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School of Animation & Visual Effects Program Brochure
School of Animation & Visual Effects academyart.edu SCHOOL OF ANIMATION & VISUAL EFFECTS Contents Program Overview ................................................. 5 What We Teach ....................................................... 7 The School of Animation & VFX Difference ........... 9 Faculty .................................................................... 11 Degree Options ...................................................... 13 Our Facilities .......................................................... 15 Student & Alumni Testimonials ............................ 17 Partnerships .......................................................... 19 Career Paths .......................................................... 21 Additional Learning Experiences ..........................23 Awards and Accolades ..........................................25 Online Education ...................................................27 Academy Life .........................................................29 San Francisco ........................................................ 31 Athletics .................................................................33 Apply Today ...........................................................35 < Student work by Jenny Wan 3 SCHOOL OF ANIMATION & VISUAL EFFECTS Program Overview The School of Animation and Visual Effects (VFX) is one of the most dynamic programs in the country. Join us, and get hands-on experience with the full animation and VFX production pipeline. OUR MISSION WHAT SETS US APART In the School of Animation -
Increasing Inclusion in Animation
INCLUSION IN ANIMATION? INVESTIGATING OPPORTUNITIES, CHALLENGES, AND THE CLASSROOM TO THE CSUITE PIPELINE USC ANNENBERG INCLUSION INITIATIVE @Inclusionists @wia_animation FEMALES ON SCREEN IN ANIMATED STORYTELLING Percentage of animated films with a female lead or co lead and female cast in TV series 120 Animated Films 100 Animated TV Series % of roles for women of color 3% Film 1717% 39% 12% TV Depicted a Female Female Lead or Cast Co Lead ANIMATED AND LIVE ACTION FEMALE PRODUCERS Percentage of female producers across 1,200 films Animation Live Action 64 52 50 50 40 37 33 34 31 26 22 12 13 15 16 14 13 14 15 16 17 15 19 17 ‘07 ‘08 ‘09 ‘10 ‘11 ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 ‘18 OVERALL WOMEN OF COLOR 37% 15% 5% 1% ANIMATION LIVE ACTION ANIMATION LIVE ACTION © DR. STACY L. SMITH FEMALE DIRECTORS ARE RARE IN ANIMATION Directors by platform across film & TV FILM DIRECTORS TV DIRECTORS 3% 13% WOMEN WOMEN 1% 2% WOMEN OF COLOR WOMEN OF COLOR PIPELINE PROBLEMS: CAREER PROGRESS STALLS FOR FEMALES Percentage of Females in the pipeline to directing animated feature films 3% DIRECTORS 7% 8% 9% HEAD OF STORY HEAD OF ANIMATION WRITERS 18% 16% STORY DEPT. ANIMATORS © DR. STACY L. SMITH WOMEN BELOW THE LINE IN TOP ANIMATED TV SERIES WOMEN WOMEN OF COLOR STORY EDITOR 28% 1% HEAD OF EDITING 18% 4% ANIMATION DIRECTOR 16% 8% LEAD ANIMATOR 20% 13% LEAD CHARACTER DESIGNER 24% 7% LEAD STORYBOARD ARTIST 11% 3% TOTAL 19% 7% FEMALE PRODUCERS BY POSITION Percentage of female producers across 100 top animated series of 2018 % % % % CREATED BY EXEC COEXEC PRODUCERS DEVELOPED BY PRODUCERS PRODUCERS 24 women 71 women 10 women 64 women 3 women of color 6 women of color 0 women of color 16 women of color © DR. -
My-Hero-Academia-Monopoly-Rules
AGES 8+ C Fast-Dealing Property Trading Game C Original MONOPOLY® Game Rules plus Special Rules for this Edition. Plus Ultra! Build up a Hero team with the students and teachers from CONTENTS Class 1-A! Set forth on your quest to own it all, but first you will need to know the basic game rules along with custom MONOPOLY®: My Hero Academia rules. Game Board, 6 Collectible Tokens, If you’ve never played the original MONOPOLY game, refer to 28 Title Deed Cards, the original rules beginning on the next page. Then turn back to 16 PLUS ULTRA! Cards, 16 GO BEYOND! Cards, the Set It Up! section to learn about the extra features of Hero Point Currency, MONOPOLY®: My Hero Academia. If you are already an 32 Houses renamed Rewards, experienced MONOPOLY 12 Hotels renamed Trophies, dealer and want a faster game, 2 Dice. try the rules on the back page! Shuffle the GO BEYOND! cards and place face down here. SETWHAT’S DIFFERENT? IT UP! Houses and Hotels are renamed Rewards and Trophies, respectively. Professional Heroes MIDNIGHT, RECOVERY GIRL, ERASERHEAD and PRESENT MIC replace the traditional railroad spaces. THE BANK ◆ Holds all money and Title Deeds not owned by players. ◆ Pays salaries and bonuses to players. ◆ Collects taxes and fines from players. ◆ Sells and auctions properties. ◆ Sells Rewards and Trophies. ◆ Loans money to players who mortgage their property. The Bank can never ‘go broke’. If the Bank runs out of money, the Banker may issue as much as needed by writing on ordinary paper. Game board spaces and corresponding Title Deed cards feature fan favorite Heroes. -
Cartoon Saloon and the New Golden Age of Animation | the New Yorker
1/20/2021 Cartoon Saloon and the New Golden Age of Animation | The New Yorker The studio’s hand-drawn movies use the language of painting and illustration rather than that of the latest technology. Still courtesy Cartoon Saloon and Abrams Books Onward and Upward with the Arts December 21, 2020 Issue The studio’s hand-drawn movies—including its latest, “Wolfwalkers”—offer an alternative vision of what children’s entertainment can be. By Mark O’Connell December 11, 2020 n the seventeenth century, after wolves were hunted to extinction in most of the British Isles, Ireland was sometimes referred I to as Wolf-Land. The implication, perhaps, was that it needed to be tamed. In 1649, Oliver Cromwell’s New Model Army invaded Ireland on behalf of the Commonwealth of England, leading to the deaths of hundreds of thousands of Irish people. The Army also appointed professional hunters to cull the country’s wolves. Cromwell’s men captured the walled city of Kilkenny, which was surrounded by forests full of wolves and was home to as many superstitions about them. One myth held that certain natives of https://www.newyorker.com/magazine/2020/12/21/cartoon-saloon-and-the-new-golden-age-of-animation 1/9 1/20/2021 Cartoon Saloon and the New Golden Age of Animation | The New Yorker the region could transform into wolves, roaming the land while their ordinary bodies lay in a kind of trance. If they were injured in the course of this lupine marauding, the wounds would appear on their human esh. -
LAMORINDA WEEKLY | 'The Boxtrolls'
LAMORINDA WEEKLY | 'The Boxtrolls' Published October 8th, 2014 'The Boxtrolls' By Derek Zemrak "The Boxtrolls" comes from the small yet very impressive animation studio, Laika Entertainment based in Hillsboro, Ore. Laika is not a household name like Pixar or Disney but they have produced some of the most imaginative, original, creative and inventive animated films in recent years, including the two Oscar-nominated films "Coraline" in 2009 and "ParaNorman" in 2012. "Coraline" was beaten by "UP" and "ParaNorman" lost to "Brave," which was a disappointment. Now comes "The Boxtrolls," a less dark film then Laika's previous movies. The story is about an orphan boy, Eggs, who is raised underground in the town of Cheesebridge by a group of trash collecting cave dwellers - the Boxtrolls. Isaac Hempstead Wright, Eggs voice, is the talented young 15-year- Eleven-year-old Eggs (voiced by Isaac old from "Game of Thrones," and he must save his Hempstead Wright) swings into trouble when family, the Boxtrolls from the evil exterminator he tries to rescue a Boxtroll friend in Laika Archibald Snatcher (Sir Ben Kingsley "Schindler's and Focus Features' family event movie "The List"). Eggs is assisted by the local wealthy girl Boxtrolls." Image provided Winnie (Elle Fanning, "Maleficent"). "The Boxtrolls" is based on the 544-page illustrated novel, "Here Be Monsters!" by author Alan Snow. It is not as solid a film as "Coraline," but I do see another Oscar nomination this year. Who knows - the third time may be a charm. As with Laika's previous films, it is the stunning visuals that makes "The Boxtrolls" stand out from other animated movies and the leader of stop-motion animation. -
The Beckett Voice
THE BECKETT VOICE [email protected] Febuary 2018 - Issue n°04 NEW COLUMN THIS MONTH! EDITORIAL Come and Discover Some students really enjoy The Fiction Section p.12 working on the Beckett Voice, and I dare to think that some students The Best Night enjoy reading it! What makes our newspaper unique is that the an Exclusive Story Written by J.H. students involved choose what they write about. They often decide to change subjects and this month I had a demand from a student to write fiction. I think it’s great that this newspaper is a way for our students to express their creativity anyway they want. Our illustrator worked on the fiction section as well. To tell you the truth, the subject of the fiction is pretty serious, but it is close to what some of our teenagers might be feeling, and it’s important to bring them a message of hope, especially when everything seems dark and hopeless. Indeed, you, who might be in distress, never hesitate to reach out to an adult or a friend, there’s always an open hand somewhere to be found. Light Read about the new speed limit p. 2 never goes out, if you look hard enough. Discover Banksy and his art p. 5 Enjoy, Enjoy new recipes in the Food Corner! p. 16 Mrs Climecot, the English Teacher. FRENCH NEWS 2 Speed limited to 80, it's coming to France soon! The government announced it: from July 1st, drivers will have to drive at a maximum speed of 80 km/h or 49,7 mph on roads where speed is actually limited to 90 km/h or 55,9 mph. -
Kumoricon-2017-Program Book.Pdf
Start your 14-day free trial at funimation.com/subscribe TM Stream Anime. Anytime. Anywhere. TABLE OF CONTENTS Letter from the Chair . 4 Hours of Operation . 5 Guests of Honor . 6 Art Show and Charity Auction . 10 DJ Profi les . 12 Programming . 14 Main Events . 14 Guest Programming . ........................... 15 Industry Programmingg . .................... 20 Anime Music Videoseos . 21 Cosplay . ........................................................... .......................... ........... 22 Karaoke . ............................................................... ...................... .................. 22 Dance Lessons .................... ........................................................ ........................ 24 GeneralralProgramming...................................................... Programmingramming........... .......................... 25 Conventionntion MapsMaps........... ... ..................................... ..................... 30 Chibibi RRoomm . 39 Writing/Artting/Artt......... ................................................................ ....... ................................. 40 Craft s......................................................................s . ......... .......... .... ................................ 41 Videoeo Gaminging... .......................................................... ............... .... ................................ 41 Tabletopetop Gamingaming . .......................................................... .............. ..... ..................... 42 Board andCardGaming....................................................and -
9781474410571 Contemporary
CONTEMPORARY HOLLYWOOD ANIMATION 66543_Brown.indd543_Brown.indd i 330/09/200/09/20 66:43:43 PPMM Traditions in American Cinema Series Editors Linda Badley and R. Barton Palmer Titles in the series include: The ‘War on Terror’ and American Film: 9/11 Frames Per Second Terence McSweeney American Postfeminist Cinema: Women, Romance and Contemporary Culture Michele Schreiber In Secrecy’s Shadow: The OSS and CIA in Hollywood Cinema 1941–1979 Simon Willmetts Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema Linda Badley, Claire Perkins and Michele Schreiber (eds) Vampires, Race and Transnational Hollywoods Dale Hudson Who’s in the Money? The Great Depression Musicals and Hollywood’s New Deal Harvey G. Cohen Engaging Dialogue: Cinematic Verbalism in American Independent Cinema Jennifer O’Meara Cold War Film Genres Homer B. Pettey (ed.) The Style of Sleaze: The American Exploitation Film, 1959–1977 Calum Waddell The Franchise Era: Managing Media in the Digital Economy James Fleury, Bryan Hikari Hartzheim, and Stephen Mamber (eds) The Stillness of Solitude: Romanticism and Contemporary American Independent Film Michelle Devereaux The Other Hollywood Renaissance Dominic Lennard, R. Barton Palmer and Murray Pomerance (eds) Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown www.edinburghuniversitypress.com/series/tiac 66543_Brown.indd543_Brown.indd iiii 330/09/200/09/20 66:43:43 PPMM CONTEMPORARY HOLLYWOOD ANIMATION Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown 66543_Brown.indd543_Brown.indd iiiiii 330/09/200/09/20 66:43:43 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. -
Otakon 2021 Schedule Grid Auto-Generated 2021-08-08 01:26:33
Live and Video Programming Friday Morning/Afternoon (Otakon 2021 schedule grid auto-generated 2021-08-08 01:26:33) Friday Room 9:00 AM 9:15 AM 9:30 AM 9:45 AM 10:00 AM 10:15 AM 10:30 AM 10:45 AM 11:00 AM 11:15 AM 11:30 AM 11:45 AM Friday Main Lvl3 A/B Main Vid 1 Rm 147A A Dog's Courage (2018) (S.Korea) [D][K] InuYasha: Swords of a Honorable Vid 1 Vid 2 Rm 145B Hero Mask 1-4 (2018)(Japan) [S] Jubei-chan: The Ninja Girl 1-4 ( Vid 2 Vid 3 Rm 146B Legendary Armor Samurai Troopers 1-4 (1988)(Japan) [S] S.Cry.ed 1-4 (2001)(Japan) [S] Vid 3 Vid 4 Rm 156 OTAKU no Video (1991)(Japan) [S][MT] Astroganger 1-4 (1972)(Japan) [S Vid 4 AMV Rm 144 Hot Gal (and Guy) Summer The Best Openings You Didn't See The Art AMV ClubOta Rm 206 ClubOta Panel 1 Rm 202 History of the Yandere [F] Evolution of Action Shonen [F] Americanization Panel 1 Panel 2 Rm 207 Thirty Years Ago: Anime in 1991 Swansongs and Bullets [F] VTuber Clipping: Panel 2 Panel 3 Rm 150 Bleach 20th Anniversary [F] Giant Robots: The 90s [F] Aural Anime: Mus Panel 3 Panel 4 Rm 151A Underground Idol Groups [F] Final Fantasy XIV Discussion [F] FukaFuka: Kemono Panel 4 Panel 5 Rm 151B The Beginning of Boys Love Film Smash Presents: Gourmet Cin Cosplaying Broke Panel 5 Panel 6 Rm 152A Japanese Fashion on a Budget Japanese Indie Music Otaku Parenting: Panel 6 Panel 7 Rm 146C From Alefgard to Zwaardsrust: Th Anime Food, How Panel 7 Wkshp 1 Rm 143 Origami 101 Translat Wkshp 1 Wkshp 2 Rm 140 Cosplay 201: Armor Patterning Wkshp 2 Wkshp 3 Rm 146A Realistic Martial Arts/Fighting Zumba Class - Anime Style Wkshp -
Academic Award for Best Animated Feature: Insight of Animation Industry
Academic Award for Best Animated Feature: Insight of Animation Industry Shimeng Tong About This Project The Oscars Academy Award for Best Animated Feature was first given for films made in 2001. Until today, this award had been given to 15 animated films. I looked into the records about this award, and tried to understand the animation industry by translating and visualizing the data. My purpose for this project is to figure out the relationships within this social network, between films, their directors, and production companies. Second, to analyze whether the success of an animated feature is depends on the production company or the director. In addition, I would like to emphasize some other findings about animation creation methods and films in foreign languages. Data Collection I got the data directly from the awards record on Oscars’ official website. The data range is 73rd - 88th Oscar, included films made from 2001 to 2015. There were in total 59 nominees, and 15 of them were winners of Best Animated Features. Since there were only text records of each nominees on the website, I had to create a database in Excel with all the information I needed from each film. Including production company, director, and year of releasing. So it will be clearer when I import the edges into NodeXl later. Spring 2016 Shimeng Tong CCTP 696 Data Visualization In order to reveal the existed relationships, I created 3 types of edges within NodeXL: nominees - Oscar, nominees - production companies, and nominess - directors. I marked all the animated features as dots, directors as bule squares, and production companies as green triangles. -
ENC 1145: Writing About: Anime and Manga Adaptations of Western Literature
ENC 1145: Writing About: Anime and Manga Adaptations of Western Literature ENC1145 (Section 35G3, Class 13732, SP20) Brandon Murakami T:2-3 (8:30-10:25a) / R:3 (9:35-10:25a) [email protected] Room: T: TUR2354 / R: MAT 0009 OH: TBA COURSE DESCRIPTION Anime and manga’s present popularity in the United States (and globally) cannot be understated. Since its introduction in the 1960s, to its ‘boom,’ ‘bubble,’ and ‘burst’ through the 80s, 90s, and 00s, respectively, the two distinctly Japanese mediums are currently enjoying an all-time high of interest and consumption outside of Japan. While the majority of anime/manga series are wildly original (example: Deadman Wonderland, Space Dandy, Attack on Titan, FLCL, etc.), it is true that a great many of these stories are inspired from non-Japanese narratives. This course explores the how and why of these Japanese adaptions of non-Japanese literature— via the mediums of anime/manga—are so popular. Some topics we’ll consider throughout the course are: • The role of adaption/reframing in relation to distinctly Japanese issues (historical, cultural, social, political, etc.) • Problems of genre, medium, narrative theory and visual theory • The ethics of ‘responsible’ representations versus ‘irresponsible’ appropriation(s) • Issues of trans/international cultural flows • Questions of (intended) audiences and reception, fandom, the politics of gender and ‘making’ and how these creators grapple with the ‘untranslatable’ in their adaptions At the core of these topics and this course is the notion that Japan is just as ‘inspired’ about Western Literature just as much as the West finds inspiration in the East. -
Animation Ken A
The Advanced Art of © 2011 Course Technology, a part of Cengage Learning. Stop-Motion Animation Ken A. Priebe ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to Publisher and General Manager, photocopying, recording, scanning, digitizing, taping, Web distribution, Course Technology PTR: information networks, or information storage and retrieval systems, except Stacy L. Hiquet as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the publisher. Associate Director of Marketing: Sarah Panella For product information and technology assistance, contact us at Cengage Learning Customer & Sales Support, 1-800-354-9706. Manager of Editorial Services: For permission to use material from this text or product, submit all Heather Talbot requests online at cengage.com/permissions. Further permissions questions can be e-mailed to Marketing Manager: [email protected]. Jordan Castellani Acquisitions Editor: Heather Hurley All trademarks are the property of their respective owners. Cover image from Coraline courtesy of and © Focus Features/The Kobal Project Editor: Dan Foster, Collection. Additional cover images courtesy of and © Lucas Wareing, Scribe Tribe Ron Cole, and Justin and Shel Rasch. Technical Reviewer: Back cover images © Brett Foxwell, Ryan McCulloch, and Ken Priebe. Lionel I. Orozco Author photo by Jeff