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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 -
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. -
NATIONAL FILM BOARD of CANADA FEATURED at Moma
The Museum off Modern Art 50th Anniversary NO. 16 ID FOR IMMEDIATE RELEASE March 3, 1981 DOCUMENTARY FILMS FROM THE NATIONAL FILM BOARD OF CANADA FEATURED AT MoMA NATIONAL FILM BOARD OF CANADA: A RETROSPECTIVE is a three-part tribute presented by The Museum of Modern Art in recog nition of NFBC's 41 years Of exceptional filmmaking. PART TWO: DOCUMENTARY FILMS, running from March 26 through May 12 in the Museum's Roy and Niuta Titus Auditorium, will trace the develop ment of the documentary form at NFBC, and will be highlighted by a selection of some of the finest films directed by Donald Brittain, whose work has won wide acclaim and numerous awards. PART TWO: DOCUMENTARY will get off to an auspicious start with twelve of Donald Brittain's powerful and unconventional portraits of exceptional individuals. Best known in this country for "Volcano: An Inquiry Into The Life and Death of Malcolm Lowry" (1976), Brittain brings his personal stamp of creative interpretation to such subjects as America's love affair with the automobile in "Henry Ford's America" (1976) ; the flamboyant Lord Thompson of Fleet Street (the newspaper baron who just sold the cornerstone of his empire, The London Times) in "Never A Backward Step" (1966); Norman Bethune, the Canadian poet/ doctor/revolutionary who became a great hero in China when he marched with Mao ("Bethune" 1964); and the phenomenal media hysteria sur rounding the famous quintuplets in "The Diorme Years" (1979) . "Memo randum" (1965) accompanies a Jewish glazier from Tcronto when he takes his son back to the concentration camp where he was interned, an emotion al and historical pilgrimage of strong impact and sensitivity. -
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Norman Jewison ÙÙ ŠÙ„Ù… قائمة (ÙÙ ŠÙ„Ù… وغراÙÙ ŠØ§) The Million Dollar https://ar.listvote.com/lists/film/movies/the-million-dollar-incident-24886775/actors Incident Other People's https://ar.listvote.com/lists/film/movies/other-people%27s-money-1168292/actors Money Your Hit Parade https://ar.listvote.com/lists/film/movies/your-hit-parade-1248132/actors The Statement https://ar.listvote.com/lists/film/movies/the-statement-1272835/actors The Thrill of It All https://ar.listvote.com/lists/film/movies/the-thrill-of-it-all-1459325/actors Gaily, Gaily https://ar.listvote.com/lists/film/movies/gaily%2C-gaily-1491295/actors Only You https://ar.listvote.com/lists/film/movies/only-you-1540554/actors Dinner with Friends https://ar.listvote.com/lists/film/movies/dinner-with-friends-21088423/actors In Country https://ar.listvote.com/lists/film/movies/in-country-230482/actors Bogus https://ar.listvote.com/lists/film/movies/bogus-290490/actors 40 Pounds of https://ar.listvote.com/lists/film/movies/40-pounds-of-trouble-3598081/actors Trouble The Art of Love https://ar.listvote.com/lists/film/movies/the-art-of-love-3818763/actors Agnes of God https://ar.listvote.com/lists/film/movies/agnes-of-god-394816/actors The Cincinnati Kid https://ar.listvote.com/lists/film/movies/the-cincinnati-kid-499680/actors Rollerball https://ar.listvote.com/lists/film/movies/rollerball-627209/actors The Barris Beat https://ar.listvote.com/lists/film/movies/the-barris-beat-7715705/actors The Big Revue https://ar.listvote.com/lists/film/movies/the-big-revue-7717767/actors The Judy Garland https://ar.listvote.com/lists/film/movies/the-judy-garland-show-7743788/actors Show Best Friends https://ar.listvote.com/lists/film/movies/best-friends-83623/actors Send Me No Flowers https://ar.listvote.com/lists/film/movies/send-me-no-flowers-942355/actors F.I.S.T. -
Fieldnotes Seth Feldman Interviewed by Janine Ma... (Completed 06/30/18) Page 1 of 14 Transcript by Rev.Com
Janine M: Hello, my name is Janine Marchessault. I'm a professor in the Department of Cinema and Media Arts at York University. Today is March 17, 2018. We are at the SCMS Conference in Toronto at the beautiful Sheraton. I have the great honor today of interviewing one of the Founders of Canadian Film studies, Seth Feldman. Seth is my colleague at York University. I have taken courses with Seth Feldman. I am involved in an ongoing research project to excavate the lost films of Expo 67, a project which Seth helped to initiate. Janine M: He is an author, a broadcaster, a film programmer and a professor, as I said, at York University. He graduated from Johns Hopkins University with a degree in History. Before going on to study at SUNY Buffalo and help to manage the legendary Center for Media Studies, which was founded by the great Jerry O'Grady. He wrote the first, or one of the first, doctoral dissertations in English, on the films of Dziga Vertov. While working at the University of Western Ontario, he co-edited with Joyce Nelson, the first book devoted to Canadian cinema, the Canadian Film Reader. He is a founder and a past president of the Film Studies Association of Canada. He's published widely on Canadian Cinema, including Take Two, a second anthology on Canadian film. He also published Allan King, documentary filmmaker. Janine M: In addition to all of this activity, helping to found Canadian film studies as a field of study, Seth was also an author and broadcaster of 26 radio documentaries for the Canadian broadcasting corporation, and for the program ideas. -
A SALUTE to the NATIONAL FILM BOARD of CANADA Includes Sixteen Films Made Between
he Museum of Modern Art 1^ 111 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Mo, 38 FOR IMMEDIATE RELEASE Tuesday, April 25, 1967 On the occasion of The Canadian Centennial Week in New York, the Department of Film of The Museum of Modem Art will present A SALUTE TO THE NATIONAL FILM BOARD OF CANADA. Sixteen films produced by the National Film Board will be shown daily at the Museum from May U through May V->, except on Wednesdays. The program will be inaugu rated with a special screening for an invited audience on the evening of May 3j pre sented by The Consul General of Canada and The Canada Week Committee in association with the Museum. The National Film Board of Canada was established in 1939, with John Grierson, director of the British General Post Office film unit and leading documentary film producer, as Canada's first Government Film Commissioner, Its purpose is-to Jjiitdate and promote the production and distribution of films in the-uational int^rest^ \i\ par« ticular, films designed to interpret Canada to -Canadians and to other nations. Uniquely, each of its productions is available for showing in Canada as well as . abroad* Experimentation in all aspects of film-making has been actively continued and encouraged by the National Film Board. Funds are set aside for experiments, and all filmmakers are encouraged to attempt new techniques. Today the National Film Board of Canada produces more than 100 motion pictures each year with every film made in both English and French versions. -
Introductory Animation Principles Principles of Animated Motion Inspiration
Introductory Animation Principles Principles of Animated Motion Inspiration • Norman McLaren • Born in1914 in Stirling, Scotland. Died in Montreal, 1987. • NFB > Focus on Animation > Norman McLaren • McLaren 2014 Norman McLaren • The National Film Board of Canada was founded in 1939. • The British documentary film-maker John Grierson was appointed to be the first Head of the NFB. • In 1941, Grierson asked his friend and colleague McLaren to join the NFB, to be in charge of producing short animated films for the war effort. McLaren had been working in England and New York, using direct animation (drawing directly on 35-mm film). • At the Board, McLaren recruited young artists from across Canada to assist him, like George Dunning, Grant Munro and Rene Jodin. This group of individuals eventually became the animation department at the NFB. • The early films were done very inexpensively with a minimum of means because of scarce resources due to the war, but the films were completed with charm and vitality. • After WW II, the animators at the Board were able to focus their attention on more personal projects. Norman McLaren • After WW II, the animators at the Board were able to focus their attention on more personal projects. • McLaren became recognized internationally for his innovative technical achievements: • Drawing on film - he made “Begone Dull Care” (1949) made with Eve Lambert, with music by the Oscar Peterson Trio • Pixilation - he directed/animated actors frame by frame in front of the camera • Animated sound - when he drew and photographed optical sound, for films like “Neighbours” (1952) and “A Chairy Tale” (1957) for example • “Neighbours” won an Oscar in 1952. -
CBS, Rural Sitcoms, and the Image of the South, 1957-1971 Sara K
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971 Sara K. Eskridge Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Eskridge, Sara K., "Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971" (2013). LSU Doctoral Dissertations. 3154. https://digitalcommons.lsu.edu/gradschool_dissertations/3154 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RUBE TUBE: CBS, RURAL SITCOMS, AND THE IMAGE OF THE SOUTH, 1957-1971 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Sara K. Eskridge B.A., Mary Washington College, 2003 M.A., Virginia Commonwealth University, 2006 May 2013 Acknowledgements Many thanks to all of those who helped me envision, research, and complete this project. First of all, a thank you to the Middleton Library at Louisiana State University, where I found most of the secondary source materials for this dissertation, as well as some of the primary sources. I especially thank Joseph Nicholson, the LSU history subject librarian, who helped me with a number of specific inquiries. -
NORMAN MCLAREN RETROSPECTIVE at Moma
The Museum of Modern Art 50th Anniversary NO. 7 no FOR IMMEDIATE RELEASE NORMAN MCLAREN RETROSPECTIVE AT MoMA As part of NATIONAL FILM BOARD OF CANADA: A RETROSPECTIVE, Norman McLaren, master animator and founder of the Board's an imation unit in 1941, will be honored with a retrospective of virtually all the films he made at NFBC. Part One of MoMA's NFBC Retrospective, ANIMATION, runs from January 22 through February 16, and presents a survey of 150 animated films. Five programs of the extraordinary and influential work of Norman McLaren will be presented from February 12 through 16. "Animation came to the National Film Board of Canada in 1941 with the person of Norman McLaren. In 1943, after having recruited George Dunning, Jim MacKay and Grant Munro, it was McLaren who was put in charge of the first animation workshop. The earliest films were craftsmanlike, having a more utilitarian than aesthetic character. After the war the time of the artist came about. The spirit and goals of the animation unit changed; the styles and techniques became more and more refined leading to today's sophisticated animation." —Louise Beaudet, Head of Animation Department, Cinematheque quebecoise, Montreal "Norman McLaren (Stirling, Scotland, 1914) completed his first abstract films in 1933 while a student at the Glasgow School of Art, Here he attracted the attention of John Grierson, who invited the young man upon graduation to make promotional films for the General Post Office in London. McLaren worked for the GPO from 1936 until 1939 when, at the onset of war, he moved to New York. -
Your Source for New Canadian Stamps
M AY 2014 | No.4 Details Your source for new Canadian stamps Empress of Ireland 1914-2014 Inside • National Film Board of Canada • UNESCO World Heritage Sites EMPR ESS OF IRELAND C NO TE TS 100th Anniversary Collection M AY 2014 | No.4 6 National Film Board of Canada, 75th Anniversary Five groundbreaking productions complete our stamp issue honouring NFB filmmakers who have focused their lenses on quintessentially Canadian experiences. Only 6,000 produced 8 UNESCO World Heritage Sites in Canada Recognized by UNESCO, these five World 95 Heritage sites give visitors a peek into the $99 lives of our ancestors. Empress of Ireland 100th Anniversary Collection 12 Empress of Ireland 244257 L earn about a sad and widely unknown story – the sinking of the Royal Mail Ship Empress of Ireland, Canada’s worst peacetime marine disaster. Unique collectibles only available in this collection 16 Royal Canadian Mint Coins Sold at Canada Post C ollectible coins of all kinds for all occasions. 20 Still Available Get them while you still can. A richly detailed 36-page colour book, telling the story of the RMS Empress of Ireland – her construction, her eight years of service, and events before and after the tragedy. The Collection is presented in a foil-stamped, embossed leatherette folder, inset with a brass plaque. DI ETA LS Details is published by Canada Post. Write to Director, Stamp Services: Jim Phillips STAMP SERVICEs – DETAILS Director, Marketing and Brand: Nancy Wright CANADA POST Co-ordinator: Monica Desjardins 2701 RIVERSIDE DR SUITE N1070 Staff contributors: Joy Parks, Will Manzer OTTAWA ON K1A 0B1 CANADA Translation: Anne Joyal Printed in Canada. -
Norman Mclaren: Between the Frames
Dobson, Nichola. "Bibliography." Norman McLaren: Between the Frames. London: Bloomsbury Academic, 2017. 163–165. Animation: Key Films/ Filmmakers. Bloomsbury Collections. Web. 28 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 09:43 UTC. Copyright © Nichola Dobson 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. 163 BIBLIOGRAPHY Aitken, Ian. Film and Reform: John Grierson and the Documentary Film Movement. London: Routledge . 1990. Aitken , Ian. (Ed.). Encyclopedia of the Documentary Film . New York : Routledge , 2006 . Auslander , Philip . From Acting to Performance: Essays in Modernism and Postmodernism . London : Routledge , 1997 . Auslander , Philip . ‘ Reactivation: Performance, Mediatization and the Present Moment ’, in Maria Chatzichristodoulou , Janis Jeff eries and Rachel Zerihan (Eds), Interfaces of Performance . Farnham, Surrey : Ashgate Publishing, 2009. Beck , Jerry. (Ed.) Animation Art . London : Flame Tree Publishing , 2004 . Beveridge, James. John Grierson: Film Master , New York: Macmillan, 1978, pp. 80– 81. Beveridge , Nina . Th e Idealist: James Beveridge, Film Guru , http:// www.beevision.com/ JAB/ father1.shtml (accessed 12 February 2014). Bial , Henry . (Ed.) Th e Performance Studies Reader . New York : Routledge , 2004 . Butler , Judith . ‘ Performative Arts and Gender Constitution ’, in Henry Bial (Ed.), Th e Performance Studies Reader . New York : Routledge , 2004 . Craft on , Donald . Shadow of a Mouse . Berkeley : University of California Press, 2013. Curtis , David . ‘Animated Cinema’, ‘Th e Movie’, Th e Illustrated History of the Cinema. Issue 33. London: Orbis Publishing, 1980, 654. Cutler, May Ebbitt. ‘Norman McLaren Refl ections on a Life’, Canada Cinema , vol. -
Norman Mclaren: Between the Frames
Dobson, Nichola. "Influential Arts." Norman McLaren: Between the Frames. London: Bloomsbury Academic, 2017. 109–132. Animation: Key Films/ Filmmakers. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781501328800.ch-004>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 11:41 UTC. Copyright © Nichola Dobson 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. 109 Chapter 4 I NFLUENTIAL ARTS McLaren found inspiration and infl uence in many aspects of his life, with early talent undoubtedly informed, by his family and their interior decorating busi- ness. A fl air for this could be seen in early examples of drawing and design completed while he attended Stirling High School and then Glasgow School of Art. It has been outlined elsewhere 1 that he was infl uenced by early interests in music and dance and these rather substantive aspects of interest are examined in more depth later in this chapter. Th is section considers some of the earlier, formative experiences that remained with him throughout his career, from his Art School education, through to some of the pioneering animators, and which he would later cite as being so infl uential to him. Th e chapter begins with a discussion of his painting habit; something which would remain with him throughout his life and would even be used as a meta- phor when describing his process of direct animation: ‘And so my militant phi- losophy is this: to make with a brush on canvas is a simple and direct delight – to make a movie should be the same’.