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About the Crew Masaaki Tanabe
ABOUT THE CREW MASAAKI TANABE (Director) Masaaki Tanabe personally felt the A-bomb devastation and loss of his family as a young boy. After years of struggling to even speak about his unconscionable experience, he interviewed several hibakusha (atomic bomb survivors) and former residents of Hiroshima, who have first-hand knowledge of life before the bomb. As a Hiroshima A-bomb survivor, this documentary is his mission to remember what was lost and the hope for future peace. Tanabe is a documentary film director, author, and the president of Knack Imagery Production Center. He was born in his family home directly adjacent to the Industrial Promotional Hall which is now known as the Atomic Bomb Dome. It stands less than 200 feet away from ground zero. Along with him, his mother and baby brother had been evacuated 37 miles away to his grandmother’s house in Yamaguchi Prefecture. Two days before the bomb fell, his mother and brother had returned to Hiroshima to care for his father. At 7 years old, he went with his grandmother into the devastated city to look for his mother, father, and brother. His mother and baby brother are believed to have died in the house they grew up in. His father was badly burned and reached his grandmother’s house in Yamaguchi days later, but did not survive. He lost his entire family. As a young man, Tanabe was exposed to Western culture and learned to appreciate American and European cinema. Classic movies changed his outlook on life. They changed his view of America. -
Digital Surrealism: Visualizing Walt Disney Animation Studios
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns. -
Spatial Design Principles in Digital Animation
Copyright by Laura Beth Albright 2009 ABSTRACT The visual design phase in computer-animated film production includes all decisions that affect the visual look and emotional tone of the film. Within this domain is a set of choices that must be made by the designer which influence the viewer's perception of the film’s space, defined in this paper as “spatial design.” The concept of spatial design is particularly relevant in digital animation (also known as 3D or CG animation), as its production process relies on a virtual 3D environment during the generative phase but renders 2D images as a final product. Reference for spatial design decisions is found in principles of various visual arts disciplines, and this thesis seeks to organize and apply these principles specifically to digital animation production. This paper establishes a context for this study by first analyzing several short animated films that draw attention to spatial design principles by presenting the film space non-traditionally. A literature search of graphic design and cinematography principles yields a proposed toolbox of spatial design principles. Two short animated films are produced in which the story and style objectives of each film are examined, and a custom subset of tools is selected and applied based on those objectives. Finally, the use of these principles is evaluated within the context of the films produced. The two films produced have opposite stylistic objectives, and thus show two different viewpoints of applying the toolbox. Taken ii together, the two films demonstrate application and analysis of the toolbox principles, approached from opposing sides of the same system. -
Film Director Pick up Liens
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Suggestions for Top 100 Family Films
SUGGESTIONS FOR TOP 100 FAMILY FILMS Title Cert Released Director 101 Dalmatians U 1961 Wolfgang Reitherman; Hamilton Luske; Clyde Geronimi Bee Movie U 2008 Steve Hickner, Simon J. Smith A Bug’s Life U 1998 John Lasseter A Christmas Carol PG 2009 Robert Zemeckis Aladdin U 1993 Ron Clements, John Musker Alice in Wonderland PG 2010 Tim Burton Annie U 1981 John Huston The Aristocats U 1970 Wolfgang Reitherman Babe U 1995 Chris Noonan Baby’s Day Out PG 1994 Patrick Read Johnson Back to the Future PG 1985 Robert Zemeckis Bambi U 1942 James Algar, Samuel Armstrong Beauty and the Beast U 1991 Gary Trousdale, Kirk Wise Bedknobs and Broomsticks U 1971 Robert Stevenson Beethoven U 1992 Brian Levant Black Beauty U 1994 Caroline Thompson Bolt PG 2008 Byron Howard, Chris Williams The Borrowers U 1997 Peter Hewitt Cars PG 2006 John Lasseter, Joe Ranft Charlie and The Chocolate Factory PG 2005 Tim Burton Charlotte’s Web U 2006 Gary Winick Chicken Little U 2005 Mark Dindal Chicken Run U 2000 Peter Lord, Nick Park Chitty Chitty Bang Bang U 1968 Ken Hughes Chronicles of Narnia: The Lion, PG 2005 Adam Adamson the Witch and the Wardrobe Cinderella U 1950 Clyde Geronimi, Wilfred Jackson Despicable Me U 2010 Pierre Coffin, Chris Renaud Doctor Dolittle PG 1998 Betty Thomas Dumbo U 1941 Wilfred Jackson, Ben Sharpsteen, Norman Ferguson Edward Scissorhands PG 1990 Tim Burton Escape to Witch Mountain U 1974 John Hough ET: The Extra-Terrestrial U 1982 Steven Spielberg Activity Link: Handling Data/Collecting Data 1 ©2011 Film Education SUGGESTIONS FOR TOP 100 FAMILY FILMS CONT.. -
The Fisher King
Movies & Languages 2017-2018 Zootropolis About the movie (subtitled version) DIRECTOR Byron Howard (story), Rich Moore (story), Jared Bush (story & screenplay) YEAR / COUNTRY 2016 / USA GENRE 3D American computer-animated Comedy- Adventure film ACTORS Voice cast: G. Goodwin, J. Batemen, I. Elba, J. Slate, N. Torrence, B. Hunt, D. Lake, T. Chong, J.K. Simmons, O. Spencer, A. Tudyk and Shakira PLOT Zootopia takes place in a world of anthropomorphic mammals living in an intricate network of ecosystems like ritzy Sahara Square and frigid Tundratown, where mammals co-exist (more or less) despite numerous class distinctions. The story focuses on Judy Hoops a plucky rabbit who becomes Zootopia’s first official bunny cop thanks to a “Mammal Inclusive Initiative” focused on recruiting cops of diverse backgrounds. Assigned to Zootopia’s police precinct, Judy shows up for work, the tiniest recruit in a field dominated by rams, elephants, lions etc.! But the life lessons continue to accumulate when gruff bullheaded Chief Bogo (a cape buffalo) assigns Judy to menial parking ticket duty rather than allow her to work on a mammal-missing case, unwilling to acknowledge Judy as a real officer because of her species. Judy soon realizes that the city’s “perfection” falls a little too short and learns that Zootopia isn’t at all like her idealized version. Predators (10%) and prey (90%) do not all get along like a big commune: there are tensions, prejudices among all the animals. Among other things, Judy also has to overcome unfair preconceptions about her own abilities. However, determined to prove herself, Judy volunteers to undertake the mammal-missing case and given 48 hours to solve the case or resign. -
Animated Stereotypes –
Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Alexander Lindgren, 36761 Pro gradu-avhandling i engelska språket och litteraturen Handledare: Jason Finch Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2020 ÅBO AKADEMI – FACULTY OF ARTS, PSYCHOLOGY AND THEOLOGY Abstract for Master’s Thesis Subject: English Language and Literature Author: Alexander Lindgren Title: Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Supervisor: Jason Finch Abstract: Walt Disney Animation Studios is currently one of the world’s largest producers of animated content aimed at children. However, while Disney often has been associated with themes such as childhood, magic, and innocence, many of the company’s animated films have simultaneously been criticized for their offensive and quite problematic take on race and ethnicity, as well their heavy reliance on cultural stereotypes. This study aims to evaluate Disney’s portrayals of racial and ethnic minorities, as well as determine whether or not the nature of the company’s portrayals have become more culturally sensitive with time. To accomplish this, seven animated feature films produced by Disney were analyzed. These analyses are of a qualitative nature, with a focus on imagology and postcolonial literary theory, and the results have simultaneously been compared to corresponding criticism and analyses by other authors and scholars. Based on the overall results of the analyses, it does seem as if Disney is becoming more progressive and culturally sensitive with time. However, while most of the recent films are free from the clearly racist elements found in the company’s earlier productions, it is quite evident that Disney still tends to rely heavily on certain cultural stereotypes. -
From Snow White to Frozen
From Snow White to Frozen An evaluation of popular gender representation indicators applied to Disney’s princess films __________________________________________________ En utvärdering av populära könsrepresentations-indikatorer tillämpade på Disneys prinsessfilmer __________________________________________________ Johan Nyh __________________________________________________ Faculty: The Institution for Geography, Media and Communication __________________________________________________ Subject: Film studies __________________________________________________ Points: 15hp Master thesis __________________________________________________ Supervisor: Patrik Sjöberg __________________________________________________ Examiner: John Sundholm __________________________________________________ Date: June 25th, 2015 __________________________________________________ Serial number: __________________________________________________ Abstract Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. -
Tangled Study Notes Disney Studios Motion Pictures ©Walt
Tangled Study Notes Pictures Motion Studios Disney ©Walt Directed by: Nathan Greno and Byron Howard Certificate: PG (contains mild violence, threat and brief sight of blood) Running time: 108 mins Release date: 21 January 2011 Synopsis: Disney presents a new twist on one of the most hair-raising tales ever told. When the kingdom’s most wanted – and most charming – bandit Flynn Rider hides in a mysterious tower, the last thing he expects to find is Rapunzel, a spirited teen with an unlikely superpower – 70 feet of magical golden hair! Together, the unlikely duo sets off on a fantastic journey filled with surprising heroes, laughter and suspense. (Disney.go.com/disneypictures/tangled) The activities in these Study Notes address aspects of the curriculum for Literacy, Drama, Maths (24 hour clocks and timetabling, Year 5) and Art for pupils aged 5-11. 1 www.filmeducation.org www.nationalschoolsfilmweek.org ©Film Education July 2011. Film Education is not responsible for the content of external websites. Before seeing the film 1. The long-haired heroine of Tangled, Rapunzel, has grown up grounded. She lives in a tower in the middle of a forest. She dreams of being able to escape from her tower for just one day. If you were able to take her out for one day, what would you show her? Choose carefully, as you only have one day. Timetable your day, showing how you would structure your activities with Rapunzel. 2. The actors behind the animation in Tangled had the task of bringing the character to life using just their voices. -
An Analysis of Moral Values in Zootopia Movie
AN ANALYSIS OF MORAL VALUES IN ZOOTOPIA MOVIE THESIS Submitted by: MAULIDIA HUMAIRA Student of Department of English Language Education Faculty of Education and Teacher Training Reg. No: 231324225 FACULTY OF EDUCATION AND TEACHER TRAINING AR-RANIRY STATE ISLAMIC UNIVERSITY DARUSSALAM-BANDA ACEH 2018/1439 H ACKNOWLEDGEMENT Alhamdulillah, All praises be to Allah ‘azzawajalla, the most gracious, the most merciful, andthe most beneficent who has given me love and blessing that made me able to finish this research and writing this thesis. Peace and salutation be upon our beloved prophet Muhammad SAW, his family and companions has struggled whole heartedly to guide ummah to the right path. On this occasion with great humility, I would like to thank to all of those who help me and guidance, so that this thesis can be finished in time. Completion of writing this thesis, I would like to thanks Dr. Muhammad Nasir, M.Hum and Mr. T. Murdani, S.Ag, M.IntlDev as my supervisor forgiving the useful supervision, guidance and constructive ideas during the process of completing this thesis. Also I would like to express my gratitude and high appreciation to my beloved father Burhanuddin, and my lovely mother Rasunah for their wisdom, patience, love, attention, support and care. I also bestow my thankfulness to my beloved sisters Puspitasari and Safrida , my brothers Hafidh Kurniawan and Muhammad Irfan, and my cousins Putri Nabila Ulfa and Maulizahra, for their endless love who inspired and motivated me all along accomplishing this thesis. My special thanks to my academic advisor Mr. Dr.Syarwan, M.LIS, who has supervised me since I was first semester until now. -
DAVID FLUHR (Continued)
David E. Fluhr, C.A.S. Re-Recording Mixer Awards & Nominations 1 CAS Award; 6 CAS Nominations 9 Emmy Awards; 38 Emmy Nominations (1984-1998) Selected Credits Director/Picture Editor/Production Co. TINKER BELL AND THE GREAT FAIRY RESCUE Bradley Raymond/ Lisa Linder & Kevin Locarro/Disney Toon Studios TANGLED Nathan Greno & Byron Howard/Tim Mertens/ Walt Disney Pic STEP UP 3-D John Chu/Andrew Marcus/Walt Disney Pic PREP & LANDING Kevin Deters & Stevie Wermers/William Caparella/ Walt Disney Pic THE PRINCESS AND THE FROG Ron Clements & John Musker/Jeff Draheim/ Walt Disney Pic SURROGATES Jonathan Mostow/Kevin Stitt/Walt Disney Pic TINKER BELL AND THE LOST TREASURE Klay Hall/Alan Stewart/Disney Toon Studios THE JONAS BROTHERS 3D CONCERT Bruce Hendricks/ Michael Tronick/Walt Disney Pic THE UNINVITED (addl. re-recording) Charles & Thomas Guard/Jim Page/ DreamWorks SUPER RHINO (Short Film) Nathan Greno/ Shannon Stein/ Walt Disney Pic BOLT Byron Howard & Chris Williams/Walt Disney Pic HANNAH MONTANA BEST OF BOTH Bruce Hendricks/Michael Tronick/Walt Disney Pic WORLDS CONCERT TOUR-3D COLLEGE ROAD TRIP Roger Kumble/Roger Bondelli/ Walt Disney Pic ENCHANTED (music re-recording mixer) Kevin Lima/Gregory Perler/Walt Disney Pictures THE GUARDIAN Andrew Davis/Dennis Virkler/Touchstone Pictures MEET THE ROBINSONS Stephen Anderson/Ellen Keneshea/Walt Disney Pic THE LOOKOUT Scott Frank/Jill Savitt/Miramax, Spyglass BARNYARD Steve Oedekerk/Paul Calder/Paramount BLACK SNAKE MOAN Craig Brewer/Billy Fox/Paramount CHICKEN LITTLE Mark Dindal/Dan Molina/Walt Disney Pictures THE GREAT RAID John Dahl/Pietro Scalia/Miramax THE GREATEST GAME EVER PLAYED Bill Paxton/Elliot Graham/Walt Disney Pictures THE ALAMO John Lee Hancock/Eric Beason/Imagine Ent. -
04 17 2012 Sect 2 (Pdf)
Grass & Grain, April 17, 2012 Page 17 FDA antibiotics guidance Moundridge students offered a helping hand In tough economic times, often parents Communities presentation in the paper, so problematic for producers cannot provide their children with all the I thought I would sign up,” Goering said. tools they need for a good education. The “It’s great for the Monsanto Fund to give The loss of and restrict- A study conducted by and disease prevention. A costs of school supplies and extracurricu- back to our community.” ed access to products ex- Kansas State University 2001 report, “Hogging It,” lar activities can add up quickly. Students The school district will use the $2,500 to pected with implementa- shows that opponents of from the Union of Con- from Moundridge School District will now help provide students in need with food tion of the U.S. Food and antibiotics use in livestock cerned Scientists claimed need a little less assistance thanks to a cards, school supplies, clothing, sports Drug Administration’s production wildly overes- that 10.3 million pounds a local farmer and America’s Farmers Grow physicals, practice gear, and field trip SM guidance on the use of an- timate the amount given to year are used. Communities . fees, among other items. tibiotics in livestock and food animals. “The UCS report should Grow Communities, sponsored by the “The Moundridge School District is poultry production likely Using data from a 2006 have been titled ‘Fabricat- Monsanto Fund, gives farmers the oppor- honored to receive a donation from Amer- will disproportionately af- U.S.