaptation Sid Jacobson Hill & Wang Gr. 9+ Age of Bronze, Volume 1: A Thousand Ships Eric Shanower Image Comics Gr. 9+ The Amazing “True” Story of a Teenage Single Mom Katherine Arnoldi Hyperion Gr. 9+ American Born Chinese Gene Yang First Second Gr. 7+ American Splendor Harvey Pekar Vertigo Gr. 10+ Amy Unbounded: Belondweg Blossoming Rachel Hartman Pug House Press Gr. 3+ The Arrival Shaun Tan A.A. Levine Gr. 6+ Astonishing X-Men Joss Whedon Marvel Gr. 9+ Astro City: Life in the Big City Kurt Busiek DC Comics Gr. 10+ Babymouse Holm, Jennifer Random House Children’s Gr. 1-5 Baby-Sitter’s Club Graphix (nos. 1-4) Ann M. Martin & Raina Telgemeier Scholastic Gr. 3-7 Barefoot Gen, Volume 1: A Cartoon Story of Hiroshima Keiji Nakazawa Last Gasp Gr. 9+ Beowulf (graphic adaptation of epic poem) Gareth Hinds Candlewick Press Gr. 7+ Berlin: City of Stones Berlin: City of Smoke Jason Lutes Drawn & Quarterly Gr. 9+ Blankets Craig Thompson Top Shelf Gr. 10+ Bluesman (vols. 1, 2, & 3) Rob Vollmar NBM Publishing Gr. 10+ Bone Jeff Smith Cartoon Books Gr. 3+ Breaking Up: a Fashion High graphic novel Aimee Friedman Graphix Gr. 5+ Buffy the Vampire Slayer (Season 8) Joss Whedon Dark Horse Gr. 7+ Castle Waiting Linda Medley Fantagraphics Gr. 5+ Chiggers Hope Larson Aladdin Mix Gr. 5-9 Cirque du Freak: the Manga Darren Shan Yen Press Gr. 7+ City of Light, City of Dark: A Comic Book Novel Avi Orchard Books Gr. -
El Cine De Animación Estadounidense
El cine de animación estadounidense Jaume Duran Director de la colección: Lluís Pastor Diseño de la colección: Editorial UOC Diseño del libro y de la cubierta: Natàlia Serrano Primera edición en lengua castellana: marzo 2016 Primera edición en formato digital: marzo 2016 © Jaume Duran, del texto © Editorial UOC (Oberta UOC Publishing, SL) de esta edición, 2016 Rambla del Poblenou, 156, 08018 Barcelona http://www.editorialuoc.com Realización editorial: Oberta UOC Publishing, SL ISBN: 978-84-9116-131-8 Ninguna parte de esta publicación, incluido el diseño general y la cubierta, puede ser copiada, reproducida, almacenada o transmitida de ninguna forma, ni por ningún medio, sea éste eléctrico, químico, mecánico, óptico, grabación, fotocopia, o cualquier otro, sin la previa autorización escrita de los titulares del copyright. Autor Jaume Duran Profesor de Análisis y Crítica de Films y de Narrativa Audiovi- sual en la Universitat de Barcelona y profesor de Historia del cine de Animación en la Escuela Superior de Cine y Audiovi- suales de Cataluña. QUÉ QUIERO SABER Lectora, lector, este libro le interesará si usted quiere saber: • Cómo fueron los orígenes del cine de animación en los Estados Unidos. • Cuáles fueron los principales pioneros. • Cómo se desarrollaron los dibujos animados. • Cuáles han sido los principales estudios, autores y obras de este tipo de cine. • Qué otras propuestas de animación se han llevado a cabo en los Estados Unidos. • Qué relación ha habido entre el cine de animación y la tira cómica o los cuentos populares. Índice -
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. -
7 1Stephen A
SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Bachelor of Fine Arts in Film Production New York University 1985 Submitted to the Media Arts & Sciences Section, School of Architecture & Planning in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE at the Massachusetts Institute of Technology September, 1990 c Massachusetts Institute of Technology, 1990 All Rights Reserved I Signature of Author Media Arts & Sciences Section Certified by '4 A Professor Glorianna Davenport Assistant Professor of Media Technology, MIT Media Laboratory Thesis Supervisor Accepted by I~ I ~ - -- 7 1Stephen A. Benton Chairperso,'h t fCommittee on Graduate Students OCT 0 4 1990 LIBRARIES iznteh Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 MITLibraries Email: [email protected] Document Services http://libraries.mit.edu/docs DISCLAIMER OF QUALITY Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. If you are dissatisfied with this product and find it unusable, please contact Document Services as soon as possible. Thank you. Best copy available. SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Submitted to the Media Arts & Sciences Section, School of Architecture and Planning on August 10, 1990 in partial fulfillment of the requirements for the degree of Master of Science ABSTRACT Film Production has always been a complex and costly endeavour. Since the early days of cinema, methodologies for planning and tracking production information have been constantly evolving, yet no single system exists that integrates the many forms of production data. -
"A Note from the Artists' Fellowship" American
QUICK SKETCHES The founders of the Artists’ Fellowship. A Note From the Artists’ Fellowship Most artists know what organiza- disciplines, including law, medicine, tions to apply to when seeking business, and finance. The common grants to aid in the creation of denominator for board members is a body of work. However, many their passion for art. Many are also are less familiar with resources members of art organizations and that provide aid to an artist in the through their networks they spread case of an emergency, such as the the word about the Fellowship’s Artists’ Fellowship, Inc., which has mission. Each month a meeting is been in existence since 1859. held at the Salmagundi Club, in New The Fellowship was started by a York City, and cases from all over the group of compassionate artists and country are reviewed. Applications business leaders who recognized for aid are reviewed by the Relief the need to assist professional fine and Assistance Committee, and artists and their families in times then presented to the full board with of emergency or financial hardship. recommendations. After discussing The organization’s success can be each case, the board decides who will attributed to the all-volunteer board receive assistance and how much and the devoted advisors, several will be allocated at one time—or, in of whom have served for decades. extreme cases, on a monthly basis. Half of the board is composed of Unfortunately, there are always far artists, as mandated by the Fellow- more applicants than available funds. ship’s bylaws. The remainder of The board considers each case care- the trustees come from an array of fully, and each applicant’s privacy is 10 American Artist www.ArtistDaily.com AAFEB2011QuickSketch.indd 10 1/14/11 2:00:47 PM QUICK SKETCHES (Left to right) Artists’ Fellowship president Babette Bloch, Artists’ Fellowship honorees Robert Kipniss and Milton Esterow, and Annette Blaugrund at the 2010 Annual Awards Dinner in New York City. -
B a U M a N R a R E B O O
B A U M A N R A R E B O O K S Holiday 2020 BaumanRareBooks.com 1-800-97-BAUMAN (1-800-972-2862) or 212-751-0011 [email protected] New York 535 Madison Avenue (Between 54th & 55th Streets) New York, NY 10022 800-972-2862 or 212-751-0011 Mon-Fri: 10am to 5pm and by appointment Las Vegas Grand Canal Shoppes The Venetian | The Palazzo 3327 Las Vegas Blvd., South, Suite 2856 Las Vegas, NV 89109 888-982-2862 or 702-948-1617 Mon-Sat: 11am to 7pm; Sun: 12pm to 6pm Philadelphia 1608 Walnut Street Philadelphia, PA 19103 215-546-6466 | (fax) 215-546-9064 by appointment ALL BOOKS ARE SHIPPED ON APPROVAL AND ARE FULLY GUARANTEED. Any items may be returned within ten days for any reason (please notify us before returning). All reimbursements are limited to original purchase price. We accept all major credit cards. Shipping and insurance charges are additional. Packages will be shipped by UPS or Federal Express unless another carrier is requested. Next-day or second-day air service is available upon request. WWW.BAUMANRAREBOOKS.COM TWITTER.COM/BAUMANRAREBOOKS FACEBOOK.COM/BAUMANRAREBOOKS Cover image from Lithographs of Marc Chagall. On this page: Item no. 35. Table of Contents 4 10 37 48 52 61 68 74 Featured Items 4 History 61 Literature 10 Science & Medicine 68 Art & Illustration 37 Holiday Gifts 74 Religion 48 Index 99 Americana 52 F Featured Items “In The Future Days, Which We Seek To Make e Secure, We Look Forward To A World Founded Upon Four Essential Human Freedoms…” a t 1. -
Norman Rockwell from the Collections of George Lucas and Steven Spielberg
Smithsonian American Art Museum TEACHER’S GUIDE from the collections of GEORGE LUCAS and STEVEN SPIELBERG 1 ABOUT THIS RESOURCE PLANNING YOUR TRIP TO THE MUSEUM This teacher’s guide was developed to accompany the exhibition Telling The Smithsonian American Art Museum is located at 8th and G Streets, NW, Stories: Norman Rockwell from the Collections of George Lucas and above the Gallery Place Metro stop and near the Verizon Center. The museum Steven Spielberg, on view at the Smithsonian American Art Museum in is open from 11:30 a.m. to 7:00 p.m. Admission is free. Washington, D.C., from July 2, 2010 through January 2, 2011. The show Visit the exhibition online at http://AmericanArt.si.edu/rockwell explores the connections between Norman Rockwell’s iconic images of American life and the movies. Two of America’s best-known modern GUIDED SCHOOL TOURS filmmakers—George Lucas and Steven Spielberg—recognized a kindred Tours of the exhibition with American Art Museum docents are available spirit in Rockwell and formed in-depth collections of his work. Tuesday through Friday from 10:00 a.m. to 11:30 a.m., September through Rockwell was a masterful storyteller who could distill a narrative into December. To schedule a tour contact the tour scheduler at (202) 633-8550 a single moment. His images contain characters, settings, and situations that or [email protected]. viewers recognize immediately. However, he devised his compositional The docent will contact you in advance of your visit. Please let the details in a painstaking process. Rockwell selected locations, lit sets, chose docent know if you would like to use materials from this guide or any you props and costumes, and directed his models in much the same way that design yourself during the visit. -
News Flashes from Our Members
5th ANNIVERSARY ISSUE PITTSBURGH SOCIETY OF ILLUSTRATORS NEWS AND EVENTS www.pittsburghillustrators.org April, 2009 My Spot by Anni Matsick News Flashes From Our Members The picture Five Years On adventure!) Mark got a few journal cov- is bright as ers and feature articles for which Cathy Here’s an update on the busy lives of PSInside wrote his bios. They both got to work on Mark and Cathy Klingler since Mark celebrates the massive renovation of Dinosaur Hall appeared on the front page of PSInside’s its five-year at the museum - Mark doing art, Cathy first online issue, April 2004. anniversary working on the interactives. online! Five years ago, life for the Klinglers High-profile work together on internation- as a creative duo was interesting We’re end- ally recognized projects. What could enough. They had just come off of the ing one be more fun for a creative couple? Any incredibly fun year that was Pittsburgh’s successful exhibition and are well into of you who have heard of Olivia have DinoMite Days, in which they got to paint plans for the next big one for 2009. probably already figured out the answer two dinosaurs. What could be next? We’ve established a mentor program, to that question. The best joint project Well, Mark got invited to put together a redesigned our website and gained that the Klinglers have ever embarked solo show for the scientific powerhouse five new members. Details on all are in upon. The best artistic subject Mark will AAAS, also known as the American this issue.