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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 -
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. -
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 -
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. -
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation. -
Walt Disney and Animation
Name: _________________________ Walt Disney and Animation Directions: Read the passage and answer the questions. Fascinating facts about Walt Disney, Inventor of the Multiplane Camera in 1936. From http://www.ideafinder.com/history/inventors/disney.htm AT A GLANCE: Walt Disney, inventor of the multiplane camera in 1936, is a legend and a folk hero of the 20th century. His worldwide popularity is based upon the ideas his name represents: imagination, optimism, and self-made success in the American tradition. Through his work he brought joy, happiness, and a universal means of communication. Inventor: Walter Elias Disney Criteria: First to invent. First to patent. Entrepreneur.. Birth: December 5, 1901 in Chicago, Illinois. Death: December 16, 1966 Nationality: American Invention: Multiplane Camera in 1936 Function: noun / still frame motion picture camera Definition: Disney’s invention of the multiplane camera brought better looking, richer animation and in 1937, Snow White and the Seven Dwarfs was the first full-length animated film to use the camera. Patent: 2,201,689 (US) issued May 21, 1940 Milestones: 1923 An aspiring cartoonist leaves for Hollywood 1924 Partnered with older brother Roy, and the Disney Brothers Cartoon Studio was officially born. 1928 First Mickey Mouse sound cartoon "Steamboat Willie" released on November 18, in New York. 1930 Mickey made his debut merchandising appearance on pencil tablets, books and comic strips 1936 Walt invents Multiplane Camera to improve the filming quality of his first picture film. 1937 First full-length animated film "Snow White and the Seven Dwarfs" was released. 1954 "Disneyland" anthology series premiered on network television. -
SPRING 2009 Vol. 18 No. 1
SPRING 2009 vol. 18 no. 1 Mickey Mouse and Minnie Mouse, honorary Disney Vacation Club Members since 1991, walk the beach near the site of the new Disney Resort development in Hawai‘i. Disney Files Magazine is published Illustration by Keelan Parham by the good people at Disney Vacation Club Never before have I abused the power of the pen for personal gain. Strong in my editorial P.O. Box 10350 convictions, I’ve taken the high road past self-fulfilling temptation, never pulling over to push Lake Buena Vista, FL 32830 my own agenda. But now our company is building a resort in Hawai‘i (pages 2-6) and, frankly, I want to go. So if you’ll excuse my ethical detour, I present this edition’s key stories All dates, times, events and prices with a little “strategic flattery” along the way. printed herein are subject to It all starts on page 2, where Disney Vacation Club President Jim Lewis (both a change without notice. (Our lawyers gentleman and a scholar) shares new details about the Hawai‘i project and highlights do a happy dance when we say that.) enhancements to our Member Getaways program. MOVING? Page 7 features brilliant Imagineer John Mauro’s perspectives about our first resort Update your mailing address project in California, while page 8 takes you behind the scenes of ABC’s “America’s Funniest online at www.dvcmember.com Home Videos,” a show that, thanks to my leaders’ impressive approach to relationship- building, is once again featuring a grand prize from Disney Vacation Club. -
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production. -
Enjoy the Magic of Walt Disney World All Year Long with Celebrations Magazine! Receive 6 Issues for $29.99* (Save More Than 15% Off the Cover Price!) *U.S
Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 6 issues for $29.99* (save more than 15% off the cover price!) *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. To subscribe to Celebrations magazine, clip or copy the coupon below. Send check or money order for $29.99 to: YES! Celebrations Press Please send me 6 issues of PO Box 584 Celebrations magazine Uwchland, PA 19480 Name Confirmation email address Address City State Zip You can also subscribe online at www.celebrationspress.com. Cover Photography © Mike Billick Issue 44 The Rustic Majesty of the Wilderness Lodge 42 Contents Calendar of Events ............................................................ 8 Disney News ...........................................................................10 MOUSE VIEWS ......................................................... 15 Guide to the Magic by Tim Foster............................................................................16 Darling Daughters: Hidden Mickeys by Steve Barrett ......................................................................18 Diane & Sharon Disney 52 Shutters & Lenses by Tim Devine .........................................................................20 Disney Legends by Jamie Hecker ....................................................................24 Disney Cuisine by Allison Jones ......................................................................26 Disney Touring Tips by Carrie Hurst .......................................................................28 -
Pluto Cartoons Copyright © 2014 - Allears.Net - Created by Jamesd (Dzneynut) Email the Bonus Clue to [email protected] for a Chance to Win a Disney Pin!
Pluto Cartoons Copyright © 2014 - AllEars.net - Created by JamesD (dzneynut) Email the bonus clue to [email protected] for a chance to win a Disney pin! 1 2 3 4 5 6 7 8 1 2 9 10 3 4 5 11 12 13 14 6 15 16 7 17 18 8 19 9 10 20 21 22 23 24 25 26 27 short Chain Gang Moose Hunt Rover feed me Minnie kiss me Lend a Paw Dinah Pluto Fifi Private Dutch pekinese dachshund retriever cats Pete mice True bumblebee planet Duck Hunt Canine False Navy Army Prince Farmer Zoo Justice brandy humanized whisky bone goat Gunther bull skates Good Deed tail ears magic hat train Gopher ★ What type of dog is Pluto? _ _ _ _ _ _ _ _ _ _ Across Down 3. In what 1930 cartoon did Pluto make his first 1. Who did Pluto belong to in the cartoon screen appearance, although he was unnamed? mentioned in #13 Across? (The _____ ____) 2. What branch of the military in 1945 enlists Pluto 4. In "Pluto's Judgement Day," who puts Pluto on to help keep a sharp lookout for intruders in the trial? (jury of ____) animated short, "Dog Watch?" 6. In the 1936 animated cartoon, "Alpine 3. In the 1945 cartoon, "______ Casanova," Pluto Climbers," what does Pluto and the St. Bernard saves his love, Dinah from the Municipal Dog drink? Pound. 8. In "The Picnic," what does 'Pluto' use as a 5. What does Mickey put on Pluto's paws in order windsheld wiper to help save the day? to impress the judges in the 1939 short, "Society 9. -
Puthisen Neang Kongrey 12 Sisters
Puthisen Neang Kongrey 12 Sisters Ly Bun Yim After barely escaping the clutches of a man-eating witch, twelve Mit knapper Not einer garstigen Menschenfresserin entronnen, gelangen beautiful sisters arrive at the court of the king, who promptly zwölf schöne Schwestern an den Hof des Königs, der sie alle auf einmal marries all twelve of them. But their monstrous adversary heiratet. Doch das Ungeheuer nimmt die Gestalt einer attraktiven Frau an, takes the form of an attractive woman, bewitches the king and becirct den König und redet ihm ein, dass die Schwestern Hexen seien. Ih- persuades him that the sisters are witches. Their eyes are put res Augenlichts beraubt, werden sie in eine Höhle verbannt, wo sie überle- out and they are banished to a cave, where they only survive by ben, indem sie die eigenen Kinder verspeisen. eating their own offspring. Lediglich Puthisen bleibt verschont und erweist sich als geschicktes Kind, Only Puthisen remains unharmed and turns out to be a most dem es gelingt, seine blinde Mutter und elf Tanten zu versorgen. Zu einem shrewd child, quite capable of looking after his blind mother stattlichen jungen Mann herangewachsen, gewinnt er das Vertrauen des and eleven aunts. Having grown up into a handsome young man, Königs und entrinnt einer List der bösen Stiefmutter, deren hübsche Toch- he wins the king’s trust and eludes his wicked stepmother’s ter Kongrey nun seine Frau wird. Die Rettung der zwölf Schwestern erfor- ploys, whose pretty daughter Kongrey is now to become his dert jedoch tragische Opfer. wife. Tragically however, rescuing the twelve sisters will not be Grausames Märchen, bukolische Folklore, naive Fantasy, höfisches Ränke- without casualties. -
Winter 2015 • Volume24 • Number4
Winter 2015 • Volume24 • Number4 If Disney Files Magazine was a grocery store tabloid, the headline on this edition’s cover may read: Giant Reptile to Terrorize China! Of course, we’d never resort to such sensationalism, even if we are ridiculously excited about the imposing star of the Roaring Rapids attraction in the works for Shanghai Disneyland (pages 3-8). We take ourselves far too seriously for such nonsense. Wait a minute. What am I saying? This isn’t exactly a medical journal, and anyone who’s ever read the fine print at the bottom of this page knows that, if there’s one thing we embrace in theDisney Files newsroom, it’s nonsense! So at the risk of ending our pursuit of a Pulitzer (close as we were), I introduce this issue with a series of headlines crafted with all the journalistic integrity of rags reporting the births of alien babies, celebrity babies…and alien-celebrity babies. Who wore it best? Disney’s Beach Club Villas vs. the Brady family! (Page 13) Evil empire mounting Disney Parks takeover! (Pages 19-20) Prince Harry sending soldiers into Walt Disney World battle! (Page 21) An Affleck faces peril at sea! (Page 24) Mickey sells Pluto on the street! (Page 27) Underage driver goes for joy ride…doesn’t wear seatbelt! (Page 30) Somewhere in Oregon, my journalism professors weep. All of us at Disney Vacation Club wish you a happy holiday season and a “sensational” new year. Welcome home, Ryan March Disney Files Editor Illustration by Keelan Parham VOL. 24 NO.