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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
Outlined Above
University of Calgary Department of Communication, Media and Film Film Studies FILM 305 L01/B01 TOPIC IN GENRE: ANIMATION FALL 2019 Thurs., Sept. 5 – Thurs., Dec. 5 (excluding November 11th – 15th) Lecture, Thurs. 12:30 – 2:20 Lab (film screening), Tues. 12:30 – 3:15 Instructor: Ryan Pierson Office: SS 214 Office Phone: 220-6720 E-Mail: [email protected] Web Page: D2L Office Hours: 11:00 – 12:00, T + Th Teaching Assistant: Sarah Samwel E-Mail: [email protected] Office Hours: XXXX Course Description This course will explore the role that animation has played in the history of moving-image culture. From the beginning of moving pictures, filmmakers have manipulated images frame-by- frame to create the impression of movement where none had originally existed. This course will study the different ways that filmmakers have made things move, in the context of their aesthetic and industrial histories. We will pay particular attention to the construction of the movements of animated figures and to the construction of animated spaces. Objectives of the Course This course will focus on developing two major skills. First, observing and analyzing formal elements specific to animated films (such as the timing of movements); and second, reading high-level historical and theoretical film scholarship. Textbooks and Readings All readings will be posted on D2L. Internet and electronic communication device information Laptops may be used only for taking notes and consulting the readings for discussion; they may not be out during screenings. (You will be given time to take notes on each short.) Handheld devices (cell phones, etc.) may not be used at any time. -
Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense. -
Chapter Template
Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade. -
Meiermovies Short Films A-Z
MeierMovies Short Films A-Z Theatrically released motion pictures of 40 minutes or less Before perusing this list, I suggest reading my introduction to short films at the beginning of my By Star Rating list. That introduction will help explain my star choices and criteria. For a guide to colors and symbols, see Key. Movie Stars Location seen (if known) Year Director A A.D. 1363, The End of Chivalry 2 Florida Film Festival 2015 2015 Jake Mahaffy A la Francaise 3 Enzian (Oscar Shorts) 2013 Hazebroucq/Leleu/Boyer/Hsien/Lorton The Aaron Case 3 Enzian (FilmSlam 5/16) 2015 Sarah Peterson Aashpordha (Audacity) FL 2 Enzian (South Asian FF) 2011 Anirban Roy Abandoned Love 2 Enzian (Brouhaha 2014) 2014 Sarah Allsup ABC FL 1 Florida Film Festival 2014 2014 Nanna Huolman Abnie Oberfork: A Tale of Self-Preservation 0 Florida Film Festival 2018 2017 Shannon Fleming Abortion Helpline, This Is Lisa 3 Florida Film Festival 2020 2019 Barbara Attie/Janet Goldwater/Mike Attie Abiogenesis 2 Enzian (Oscar Shorts) 2012 Richard Mans The Absence of Eddy Table 4 Florida Film Festival 2017 2016 Rune Spaans Acabo de Tener un Sueño (I’ve Just Had a Dream) FL 3 Love Your Shorts 2016 2014 Javi Navarro Accidents, Blunders and Calamities 1 Florida Film Festival 2016 2015 James Cunningham Accordion Player Sl 1 1888 Louis Le Prince The Accountant 0 Enzian (FilmSlam 10/15) 2015 Stephen Morgan/Alex Couch Achoo 2 Oscar Shorts 2018 2018 L. Boutrot/E. Carret/M. Creantor Acide FL 2 Orlando International FF 2020 2018 Just Philippot Acoustic Ninja 2 Enzian (Brouhaha 2016) 2016 Robert Bevis Ace in the Hole 0 Orlando Film Festival 2013 2013 Wesley T. -
Frame by Frame
3 Pars Pro Toto Character Animation and the Work of the Anonymous Artist Everyone does his or her task on the conveyor belt, performing a partial function without grasping the totality. —Siegfried Kracauer1 The single frame is the basic unit of film just as bricks are the basic unit of brick houses. —Robert Breer2 DELIBERATE MISTAKES In late March 1937, in order to meet the booming demand for Popeye cartoons, the management at Fleischer Studios called for the production process to be sped up. In-betweeners, the animators tasked with drawing the stages of movement that come in between key poses, were expected to double their daily output, from twenty sketches per day to forty.3 But tensions between management and labor at the studio were running high, and the in-betweeners did not comply. Instead, they countered with a “slowdown” strike, which meant, effectively, continuing to produce drawings at the regular rate.4 In the month that followed, fifteen anima- tors were fired for participating in the slowdown, and on May 6 the Commercial Artists and Designers Union authorized a full walkout of the studio. The story of what happened next has already been told, as have the stories of other labor conflicts in the US animation industry—most notably, the 1941 strike at Walt Disney Studios.5 But I want to focus on what didn’t happen. By this I do not mean a counterfactual history, at least not in the traditional sense of the term. Rather, I wish to imagine what is left unsaid in these narratives, which tell us only what went on behind the scenes. -
Animated Enchantment: a Psychoanalytic Exploration of The
Animated Enchantment: A Psychoanalytic Exploration of the Enduring Popularity of Disney’s First Feature Films Howard Jacobs Queen Mary, University of London Thesis submitted for the qualification of Doctor of Philosophy (PhD) March 2014 2 Declaration I declare that the work presented in this thesis is my own. I have received professional assistance with styling, especially in making the bibliography and footnotes consistent, from Ms Chris Steel. (http://www.chrissteel-editorial.com/) Howard Jacobs Date: March 2014 Copyright The images in the Figures in this thesis are from: Snow White and the Seven Dwarfs © Walt Disney Productions; Ivan the Terrible Part I © Mosfilm; Dr Jekyll and Mr Hyde © Paramount Pictures; Pinocchio © Walt Disney Productions; Dumbo © Walt Disney Productions; Bambi © Walt Disney Productions. For all other parts of the thesis, the author’s copyright is Attribution- NonCommercial-NoDerivs (CC BY-NC-ND) 3 Abstract In this thesis I explore reasons for the widespread and enduring popularity of Disney’s first feature-length films (Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Dumbo (1941) and Bambi (1942)). While acknowledging the historical, industrial and aesthetic features that have contributed to their success, my argument is that the continuing fascination of these films is in large part attributable to the manner in which they engage the spectator and evoke unconscious concerns about family cohesion, interpersonal conflicts and the death of parents. My investigation begins with an analysis of the films’ prefilmic provenance and narrative characteristics, placing an emphasis on the role of their narrative and extra-narrative components as embodying social, pedagogical and psychological meanings. -
Snow White and the Seven Dwarfs: New Perspectives on Production, Reception, Legacy
O’Brien, Pamela C. "Dwarfland: Marketing Disney’s folly." Snow White and the Seven Dwarfs: New Perspectives on Production, Reception, Legacy. Ed. Chris Pallant and Christopher Holliday. New York: Bloomsbury Academic, 2021. 133–148. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781501351198.ch-007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 18:02 UTC. Copyright © Chris Pallant and Christopher Holliday 2021. 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. 133 7 Dwarfland: Marketing Disney’s folly Pamela C. O’Brien In the days leading up to Christmas in 1937, a strange construction project was occurring along Wilshire Boulevard, near the Carthay Circle Theatre in Los Angeles, California. Small cottages with water mills and oversized mushrooms began to materialize. Outside of the theatre large display boards were erected. While passers-by may have been curious, fi lm critics were dismissing it as just another piece of ‘Disney’s folly’, the negative descriptor they had taken to use when discussing Snow White and the Seven Dwarfs (David Hand, 1937). 1 By 1937, the fi lm had amassed a budget exceeding 1.5 million dollars, and Hollywood insiders and critics were unsure of whether or not audiences would identify with and embrace animated characters and the full-length story they were telling. 2 Ward Kimball, one of Disney’s key animators, admitted that when he was working on it people would tell him that nobody would sit still for a seven-reel cartoon, because the bright colours would hurt their eyes. -
Introduction
Notes Introduction 1 . Kristina Jaspers, ‘Zur Entstehungsgeschichte und Funktion des Storyboards’, in Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 15. We are indebted to Julia Knaus for all translations from the original German of this book. 2 . Jean-Claude Carrière, The Secret Language of Film , trans. Jeremy Leggatt (London: Faber, 1995), p. 150. 3 . Nathalie Morris, ‘Unpublished Scripts in BFI Special Collections: A Few Highlights’, Journal of Screenwriting 1.1 (2010), pp. 197–198. 4 . Fionnuala Halligan, Movie Storyboards: The Art of Visualizing Screenplays (San Francisco: Chronicle, 2013), p. 9. 5 . Alan David Vertrees, Selznick’s Vision: Gone with the Wind and Hollywood Filmmaking (Austin: University of Texas Press, 1997), pp. 67, 117. 6 . See Steven Price, A History of the Screenplay (Basingstoke: Palgrave, 2013). 7 . Katharina Henkel and Rainer Rother, ‘Vorwort’, in Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 8. 8 . Vincent LoBrutto, The Filmmaker’s Guide to Production Design (New York: Allworth, 2002), p. 62. 9 . Halligan, p. 8. 10 . John Hart, The Art of the Storyboard: Storyboarding for Film, TV, and Animation (Boston: Focal Press, 1999), p. 5. 11 . Steven Maras, Screenwriting: History, Theory and Practice (London: Wallflower, 2009), p. 120. 12 . Maras, p. 123. 13 . Kathryn Millard, ‘The Screenplay as Prototype’, in Jill Nelmes (ed.), Analysing the Screenplay (London: Routledge, 2011), p. 156. Millard develops related arguments in ‘After the Typewriter: The Screenplay in a Digital Era’, Journal of Screenwriting 1.1 (2010), pp. -
Meiermovies Short Films by Star Rating
MeierMovies Short Films by Star Rating Theatrically released motion pictures of 40 minutes or less For every great feature, there’s a great short, and this list attempts to chronicle just some of those tiny masterpieces – and their not-so-masterful counterparts. For films to make this list, they must have played in at least one film festival or showcase, or theatrical venue, for a paying audience. Films shown only on television (or available only on DVD, Blu-ray, video or online) are reserved for my Television list. Also not included here are student films and similar projects that have never been presented at a theatrical venue that charged admission to viewers. (Please note that this is slightly more lenient than the qualifications for the feature- film lists, which require that a film of more than 40 minutes play at least two major festivals, or have a limited or general release.) Theatrical newsreels (pre-television) and theatrically released trailers are not eligible for this list, although mini-documentaries and travelogues (typically playing alongside trailers and B-features in the 1930-1950s) are. Short films shown at theme parks and museums are eligible, but not if they rely on animatronic/interactive/live elements. Shorts produced for timed competitions, such as 48-hour or 24-hour projects, are not included here, unless those films were subsequently screened at a second venue. The ratings system is the same as that of the feature-film list, just with no half or quarter stars. That difference is due to simplification and also to the fact that it’s admittedly difficult, and perhaps somewhat unfair, to compare a 2-minute film to a 40- minute one using quarter stars. -
Cartoons Cartoons Are Arranged by Character Or Series Or Studio
Public Domain Cartoons Cartoons are arranged by character or series or studio. Betty Boop Cartoons: Each are 7 minutes long Disc #1: Betty Boop’s Crazy Inventions (1933) Directed by Dave Fleischer House Cleaning Blues (1937) Directed by Dave Fleischer Poor Cinderella (Color, 1934) Directed by Dave Fleischer Betty Boop’s Rise to Fame (1934) Directed by Dave Fleischer Betty in Blunderland (1934) Directed by Dave Fleischer More Pep (1936) Directed by Dave Fleischer Is My Palm Red? (1933) Directed by Dave Fleischer Betty Boop’s Ker-Choo (1933) Directed by Dave Fleischer Betty Boop with Henry (1935) Directed by Dave Fleischer Be Human (1936) Directed by Dave Fleischer Judge for a Day (1935) Directed by Dave Fleischer Betty Boop and Little Jimmy (1936) Directed by Dave Fleischer No, No, A Thousand Times No (1935) Directed by Dave Fleischer Betty Boop and the Little King (1936) Directed by Dave Fleischer Hot Air Salesman (1937) Directed by Dave Fleischer Stop That Noise (1935) Directed by Dave Fleischer Musical Mountaineers (1939) Directed by Dave Fleischer Betty Boop, Disc #2: Betty Boop and Grampy (1935) Directed by Dave Fleischer Grampy’s Indoor Outing (1936) Directed by Dave Fleischer The Impractical Joker (1937) Directed by Dave Fleischer On With the New (1938) Directed by Dave Fleischer So Does An Automobile (1939) Directed by Dave Fleischer Whoops, I’m a Cowboy (1937) Directed by Dave Fleischer Taking the Blame (1935) Directed by Dave Fleischer Swat the Fly (1935) Directed by Dave Fleischer Little Nobody (1936) Directed by Dave Fleischer