DOCSLIB.ORG

Looking Back at the Creative Process

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Looking Back at the Creative Process IATSE LOCAL 839 MAGAZINE SPRING 2020 ISSUE NO. 9 THE ANIMATION GUILD QUARTERLY SCOOBY-DOO / TESTING PRACTICES LOOKING BACK AT THE CREATIVE PROCESS SPRING 2020 “HAS ALL THE MAKINGS OF A CLASSIC.” TIME OUT NEW YORK “A GAMECHANGER”. INDIEWIRE NETFLIXGUILDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 REVISION 1 NETFLIX: KLAUS PUB DATE: 01/30/20 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 09 CONTENTS 12 FRAME X FRAME 42 TRIBUTE 46 FRAME X FRAME Kickstarting a Honoring those personal project who have passed 6 FROM THE 14 AFTER HOURS 44 CALENDAR FEATURES PRESIDENT Introducing The Blanketeers 46 FINAL NOTE 20 EXPANDING THE Remembering 9 EDITOR’S FIBER UNIVERSE Disney, the man NOTE 16 THE LOCAL In Trolls World Tour, Poppy MPI primer, and her crew leave their felted Staff spotlight 11 ART & CRAFT homes to meet troll tribes Tiffany Ford’s from different regions of the color blocks kingdom in an effort to thwart Queen Barb and King Thrash from destroying all the other 28 styles of music. Hitting the road gave the filmmakers an opportunity to invent worlds from the perspective of new fabrics and fibers. 28 HIRING HUMANELY Supervisors and directors in the LA animation industry discuss hiring practices, testing, and the realities of trying to staff a show ethically. 34 ZOINKS! SCOOBY-DOO TURNS 50 20 The original series has been followed by more than a dozen rebooted series and movies, and through it all, artists and animators made sure that “those meddling kids” and a cowardly canine continued to unmask villains. But what makes Scooby-Doo appeal to audiences across the decades? 34 SPRING 2020 3 ACADEMY AW ARD® NOMINEE BEST ANIMAT ED FEATURE Produced By BRADFORDBRADFORD LEWISLEWIS p.g.a. | BONNIEBONNIE ARNOLDARNOLD p.g.a. WrittenWritten AndAnd DirectedDirected ByBy DEANDEAN D DEBLOIS “DEAN DEBLOIS BRINGS HIS WONDROUS DRAGON TRILOGY TO A SPECTACULAR FINISH. THE COURTSHIP BETWEEN TOOTHLESS AND LIGHT FURY IS A THING OF BALLETIC BEAUTY THAT BRINGS OUT THE DAZZLING ARTISTRY OF THE ANIMATION.” WINNER BEST ANIMATED FEATURE NATIONAL BOARD OF REVIEW universalpicturesawards.com © 2018 DREAMWORKS ANIMATION LLC. KEYFRAME MAGAZINE 2 PAGE SPREAD W/ BLEED ISSUE BLEED: 17.25"W X 11.125"H MATERIALS DUE: TUESDAY, 1/21 TRIM: 17"W X 10.875"H ISSUE DATE: THURSDAY, 1/30 1F LIVE AREA: 16.25"W X 10.125"H (.25" FROM GUTTER) 4997-67 01/21/20 DR3_KEYFRAME_0130_4CSPRD_1F PDF/X-1a with crops/bleed ACADEMY AW ARD® NOMINEE BEST ANIMAT ED FEATURE Produced By BRADFORDBRADFORD LEWISLEWIS p.g.a. | BONNIEBONNIE ARNOLDARNOLD p.g.a. WrittenWritten AndAnd DirectedDirected ByBy DEANDEAN D DEBLOIS “DEAN DEBLOIS BRINGS HIS WONDROUS DRAGON TRILOGY TO A SPECTACULAR FINISH. THE COURTSHIP BETWEEN TOOTHLESS AND LIGHT FURY IS A THING OF BALLETIC BEAUTY THAT BRINGS OUT THE DAZZLING ARTISTRY OF THE ANIMATION.” WINNER BEST ANIMATED FEATURE NATIONAL BOARD OF REVIEW universalpicturesawards.com © 2018 DREAMWORKS ANIMATION LLC. KEYFRAME MAGAZINE 2 PAGE SPREAD W/ BLEED ISSUE BLEED: 17.25"W X 11.125"H MATERIALS DUE: TUESDAY, 1/21 TRIM: 17"W X 10.875"H ISSUE DATE: THURSDAY, 1/30 1F LIVE AREA: 16.25"W X 10.125"H (.25" FROM GUTTER) 4997-67 01/21/20 DR3_KEYFRAME_0130_4CSPRD_1F PDF/X-1a with crops/bleed LETTER WE ARE HERE AND READY TO WORK! YOU’LL SEE MANY NEW FACES ON THE EXECUTIVE BOARD, BUT THOUGH THEY MIGHT BE NEW TO THE BOARD MANY OF THEM HAVE BEEN VERY ACTIVE MEMBERS OF THE GUILD. THE LEVEL OF THEIR INVOLVEMENT RANGES FROM COMMITTEE CHAIRS TO SHOP STEWARDS TO DELEGATES; SOME ARE VERY INVOLVED IN THE WIDER ANIMATION COMMUNITY BY TEACHING SKILLS CLASSES OR HAVE A CONSIDERABLE ONLINE PRESENCE THAT IS RECOGNIZED AND FOLLOWED BY OUR MEMBERS. ON THE COVER Iwao Takamoto, the original Three of our new board members—Jack Thomas (Vice President), Laura Hohman, and K.C. Johnson (Trustee) were previous Presidents. I’m sure they will keep me on my toes. character designer for Scooby, I am so happy that they have volunteered their time to make sure that this huge ship, shares the cover with the called The Animation Guild, continues on its path toward becoming a more effective new incarnation of Scooby negotiator at our next round of contract talks coming up in the summer of 2021. from the upcoming, Scoob! Takamoto image courtesy of We are committed to improving communication and transparency so that even the busiest among us know how the union is supporting our needs. Expanding our shop steward Getty Images; Scoob! Scooby program to ensure all studios—big and small—are represented, gives us a two-way conduit courtesy of Warner Bros. to communicate and spread information more quickly and on a more personal level. We will be providing leadership and sensitivity training to all of our shop stewards so that they can be relied on as a first responder when issues come up in the workplace. Our new craft rep program, started by the Storyboard Committee co-chairs, Jake Hollander and Sydney Sharp, will allow participants to share real-time craft-specific concerns with us that can be molded into proposals for our upcoming negotiations. We are also in the initial phase of developing an app that can work seamlessly with our new member portal and database. (The database will roll out in the first quarter of 2020.) Focus groups are being conducted at various studios to hear members’ needs and expectations. This new board has also approved the exploration of creating a foundation to support our members and their families with grants, scholarships, and assistance for those in need. We have hit the ground running and are laser focused to be the most prepared for what is sure to be a big battle in 2021. In Solidarity, Jeanette Moreno King | President The Animation Guild, IATSE Local 839 ACADEMY AWARD® NOMINEE BEST ANIMATED FEATURE “THE BEST ANIMATED FILM OF THE YEAR.” “THE MOST DARING ANIMATED FILM OF THE YEAR. WONDERFUL AND TENDER.” WINNER WINNER NEW YORK FILM CRITICS ASSOCIATION LOS ANGELES FILM CRITICS ASSOCIATION BEST ANIMATED FILM BEST ANIMATED FILM WINNER WINNER NEW YORK FILM CRITICS ONLINE CHICAGO INDIE CRITICS AWARDS BEST ANIMATED FILM BEST ANIMATED FILM WINNER WINNER FLORIDA FILM CRITICS CIRCLE UTAH FILM CRITICS ASSOCIATION BEST ANIMATED FILM BEST ANIMATED FILM WINNER WINNER CANNES FILM FESTIVAL CRITICS’ WEEK ALLIANCE OF WOMEN FILM JOURNALISTS GRAND PRIZE BEST ANIMATED FILM WINNER WINNER AUSTIN FILM CRITICS ASSOCIATION ANNECY FILM FESTIVAL BEST ANIMATED FILM AUDIENCE AWARD WINNER WINNER SAN FRANCISCO BAY AREA FILM CRITICS CIRCLE ANNECY FILM FESTIVAL BEST ANIMATED FILM CRISTAL AWARD WINNER WINNER BOSTON SOCIETY OF FILM CRITICS PALM SPRINGS INTERNATIONAL ANIMATION FESTIVAL BEST ANIMATED FILM BEST ANIMATED FEATURE WINNER WINNER BLACK FILM CRITICS CIRCLE SAN DIEGO FILM CRITICS SOCIETY BEST ANIMATED FILM BEST ANIMATED FILM NETFLIXGUILDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD NETFLIX: I LOST MY BODY PUB DATE: 01/30/20 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” Get Connected! If you’re not receiving important emails from The Animation Guild—job Editor-in-Chief Alexandra Drosu listings, events, invitations, classes, Art Director Jenn Logan/Studio Fuse, Inc. and more—it’s because you haven’t Photographers Martin Cohen, Tim Sullens opted into our email system. Contributing Writers David Brain, Karen Briner, Danny Ducker, I’m running for Assembly to pursue my wife Marcella’s Kim Fay,dream Jay Fernandez, to build Evan a better Henerson, future for our children and families. I’ll work hard to create new jobs, improve our schools, keepPaula Spence our communities clean, green and safe and make sure every You can fix that inCalifornian under ahas minute: access to affordable Editorial healthcare. Assistants I would Rusteen be Honardoost, honored Marie if you Story would join me. Visit animationguild.org/email-list Publishing Committee Steve Kaplan, Jeanette Moreno King, Jason Mayer, Paula Spence Executive Board Jeanette Moreno King (PRESIDENT), Jack Thomas (VICE-PRESIDENT), Steve Kaplan (BUSINESS REPRESENTATIVE), Paula Spence (RECORDING SECRETARY), Robert St. Pierre We Support TOM CALDERON (SERGEANT-AT -ARMSfor), Jack Cusumano, State Assembly! Danny Ducker, Laura Hohman, Association for Los Angeles Deputy Sheriffs (ALADS) State Senator Ted Lieu Brandon Jarratt, K.C. Johnson (TRUSTEE), California Association of Highway Patrolmen (CAHP) State Senator Carol Liu Crystal Kan, Carrie Liao (TRUSTEE), California Correctional Peace Officers Association State Senator Gloria Negrete McLeod Mike Milo, Elisa Phillips, Stephen Silver (CCPOA) State Senator Curren Price (TRUSTEE), Emily Walus Tom Calderon Bio Final.indd 8 California Police Chiefs Association State Senator Michael Rubio Ed Hernandez State Senator Dr. State Senator Kevin de Leon State Senator Lou Correa State Senator Ron Calderon Steinberg Darrell Tem Pro State Senate President Horton of Equalization Chairman Jerome Board (retired) Superintendent of Public Torlakson Superintendent of Public Instruction Tom Instruction Jack O’Connell Democrats Los Angeles County Young California Latino Legislative Caucus United Association (UA) Local 78 Communications Union Transportation Joint Council 42 Teamsters Local 675 Sheet Metal Workers Local 105 Sheet Metal Workers District Council 36 (IUPAT) International Union ofLocal 12 Painters andInternational Allied Union Trades ofLocal 11 Operating Engineers(IBEW) Workers Electrical (IUOE) of Brotherhood International Local Lodge 1484 Workers International Association of Machinist and Aerospace California School Employees Association (CSEA) (PORAC) Police Officers Research Association (CPF Local 3821) Montebello Firefighter Association of California (IAFF Local 1014) Los Angeles County Firefighters (CPF) California Firefighters Professional California Police Chiefs Association (CCPOA) California Correctional PeaceCalifornia (CAHP) Association of Highway Patrolmen Officers Association (ALADS) Association for Los Angeles Deputy Sheriffs Advertising IngleDodd Media California Professional Firefighters (CPF) State Senator Juan Vargas Los Angeles County Firefighters (IAFF Local 1014) (310) 207-4410 Montebello Firefighter Association (CPF Local 3821) Assemblymember Michael Allen [email protected] We Support Police Officers Research Association of California Assemblymember Marty Block Editorial Offices 1105 N.
Load more

Recommended publications
  • Batman Beyond 2.0: Marked Soul Volume 3 Free Download
    BATMAN BEYOND 2.0: MARKED SOUL VOLUME 3 FREE DOWNLOAD Thony Silas,Phil Hester,Kyle Higgins | 176 pages | 22 Sep 2015 | DC Comics | 9781401258016 | English | United States BATMAN BEYOND 2.0 TP MARK OF THE PHANTASM VOL 03 After the evidence of the illegal weapon production is forcibly taken from Terry by Derek Powers, Terry subsequently steals the Batsuit, intending to bring Powers to justice. Retrieved October 23, A high-speed motorcycle chase between Terry and the Jokerz leads them to the grounds of Wayne Manor, where they run into the elderly Bruce Wayne. Barbara Gordon Robin. Later that night, Jim Tate aka Armory, one of Terry's old rogues, came home to find Hush along with his stepson and wife tied up. This is great! Green Lantern. Views Read Edit View history. Star Wars. Star Wars - Modern. Parasyte -the maxim. Silver Age. Bruce couldn't get close to Batman Beyond 2.0: Marked Soul Volume 3 because for some reason he wasn't on good terms with the police at that time. Terry and Melanie's relationship is similar to that of Bruce and Selina Kyle. Submit Back To Login. DC Universe. Download as PDF Printable version. She explains through flashbacks Batman Beyond 2.0: Marked Soul Volume 3, even though she grew to trust and respect Batman, she was aware of him aging, thus accepting the idea of either Bruce retiring or being killed at some point. Star Trek. Retrieved May 17, Terry returns home to discover that his father has been murdered, apparently by the vengeful Jokerz.
    [Show full text]
  • 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
    [Show full text]
  • Digital Dialectics: the Paradox of Cinema in a Studio Without Walls', Historical Journal of Film, Radio and Television , Vol
    Scott McQuire, ‘Digital dialectics: the paradox of cinema in a studio without walls', Historical Journal of Film, Radio and Television , vol. 19, no. 3 (1999), pp. 379 – 397. This is an electronic, pre-publication version of an article published in Historical Journal of Film, Radio and Television. Historical Journal of Film, Radio and Television is available online at http://www.informaworld.com/smpp/title~content=g713423963~db=all. Digital dialectics: the paradox of cinema in a studio without walls Scott McQuire There’s a scene in Forrest Gump (Robert Zemeckis, Paramount Pictures; USA, 1994) which encapsulates the novel potential of the digital threshold. The scene itself is nothing spectacular. It involves neither exploding spaceships, marauding dinosaurs, nor even the apocalyptic destruction of a postmodern cityscape. Rather, it depends entirely on what has been made invisible within the image. The scene, in which actor Gary Sinise is shown in hospital after having his legs blown off in battle, is noteworthy partly because of the way that director Robert Zemeckis handles it. Sinise has been clearly established as a full-bodied character in earlier scenes. When we first see him in hospital, he is seated on a bed with the stumps of his legs resting at its edge. The assumption made by most spectators, whether consciously or unconsciously, is that the shot is tricked up; that Sinise’s legs are hidden beneath the bed, concealed by a hole cut through the mattress. This would follow a long line of film practice in faking amputations, inaugurated by the famous stop-motion beheading in the Edison Company’s Death of Mary Queen of Scots (aka The Execution of Mary Stuart, Thomas A.
    [Show full text]
  • Here Comes Television
    September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business.
    [Show full text]
  • ANNUAL REPORT 2015 16 A70 TV Acad Ad.Qxp Layout 1 7/8/16 11:43 AM Page 1
    ANNUAL REPORT 2015 16_A70_TV_Acad_Ad.qxp_Layout 1 7/8/16 11:43 AM Page 1 PROUD MEMBER OF »CBS THE TELEVISION ACADEMY 2 ©2016 CBS Broadcasting Inc. MESSAGE FROM THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER AS THE QUANTITY AND QUALITY OF CONTENT HAVE INCREASED in what is widely regarded as television’s second Golden Age, so have employment opportunities for the talented men and women who create that programming. And as our industry, and the content we produce, have become more relevant, so has the relevance of the Television Academy increased as an essential resource for television professionals. In 2015, this was reflected in the steady rise in our membership — surpassing 20,000 for the first time in our history — as well as the expanding slate of Academy-sponsored activities and the heightened attention paid to such high-profile events as the Television Academy Honors and, of course, the Creative Arts Awards and the Emmy Awards. Navigating an industry in the midst of such profound change is both exciting and, at times, a bit daunting. Reimagined models of production and distribution — along with technological innovations and the emergence of new over-the-top platforms — have led to a seemingly endless surge of creativity, and an array of viewing options. As the leading membership organization for television professionals and home to the industry’s most prestigious award, the Academy is committed to remaining at the vanguard of all aspects of television. Toward that end, we are always evaluating our own practices in order to stay ahead of industry changes, and we are proud to guide the conversation for television’s future generations.
    [Show full text]
  • Resume-08-12-2021
    Mike Milo Resume updated 08-12-2021 • OBJECTIVE: • To create stories, characters and animation that move the soul and make people laugh. CREDITS: • DIRECTOR- Warner Bros. Animation-HARLEY QUINN (current) • WRITER and PUNCH-UP on unannounced Netflix/ Universal- WOODY WOODPECKER movie • Supervising DIRECTOR- Age of Learning/Animasia- YOUNG THINKER’S LABORATORY • Story Artist- Apple TV- THE SNOOPY SHOW • Story Artist- Warner Bros. Animation SCOOBY DOO HALLOWEEN • DIRECTOR- Bento Box/ Apple TV- WOLFBOY AND THE EVERYTHING TREE • Freelance Animation DIRECTOR for Cartoon Network/HBO Max’s TIG ‘n’ SEEK • SHOWRUNNER/DIRECTOR- Universal’s WOODY WOODPECKER • DIRECTOR-Warner Bros. Animation- SCOOBY DOO AND GUESS WHO • Freelance Animation DIRECTOR for Warner Bros. Animation LOONEY TUNES 1000-ongoing • Freelance Animation DIRECTOR for Cartoon Network's CRAIG OF THE CREEK • Story Artist- CURIOUS GEORGE- Universal/DreamWorks • Creator, Writer, Director, Designer, Story Artist- GENIE HUNTERS- Cartoon Network • Freelance Animation DIRECTOR for Cartoon Network's UNCLE GRAMPA • Freelance Animation DIRECTOR for Cartoon Network's Justice League Action • Freelance Animation DIRECTOR for Netflix’s STRETCH ARMSTRONG • Storyboard Supervisor/Director/Teacher/Technology consultant: storyboards, writing, animation, design, storyboard direction and timing- RENEGADE ANIMATION • Freelance Storyboards and writing- THE TOM AND JERRY SHOW- Renegade Animation Freelance Animation DIRECTOR for Cartoon Network's BEN 10 • Freelance Flash cartoons for PEOPLE MAGAZINE and ESSENCE MAGAZINE • Flash storyboards, Direction, animation and design- Education.com on BRAINZY • Freelance Exposure Sheets for Marvel Entertainment- AVENGERS ASSEMBLE • Flash storyboards for Amazon pilot: HARDBOILED EGGHEADS • •Character Design and Development- Blackspot Media NYC- IZMOCreator, Writer, Director, Designer, Story Artist- Nickelodeon development BORIS OF THE FOREST with BUTCH HARTMAN • •Story Artist at Nickelodeon Animation Studios- FAIRLY ODD PARENTS • •Freelance Character Design at Animae Studios- LA FAMILIA P.
    [Show full text]
  • Parade Rewind with Al Roker: His Idea of Perfect Weather and How Oversleeping Inspired His First App MAY 2, 2014
    Parade Rewind with Al Roker: His Idea of Perfect Weather and How Oversleeping Inspired His First App MAY 2, 2014 By ERIN HILL @ErinHillNY America’s favorite weatherman, Al Roker, stopped by to chat with Paradeabout his brand new app, Al’s Weather Rokies (available on iTunes), his early morning routine, growing up in Queens, New York, and having a spouse in the same industry. Check AlRoker.com for all the latest! Tell us about your new app, Al’s Weather Rokies. “Al’s Weather Rokies is unlike anything out there. There are gaming apps, there are weather apps, but there isn’t anything that puts the two together. So you get a forecast, you get information you need to know, but there’s a little game involved. Of course I do early morning TV, both Wake Up with Al and the Todayshow, and there was a little episode last year when I overslept for the first time. There’s a game that involves these cute little weather characters that you have to use to wake me up and help me get to the studio. So it’s both a game and a weather app.” And it incorporates your love of animation. “Yeah, I have loved animation ever since I was a little kid. I wanted to be an animator. What’s been great is that I’ve been able to use some of that in designing these apps and working with the programmers to get the animation right. It’s kind of addictive’ it’s fun. I think each of these little weather icons, these Rokies, whether it’s a cloud or a sun or a windstorm, all have their own little personality.” What were some of your favorite cartoons as a kid? “The classics, Tom and Jerry, The Roadrunner, Bugs Bunny, all the classic Disney feature animations, and then even as I got older, I still loved animation, The Animaniacs, and you move forward into Batman and Batman Beyond.
    [Show full text]
  • 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
    [Show full text]
  • Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
    “INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing.
    [Show full text]
  • Roberto Fino
    {PROFILE} {PROFILE} {PROFILE{PROFILE}} Roberto Fino Roberto Fino {OUTLINE} ISSUE 1, 2014 9 {PROFILE} Roberto Fino Italian born Roberto has a long background working in illustration and animation in across an international environment. This experienced artist shares his experience, the importance of mentorship and the beauty he finds in creating animation Outline: You have an incredible background with some the best studios in Soho. I was lucky enough to work for varied and great projects behind you. Could you share with Hibbert & Ralph, Passion Pictures, Pizzas Animation, but us some of these key projects over the years, across most of all for Klacto Animation founded by Oscar Grillo. illustration, direction, layout designing etc? Once I moved to Melbourne I started working for the TV series “The Silver Brumby” as Head of Layout Dept. and Roberto: I guess, probably the most important turning eventually I was the Art Director for the TV Animated point in my professional career, has been London. I moved series “Ocean Girl”. It was an important step because as there from Milano in the early 90’s. At the time I was Art Director you become responsible for the work of a working as Advertising Illustrator in Italy, a very soul-less team and not only yourself. In early 2000 I moved back to industry; very good money, but little creativity. London Milano to work on a couple of Animated Feature Films gave me an opening into a different world. I wasn’t trained (Johan Padan and the Discovery of the Americas, as animator so I used my Illustrative skills to work as Opopomoz) as Head of Background Dept, but finally settled Background Artist in Animation.
    [Show full text]
  • Proquest Dissertations
    mn u Ottawa L'UniversiW canadienne Canada's university ITTTT FACULTE DES ETUDES SUPERIEURES 1^=1 FACULTY OF GRADUATE AND ET POSTOCTORALES U Ottawa POSDOCTORAL STUDIES L'Universite canadienrie Canada's university Lauren Patricia Levesgue AUTEUR DE LA THESE / AUTHOR OF THESIS M.A. (Communication) GRADE/DEGREE Department of Communication FACULTE, ECOLE, DEPARTEMENT / FACULTY, SCHOOL, DEPARTMENT Media Culture, Artifact and Gender Identity: An Analysis of Bratz Dolls TITRE DE LA THESE / TITLE OF THESIS Lise Boily DIRECTEUR (DIRECTRICE) DE LA THESE / THESIS SUPERVISOR Rukhsana Ahmed CO-DIRECTEUR (CO-DIRECTRICE) DE LA THESE / THESIS CO-SUPERVISOR Sherry Ferguson C.harlene Elliott Gar.Y W- .siater Le Doyen de la Faculte des etudes superieures et postdoctorales / Dean of the Faculty of Graduate and Postdoctoral Studies Media Cuituref Artifact and Gender Identity: An Analysis of Bratz Dolls Lauren Patricia Lewesque Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partiai fulfillment of the requirements For the Master's of Arts in Communication Department of Communication Faculty of Arts University of Ottawa © Lauren Levesque, Ottawa, Canada, 2010 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-69044-4 Our file Notre reference ISBN: 978-0-494-69044-4 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une
    [Show full text]
  • Runaway Film Production: a Critical History of Hollywood’S Outsourcing Discourse
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository RUNAWAY FILM PRODUCTION: A CRITICAL HISTORY OF HOLLYWOOD’S OUTSOURCING DISCOURSE BY CAMILLE K. YALE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor John C. Nerone, Chair and Director of Research Professor James W. Hay Professor Steven G. Jones, University of Illinois at Chicago Professor Cameron R. McCarthy ABSTRACT Runaway production is a phrase commonly used by Hollywood film and television production labor to describe the outsourcing of production work to foreign locations. It is an issue that has been credited with siphoning tens of millions of dollars and thousands of jobs from the U.S. economy. Despite broad interest in runaway production by journalists, politicians, academics, and media labor interests, and despite its potential impact on hundreds of thousands—and perhaps millions—of workers in the U.S., there has been very little critical analysis of its historical development and function as a political and economic discourse. Through extensive archival research, this dissertation critically examines the history of runaway production, from its introduction in postwar Hollywood to its present use in describing the development of highly competitive television and film production industries in Canada. From a political economic perspective, I argue that the history of runaway production demonstrates how Hollywood’s multinational media corporations have leveraged production work to cultivate goodwill and industry-friendly trade policies across global media markets.
    [Show full text]