Teaching the Film Subject Areas
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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 -
Adventures in Animation Go Behind the Scenes of Your Favorite Pixar Films in This Interactive Exhibition!
JUNE – JULY 2015 Sparks!A Newsletter for Members and Friends of the Museum of Science Adventures in Animation Go behind the scenes of your favorite Pixar films in this interactive exhibition! ovie theater audiences became witnesses to a filmmaking revolution Min late 1995 when Pixar Animation Studios released Toy Story. The movie was the first of its kind—a feature-length computer-animated production, and critics as well as the general public were enthralled to see something so fresh and groundbreaking on the big screen. Nearly 20 years and 14 highly successful films later, Pixar continues to impress and delight. While people throughout the world enjoy these films, the science and technology behind them remains a mystery for many. This will change in late June when the Museum hosts the world premiere of The Science Behind Pixar, our newest temporary exhibition. “The interactive exhibition gives people the opportunity to learn about the jobs our filmmakers do every day and tackle similar problems,” says Ed Catmull, president of Pixar and Disney Animation Studios. “It’s a great demonstration of how much creativity and imagination is involved in the science, technology, engineering, art, and math thinking essential to our filmmaking process.” Inside This Issue What It Takes to be a 3-D Animator! • Making Movie Magic The Science Behind Pixar takes you through the production pipeline as you see how your favorite characters like Buzz • Let’s Celebrate July 4th! Lightyear and WALL•E as well as the worlds they live in are • Big Fun on the Big Screen Continued on next page Continued from cover created. -
Joy Harjo Reads from 'Crazy Brave' at the Central Library
Joy Harjo Reads From 'Crazy Brave' at the Central Library [0:00:05] Podcast Announcer: Welcome to the Seattle Public Library's podcasts of author readings and Library events; a series of readings, performances, lectures and discussions. Library podcasts are brought to you by the Seattle Public Library and Foundation. To learn more about our programs and podcasts visit our website at www.spl.org. To learn how you can help the Library Foundation support the Seattle Public Library go to foundation.spl.org. [0:00:40] Marion Scichilone: Thank you for joining us for an evening with Joy Harjo who is here with her new book Crazy Brave. Thank you to Elliot Bay Book Company for inviting us to co-present this event, to the Seattle Times for generous promotional support for library programs. We thank our authors series sponsor Gary Kunis. Now, I'm going to turn the podium over to Karen Maeda Allman from Elliott Bay Book Company to introduce our special guest. Thank you. [0:01:22] Karen Maeda Allman: Thanks Marion. And thank you all for coming this evening. I know this is one of the readings I've most look forward to this summer. And as I know many of you and I know that many of you have been reading Joy Harjo's poetry for many many years. And, so is exciting to finally, not only get to hear her read, but also to hear her play her music. Joy Harjo is of Muscogee Creek and also a Cherokee descent. And she is a graduate of the Iowa Writers Workshop at the University of Iowa. -
MUSIC and MOVEMENT in PIXAR: the TSU's AS an ANALYTICAL RESOURCE
Revis ta de Comunicación Vivat Academia ISSN: 1575-2844 Septiembre 2016 Año XIX Nº 136 pp 82-94 DOI: https://doi.org/10.15178/va.2016.136.82-94 INVESTIGACIÓN/RESEARCH Recibido: 18/12/2015 --- Aceptado: 27/05/2016 --- Publicado: 15/09/2016 Recibido: 18/12/2015 --- Aceptado: 27/05/2016 --- Publicado: 15/09/2016 MUSIC AND MOVEMENT IN PIXAR: THE TSU’s AS AN ANALYTICAL RESOURCE Diego Calderón Garrido1: University of Barcelona. Spain [email protected] Josep Gustems Carncier: University of Barcelona. Spain [email protected] Jaume Duran Castells: University of Barcelona. Spain [email protected] ABSTRACT The music for the animation cinema is closely linked with the characters’ movement and the narrative action. This paper presents the Temporary Semiotic Units (TSU’s) proposed by Delalande, as a multimodal tool for the music analysis of the actions in cartoons, following the tradition of the Mickey Mousing. For this, a profile with the applicability of the nineteen TSU’s was applied to the fourteen Pixar movies produced between 1995-2013. The results allow us to state the convenience of the use of the TSU’s for the music comprehension in these films, especially in regard to the subject matter and the characterization of the characters and as a support to the visual narrative of this genre. KEY WORDS Animation cinema, Music – Pixar - Temporary Semiotic Units - Mickey Mousing - Audiovisual Narrative – Multimodality 1 Diego Calderón Garrido: Doctor in History of Art, titled superior in Modern Music and Jazz music teacher and sound in the degree of Audiovisual Communication at the University of Barcelona. -
Toy Story: How Pixar Reinvented the Animated Feature
Brown, Noel. " An Interview with Steve Segal." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 197–214. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 03:24 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 97 Chapter 13 A N INTERVIEW WITH STEVE SEGAL N o e l B r o w n Production histories of Toy Story tend to focus on ‘big names’ such as John Lasseter and Pete Docter. In this book, we also want to convey a sense of the animator’s place in the making of the fi lm and their perspective on what hap- pened, along with their professional journey leading up to that point. Steve Segal was born in Richmond, Virginia, in 1949. He made his fi rst animated fi lms as a high school student before studying Art at Virginia Commonwealth University, where he continued to produce award- winning, independent ani- mated shorts. Aft er graduating, Segal opened a traditional animation studio in Richmond, making commercials and educational fi lms for ten years. Aft er completing the cult animated fi lm Futuropolis (1984), which he co- directed with Phil Trumbo, Segal moved to Hollywood and became interested in com- puter animation. -
Brave Waiting No
Sermon #1371 Metropolitan Tabernacle Pulpit 1 BRAVE WAITING NO. 1371 A SERMON DELIVERED ON LORDS-DAY MORNING, AUGUST 26, 1877, BY C. H. SPURGEON, AT THE METROPOLITAN TABERNACLE, NEWINGTON. “Wait on the Lord: be of good courage and He shall strengthen your heart: wait, I say, on the Lord.” Psalm 27:14. THE Christian’s life is no child’s play. All who have gone on pilgrimage to the celestial city have found a rough road, sloughs of despond and hills of difficulty, giants to fight and tempters to shun. Hence there are two perils to which Christians are exposed—the one is that under heavy pressure they should start away from the path which they ought to pursue—the other is lest they should grow fearful of failure and so become faint-hearted in their holy course. Both these dangers had evidently occurred to David and in the text he is led by the Holy Spirit to speak about them. “Do not,” he seems to say, “do not think that you are mistaken in keeping to the way of faith. Do not turn aside to crooked policy. Do not begin to trust in an arm of flesh, but wait upon the Lord.” And, as if this were a duty in which we are doubly apt to fail, he repeats the exhortation and makes it more emphatic the second time, “Wait, I say, on the Lord.” Hold on with your faith in God. Persevere in walking according to His will. Let nothing seduce you from your integrity—let it never be said of you, “You ran well, what did hinder you that you did not obey the truth?” And lest we should be faint in our minds, which was the second danger, the psalmist says, “Be of good courage, and He shall strengthen your heart.” There is really nothing to be depressed about. -
Children's Fiction/Picture Books Children's Graphic Novels
Children’s Fiction/Picture Books "Amelia Bedelia cleans up / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "Amelia Bedelia dances off / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "Amelia Bedelia goes wild! / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "Amelia Bedelia means business / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "Amelia Bedelia sets sail / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "Amelia Bedelia unleashed / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "The Bad Guys in cut to the chase / Aaron Blabey.","JPB BLA" Children’s Graphic Novels "Bunbun & Bonbon : fancy friends / Jess Keating.","J GN BUNBUN" "Catwad. High five! / Jim Benton.","J GN CATWAD" "The okay witch and the hungry shadow / by Emma Steinkellner.","J GN OKAY" "Owly : the way home / Andy Runton.","J GN OWLY" "Just a little blue / Andy Runton.","J GN OWLY" "Owly : flying lessons / Andy Runton.","J GN OWLY" "Baloney and friends. 2, Going up! /cGreg Pizzoli.","J GN BALONEY" "Burt the Beetle doesn't bite / Ashley Spires.","J GN BURT" "The Cardboard Kingdom / by Chad Sell.","J GN CARDBOARD" "Roar of the beast / art by Chad Sell ; story by Chad Sell, Vid Alliger, Manuel Betancourt, Michael Cole, David DeMeo, Jay Fuller, Cloud Jacobs, Barbara Perez Marquez, Molly Muldoon, and Katie Schenkel.","J GN CARDBOARD" "Dear DC super-villains : a graphic novel / written by Michael Northrop ; illustrated by Gustavo Duarte ; colored by Cris Peter ; lettered by Wes Abbott.","J GN DEAR" "Dear Justice League / written by Michael Northrop ; illustrated by Gustavo Duarte ; colored by Marcelo Maiolo ; lettered by Wes Abbott.","J GN DEAR" "The dragon path / Ethan Young.","J GN DRAGON" "El Deafo : superpowered edition / Cece Bell ; color by David Lasky.","J GN EL" "Fox & Rabbit / by Beth Ferry ; illustrated by Gergely Dudás.","J GN FOX" "Fox & Rabbit. -
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. -
Speech Sounds Vowels HOPE
This is the Cochlear™ promise to you. As the global leader in hearing solutions, Cochlear is dedicated to bringing the gift of sound to people all over the world. With our hearing solutions, Cochlear has reconnected over 250,000 cochlear implant and Baha® users to their families, friends and communities in more than 100 countries. Along with the industry’s largest investment in research and development, we continue to partner with leading international Speech Sounds:Vowels researchers and hearing professionals, ensuring that we are at the forefront in the science of hearing. A Guide for Parents and Professionals For the person with hearing loss receiving any one of the Cochlear hearing solutions, our commitment is that for the rest of your life in English and Spanish we will be here to support you Hear now. And always Ideas compiled by CASTLE staff, Department of Otolaryngology As your partner in hearing for life, Cochlear believes it is important that you understand University of North Carolina — Chapel Hill not only the benefits, but also the potential risks associated with any cochlear implant. You should talk to your hearing healthcare provider about who is a candidate for cochlear implantation. Before any cochlear implant surgery, it is important to talk to your doctor about CDC guidelines for pre-surgical vaccinations. Cochlear implants are contraindicated for patients with lesions of the auditory nerve, active ear infections or active disease of the middle ear. Cochlear implantation is a surgical procedure, and carries with it the risks typical for surgery. You may lose residual hearing in the implanted ear. -
Report from Edinbur H • Soul Man Review • Robert Hooks Three Critics Look at She's Gotta Have It • Peter Wang Interview
Report From Edinbur h • Soul Man Review • Robert Hooks Three Critics Look at She's Gotta Have It • Peter Wang Interview World of Black Film Collectors Remembering Lorenzo Tucker- The Black. Gil Noble Plans Valentino Like It Is Archive Film Clips and News Early Black Independents Co-produced with the Black Film Institute of the University of the District of Columbia ••••••••••••••••••••••••••••••• Vol. 2, No. 4/Fa111986 'Peter Wang Breaks Cultural Barriers Black Film Review by Pat Aufderheide 10 SSt., NW An Interview with the director of A Great Wall p. 6 Washington, DC 20001 (202) 745-0455 Remembering lorenzo Tucker Editor and Publisher by Roy Campanella, II David Nicholson A personal reminiscence of one of the earliest stars of black film. ... p. 9 Consulting Editor Quick Takes From Edinburgh Tony Gittens by Clyde Taylor (Black Film Institute) Filmmakers debated an and aesthetics at the Edinburgh Festival p. 10 Associate EditorI Film Critic Anhur Johnson Film as a Force for Social Change Associate Editors by Charles Burnett Pat Aufderheide; Keith Boseman; Excerpts from a paper delivered at Edinburgh p. 12 Mark A. Reid; Saundra Sharp; A. Jacquie Taliaferro; Clyde Taylor Culture of Resistance Contributing Editors Excerpts from a paper p. 14 Bill Alexander; Carroll Parrott Special Section: Black Film History Blue; Roy Campanella, II; Darcy Collector's Dreams Demarco; Theresa furd; Karen by Saundra Sharp Jaehne; Phyllis Klotman; Paula Black film collectors seek to reclaim pieces of lost heritage p. 16 Matabane; Spencer Moon; An drew Szanton; Stan West. With a repon on effons to establish the Like It Is archive p. -
Pixar's 22 Rules of Story Analyzed
PIXAR’S 22 RULES OF STORY (that aren’t really Pixar’s) ANALYZED By Stephan Vladimir Bugaj www.bugaj.com Twitter: @stephanbugaj © 2013 Stephan Vladimir Bugaj This free eBook is not a Pixar product, nor is it endorsed by the studio or its parent company. Introduction. In 2011 a former Pixar colleague, Emma Coats, Tweeted a series of storytelling aphorisms that were then compiled into a list and circulated as “Pixar’s 22 Rules Of Storytelling”. She clearly stated in her compilation blog post that the Tweets were “a mix of things learned from directors & coworkers at Pixar, listening to writers & directors talk about their craft, and via trial and error in the making of my own films.” We all learn from each other at Pixar, and it’s the most amazing “film school” you could possibly have. Everybody at the company is constantly striving to learn new things, and push the envelope in their own core areas of expertise. Sharing ideas is encouraged, and it is in that spirit that the original 22 Tweets were posted. However, a number of other people have taken the list as a Pixar formula, a set of hard and fast rules that we follow and are “the right way” to approach story. But that is not the spirit in which they were intended. They were posted in order to get people thinking about each topic, as the beginning of a conversation, not the last word. After all, a hundred forty characters is far from enough to serve as an “end all and be all” summary of a subject as complex and important as storytelling. -
(LACMA) Hosted Its Ninth Annual Art+Film Gala on Saturday, November 2, 2019, Honoring Artist Betye Saar and Filmmaker Alfonso Cuarón
(Los Angeles, November 3, 2019)—The Los Angeles County Museum of Art (LACMA) hosted its ninth annual Art+Film Gala on Saturday, November 2, 2019, honoring artist Betye Saar and filmmaker Alfonso Cuarón. Co-chaired by LACMA trustee Eva Chow and actor Leonardo DiCaprio, the evening brought together more than 800 distinguished guests from the art, film, fashion, and entertainment industries, among others. This year’s gala raised more than $4.6 million, with proceeds supporting LACMA’s film initiatives and future exhibitions, acquisitions, and programming. The 2019 Art+Film Gala was made possible through Gucci’s longstanding and generous partnership. Additional support for the gala was provided by Audi. Eva Chow, co-chair of the Art+Film Gala, said, “I’m so happy that we have outdone ourselves again with the most successful Art+Film Gala yet. It was such a joy to celebrate Betye Saar and Alfonso Cuarón’s incredible creativity and passion, while supporting LACMA’s art and film initiatives. I couldn’t be more grateful to Alessandro Michele, Marco Bizzarri, and everyone at Gucci—our invaluable partner since the first Art+Film Gala—and to Anderson .Paak and The Free Nationals for making this evening one to remember.” “I’m deeply grateful to our returning co-chairs Eva Chow and Leonardo DiCaprio for helping us set another Art+Film Gala record,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “We honored two incredibly powerful artistic voices this year. Betye Saar has helped define the genre of Assemblage art for nearly seven decades, and recognition of her as one of the most important and influential artists working today is long overdue.