Social History of Animation “Animation Is Used As a Blunt Weapon.” -- Jakob Nielsen Professor: James Duesing Required Texts
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Disney Strike of 1941: from the Animators' Perspective Lisa Johnson Rhode Island College, Ljohnson [email protected]
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2008 The Disney Strike of 1941: From the Animators' Perspective Lisa Johnson Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Labor Relations Commons, Other Film and Media Studies Commons, Social History Commons, and the United States History Commons Recommended Citation Johnson, Lisa, "The Disney Strike of 1941: From the Animators' Perspective" (2008). Honors Projects Overview. 17. https://digitalcommons.ric.edu/honors_projects/17 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. The Disney Strike of 1941: From the Animators’ Perspective An Undergraduate Honors Project Presented By Lisa Johnson To The Department of History Approved: Project Advisor Date Chair, Department Honors Committee Date Department Chair Date The Disney Strike of 1941: From the Animators’ Perspective By Lisa Johnson An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Department of History The School of the Arts and Sciences Rhode Island College 2008 1 Table of Contents Introduction Page 3 I. The Strike Page 5 II. The Unheard Struggles for Control: Intellectual Property Rights, Screen Credit, Workplace Environment, and Differing Standards of Excellence Page 17 III. The Historiography Page 42 Afterword Page 56 Bibliography Page 62 2 Introduction On May 28 th , 1941, seventeen artists were escorted out of the Walt Disney Studios in Burbank, California. -
German Jews in the United States: a Guide to Archival Collections
GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ................................................................................................... -
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. -
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. -
Re-Imagining Animation the Changing Face of The
RiA cover UK AW.qxd 6/3/08 10:40 AM Page 1 – – – – – – Chapter 05 Chapter 04 Chapter 03 Chapter 02 Chapter 01 The disciplinary shift Approaches and outlooks The bigger picture Paul Wells / Johnny Hardstaff Paul Wells Re-imagining Animation RE-IMAGINING RE-IMAGINING ANIMATION ANIMATION – The Changing Face of the Moving Image The Changing Face Professor Paul Wells is Director of the Re-imagining Animation is a vivid, insightful Re-imagining Animation Other titles of interest in AVA's Animation Academy at Loughborough and challenging interrogation of the animated addresses animation’s role at the heart THE CHANGING THEAcademia CHANG range include: University, UK, and has published widely film as it becomes central to moving image of moving-image practice through an in the field of animation, including practices in the contemporary era. engagement with a range of moving-image Visible Signs: The Fundamentals of Animation and Animation was once works – looking at the context in which FACE OF THE FACEAn introduction OF to semiotics THE Basics Animation: Scriptwriting. constructed frame-by-frame, one image they were produced; the approach to their following another in the process of preparation and construction; the process of Visual Research: Johnny Hardstaff is an internationally constructing imagined phases of motion, their making; the critical agenda related to MOVING IMAGE MOVINGAn introduction to research IM established, award-winning designer, film- but now the creation and manipulation the research; developmental and applied methodologies in graphic design maker and artist. He is the creator of The of the moving image has changed. aspects of the work; the moving-image History of Gaming and The Future of With the digital revolution outcomes; and the status of the work within Visual Communication: Gaming, and innovative popular music videos, invading every creative enterprise and form contemporary art and design practices. -
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. -
Photography and Cinema
Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion. -
HART1023 Introduction to Experimental Animation (1 Credit)
2021-22 Fall HART1023 Introduction to Experimental Animation (1 Credit) Course Instructor: Mr Jamsen Law ([email protected] ) Program Officer: Ms Vickie Wong ([email protected]) Time: Mondays; 10:30am – 12:20 pm Venue: E-Learning classroom A (LG1) Office Hours: By appointment Course Description This introductory course aims at guiding students to explore the art of animation through producing drawing, cut-ups, roto-scoping, photographic and object animation with both digital and traditional tools. By introducing non-mainstream techniques and mediums for creating time-based imagery, students will learn both practical skills and theories of animation as a visual art form for artistic expression and communication. Through brief lecturing, students will acquaint themselves with the history and development of experimental animation and its influences to moving image arts in general. The hands-on activities will allow students to explore freely the principles of animation starting from pencil and paper to digital software and tools. Intended Learning Outcomes Upon completion of this course, students are expected to be able to: 1. Describe and appreciate the history and development of experimental animation 2. Identify and explain the stylistic and narrative elements of experimental animation 3. Develop abstract ideas into experimental animation works 1 Course Syllabus and Schedule Lesson Date Topic ILO(s) Part 1 : Pre-cinema visual media 1 6 Sep Topic: Introduction 1,2 • What is experimental and mainstream animation • What are the tools and materials -
Hiro Club News No
HIRO CLUB NEWS For your cultural life in Hiroshima Shôgi (Japanese chess) 将棋 Shôgi ranks with Go among the traditional games of Japan. Two players take turns moving pieces on a board with 81 squares; the first to capture the opponent’s king wins. Not only it is popular game but there are also official rankings set by the Japan Shôgi Federation. Shôgi is very similar to chess. It is believed that both go back to the same Indian game which traveled to the West through Persia to become the basis of chess. Introduced into Japan through China around the 8th century, special rules were added, and it became what we now call shogi. The pieces are five-sided oblong tiles with the name of each piece in black characters on the face and red on the back. A special feature is that players can use captured pieces, setting them down anywhere on the board. Therefore you have to anticipate what the other player will do with a captured piece. Pieces that reach the opponent’s territory can be turned over and used in advantageous ways. <Pieces and how they are moved> è Ôshô (王将): One. Backward, forward, left, right and diagonally, one square at a time (like the king in chess) è Hisha (飛車): One. Backward, forward, left and right (like the rook) è Kakugyô (角行): One. Diagonally (like the bishop) è Kinshô (金将): Two. Diagonally in any direction except backwards, one square at a time. è Ginshô (銀将): Two. Forward, and diagonally one square at a time. è Keima (桂馬): Two. -
The Illusion of Life: Disney Animation Interactive Edition
The Illusion of Life: Disney Animation Interactive Edition By Michelle L. Walsh Submitted to the Faculty of the Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology University of Cincinnati College of Applied Science June 2006 The Illusion of Life: Disney Animation Interactive Edition by Michelle L. Walsh Submitted to the Faculty of the Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology © Copyright 2006 Michelle Walsh The author grants to the Information Technology Program permission to reproduce and distribute copies of this document in whole or in part. ___________________________________________________ __________________ Michelle L. Walsh Date ___________________________________________________ __________________ Sam Geonetta, Faculty Advisor Date ___________________________________________________ __________________ Patrick C. Kumpf, Ed.D. Interim Department Head Date Acknowledgements A great many people helped me with support and guidance over the course of this project. I would like to give special thanks to Sam Geonetta and Russ McMahon for working with me to complete this project via distance learning due to an unexpected job transfer at the beginning of my final year before completing my Bachelor’s degree. Additionally, the encouragement of my family, friends and coworkers was instrumental in keeping my motivation levels high. Specific thanks to my uncle, Keith -
The Walt Disney Silly Symphony Cartoons and American Animation in the 1930S
Exploration in Imagination: The Walt Disney Silly Symphony Cartoons and American Animation in the 1930s By Kendall Wagner In the 1930s, Americans experienced major changes in their lifestyles when the Great Depression took hold. A feeling of malaise gripped the country, as unemployment rose, and money became scarce. However, despite the economic situation, movie attendance remained strong during the decade.1 Americans attended films to escape from their everyday lives. While many notable live-action feature-length films like The Public Enemy (1931) and It Happened One Night (1934) delighted Depression-era audiences, animated cartoon shorts also grew in popularity. The most important contributor to the evolution of animated cartoons in this era was Walt Disney, who innovated and perfected ideas that drastically changed cartoon production.2 Disney expanded on the simple gag-based cartoon by implementing film technologies like synchronized sound and music, full-spectrum color, and the multiplane camera. With his contributions, cartoons sharply advanced in maturity and professionalism. The ultimate proof came with the release of 1937’s Snow White and the Seven Dwarfs, the culmination of the technical and talent development that had taken place at the studio. The massive success of Snow White showed that animation could not only hold feature-length attention but tell a captivating story backed by impressive imagery that could rival any live-action film. However, it would take nearly a decade of experimentation at the Disney Studios before a project of this size and scope could be feasibly produced. While Mickey Mouse is often solely associated with 1930s-era Disney animation, many are unaware that alongside Mickey, ran another popular series of shorts, the Silly Symphony cartoons. -
S~Q~~A,;U,Q , , H~Ait#Q~ Ar 79.5111 J...FJ/.5 ~.3
S~Q~~A,;u,Q , , H~Ait#Q~ Ar 79.5111 J...FJ/.5 ~.3 Five Improvisations by Paul Glabicki. ' ' ' ' Moon Breath Beat by Lisze Bechtold . The following film programs include a collection of films that are diverse in their style and content but similar in their independent production values. The artists behind each film chose to produce their films outside the commercial film industry thus enabling them the freedom to personally form their film and, oftentimes, find alternatives to the traditional formats . s~ THE PERSONAL CINEMA . ...... .. .... ... ..... ..... .............. 2-5 ANIMATION ... .... .... .. .. .. ....... .... .... .... ...... 6-8 DOCUMENTARY ................................. ... .. ... ....... 9-10 SOUTHERN SNAPSHOTS . .. ..................................... 11-14 NEW FILMS FROM THE NEW SOUTH .......... ....................... 15 DANCE ... .. .... .. .............. .......... .. ....... .. ...... 16 DREAMS, TALES AND LEGENDS .. .... .. ............ .. ......... 17-19 HUMOR, PARODY & SATIRE ........ .. ....... ..................... 20 CREATIVITY ....... .. .... .. .... .. ......... ... ... ... ............ 21 ADVENTURES ................................................... 22-23 TEACHING FILM WITH FILM ....................................... 24-26 STUDENT-MADE FILMS ................... .. .. .... .. .. ......... 27 *AT THE MOVIES WITH BAD DOG ...... .. ....... ................... 28-33 INDEX OF FILMS ...... .... ......... .. ......................... 34-35 GENERAL INFORMATION ....... ................................. .. 36 *AT