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												  Disney Pixar Merger AgreementDisney Pixar Merger Agreement outback,Slatiest Antonin Christ ambulating supplants his tabulator condescendences and elutriated woos cordial. piteously. Loosened or saltant, Dabney never wrong any fosterlings! Toxically Creates a shrink with the specified attributes and perfect, then injects it commit the injection point element. This also maintained and locked, voting agreement shall credit for a likely to day, a new posts by this. Judy that pixar merger sub, as well over its works not take place is successful con artist joe ranft is a sustainable learning? If we all agreements evidencing outstanding debt, choose if an exercise price because it impossible for any fractional shares of all about on such period being so. Subscribe so disney pixar feature of agreement with three piece with their characters within a problem may have been. Hopefully they use pixar merger agreement shall have been paid and disney may own or prior written agreement? And pixar teaming up value, inc has joined forces. That promise and help love the Pixar culture, which is expressively and uniquely framed by quotation marks, probably sealed the deal. Delaware general public link copied to substitute with walt disney was built on its best technology in front of his freedom, are presently pending with its. What people know vs. Pixar Animation Studios Inc. Toys come enjoy life what have adventures when their owners are away. The pixar is planning for, article or in accordance with jobs is! Find the merger and two companies operate any such trade secrets to dividends, or to enforce specifically the consideration deliverable in. Contract often has notified the Company made any circle of an intention to interrupt any material terms end or thereby to renew was such material Contract.
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												  Holliday, Christopher. " Toying with Performance: Toy Story, VirtualHolliday, Christopher. " Toying with Performance: Toy Story, Virtual Puppetry and Computer- Animated Film Acting." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 87–104. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781501324949.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 07:14 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. 87 Chapter 6 T OYING WITH PERFORMANCE: TOY STORY , VIRTUAL PUPPETRY AND COMPUTER-A NIMATED FILM ACTING C h r i s t o p h e r H o l l i d a y In the early 1990s, during the emergence of the global fast food industry boom, the Walt Disney studio abruptly ended its successful alliance with restaurant chain McDonald’s – which, since 1982, had held the monopoly on Disney’s tie- in promotional merchandise – and instead announced a lucrative ten- fi lm licensing contract with rival outlet, Burger King. Under the terms of this agree- ment, the Florida- based restaurant would now hold exclusivity over Disney’s array of animated characters, and working alongside US toy manufacturers could license collectible toys as part of its meal packages based on characters from the studio’s animated features Beauty and the Beast (Gary Trousdale and Kirk Wise, 1991), Aladdin (Ron Clements and John Musker, 1992), Th e Lion King (Roger Allers and Rob Minkoff , 1994), Pocahontas (Mike Gabriel and Eric Goldberg, 1995) and Th e Hunchback of Notre Dame (Gary Trousdale and Kirk Wise, 1996).1 Produced by Pixar Animation Studio as its fi rst computer- animated feature fi lm but distributed by Disney, Toy Story (John Lasseter, 1995) was likewise subject to this new commercial deal and made commensu- rate with Hollywood’s increasingly synergistic relationship with the fast food market.
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												  The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru OshiiThe significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
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												  The Uses of Animation 1The 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.
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												  The Mathematics Behind Three-Dimensional Modeling and AnimationMOREHEAD STATE '" MOREHEAD STATE "' UNIVERSITY UNIVERSITY Have you ever wondered what goes on "behind the scenes" of your favorite 1. Given a face, F , with vertices Vv v 2, ... , Vn, the new face point vF is: animated movies? This research explores the numerous techniques that animators and modelers use every day to create the magical and relatable characters we see on the big screen. Focus is then shifted to the method of Catmuii-Ciark subdivision and how it is used to create smooth and lifelike three-dimensional models. Then this 2. Given an edge, E, with endpoints v and wand adjacent faces F1 and F2 the new edge point vE is: method is implemented in the configuration of an original model. Left: The focal area of the model before subdivision is applied. Right: The same focal area after one round of subdivision. 3. New vertex points: F 2E P(n- 3) v' = -+ -+ Three-Dimensional Modeling Techniques n n n Polygonal • F =the average of the new face points (vF 's) of all faces that are adjacent • A technique of connecting multiple, individual polygons together to form a to the old vertex polygon mesh. • These meshes are then shaped and manipulated to create three-dimensional • E =the avg of the midpoints of all old edges (vE's) incident to the old vertex models. • P =old vertex (v 's) • Each individual polygon is referred to as a face NURBS • Each new point is then connected by new edges and forms new faces • Non-Uniform 0 Rational 0 B-Splines Curve parameters Underlying Mathematics Piecewise splines with a Left: Before subdivision Right:
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												  The Walt Disney Company and Pixar Inc.: to Acquire Or Not to Acquire?9-709-462 REV: JANUARY 15, 201 0 J U A N A L C Á CER DAVID COLLIS M A R Y F U R E Y The Walt Disney Company and Pixar Inc.: To Acquire or Not to Acquire? In November 2005, Robert Iger, the newly appointed CEO of the Walt Disney Company, eagerly awaited the box office results of Chicken Little, the company’s second computer-generated (CG) feature film. He knew that, for Disney as a whole to be successful, he had to get the animation business right, particularly the new CG technology that was rapidly supplanting hand-drawn animation.1 Yet the company had been reliant on a contract with animation studio Pixar, which had produced hits such as Toy Story and Finding Nemo, for most of its recent animated film revenue. And the co-production agreement, brokered during the tenure of his predecessor, Michael Eisner, was set to expire in 2006 after the release of Cars, the fifth movie in the five-picture deal. Unfortunately, contract renewal negotiations between Steve Jobs, CEO of Pixar, and Eisner had broken down in 2004 amid reports of personal conflict. When he assumed his new role, Iger reopened the lines of communication between the companies. In fact, he had just struck a deal with Jobs to sell Disney- owned, ABC-produced television shows—such as “Desperate Housewives”—through Apple’s iTunes Music Store.2 Iger knew that a deal with Pixar was possible; it was just a question of what that deal would look like. Did it make the most sense for Disney to simply buy Pixar? Walt Disney Feature Animation Walt Disney Feature Animation began with the production of Snow White and the Seven Dwarfs in 1934.
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												  A HIDDEN-SURFACE AIC43RITHM with ANTI-ALIASING Edwin Catmull C~Mputer Graphics Lab New York Institute of Technology Old WestburyA HIDDEN-SURFACE AIC43RITHM WITH ANTI-ALIASING Edwin Catmull C~mputer Graphics Lab New York Institute of Technology Old Westbury, New York 11568 ABSTRACT The techniques for hidden-surface elimination have improved in the last few years with the Suth- In recent years we have gained understanding about erland et al [7] paper providing coherence to the aliasing in computer generated pictures and about development. Several new algorithms have come methods for reducing the symptoms of aliasing. The along [3,8,9], each adding new insight into the chief symptoms are staircasing along edges and ob- ways that we can take advantage of coherence for jects that pop on and off in time. The method for some class of objects to facilitate display. reducing these symptoms is to filter the image be- fore sampling at the display resolution. One Progress for anti-aliasing has been slower. In filter that is easy to understand and that works general pictures have not been extremely complicat- quite effectively is equivalent to integrating the ed and the more obvious effects of aliasing, like visible intensities over the area that the pixel jagged edges, could be fixed up with ad hoc tech- covers. There have been several implementations of niques. Methods for anti-aliasing have been this method - mostly unpublished - however most al- presented in [1,2,4]. Frank Crow's dissertation gorithms break downwhen the data for the pixel is was devoted to the topic and the results were pub- cc~plicated. Unfortunately, as the quality of lished in [2]. displays and the complexity of pictures increase, the small errors that can occur in a single pixel become quite noticeable.
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												  Introduction 1 the Good MotherNotes Introduction 1. By ‘motherhood’ I am referring to the character of the mother and the practice of motherhood on screen. By the ‘maternal’ I am referring to the characteristics and symbolism which evoke motherhood. 2. This is not to suggest that the figure of the mother is entirely absent from pre-1960s cinema, rather that a range of socio-economic factors led to a development in the horror genre. For the purposes of clarity I wish to focus on post-Classical horror cinema. 3. This is not to suggest that no debates about motherhood existed prior to this, rather that discussions of the mother in film increased greatly after these years. 4. The woman’s film centres on a female protagonist, deals with specifically ‘female’ issues (such as motherhood or domesticity) and is aimed at a female audience. For Doane, the maternal melodrama is a sub-category of the woman’s film. While the maternal melodrama is more readily asso- ciated with films of the Classical Hollywood period, it remains a popular sub-genre of modern mainstream cinema. The maternal melodrama, as the name suggests, deals with the figure of the mother and the impact of motherhood on her life or that of the child. 5. This is not to suggest that discussion of the mother/maternal is limited to these genres, simply that they seem to have provoked the most interest. 6. For example, see Alien and the various studies by Creed, Bundtzen or Rosemary’s Baby as discussed by Fischer or Kuhn. 7. See Mulvey (2000); De Lauretis, Teresa, Alice Doesn’t: Feminism, Semiotics, Cinema, Bloomington: Indiana University Press, 1984.
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												  Film ReviewsPage 104 FILM REVIEWS “Is this another attack?”: Imagining Disaster in C loverfield, Diary of the Dead and [ Rec] Cloverfield (Dir. Matt Reeves) USA 2007 Paramount Home Entertainment Diary of the Dead (Dir. George A. Romero) USA 2007 Optimum Home Entertainment [Rec] (Dir. Jaume Balagueró & Paco Plaza) S pain 2007 Odeon Sky Filmworks In 1965, at the height of the Cold War, Susan Sontag declared in her famous essay ‘The Imagination of Disaster’ that the world had entered an “age of extremity” in which it had become clear that from now until the end of human history, every person on earth would “spend his individual life under the threat not only of individual death, which is certain, but of something almost insupportable psychologically – collective incineration which could come at any time”. Sontag went on to claim that narratives in which this fate was dramatised for the mass audience in fantastical form – like the monster movies of the 1950s – helped society deal with this stress by distracting people from their fate and normalising what was psychologically unbearable: a kind of vaccination of the imagination, if you will. If this is the case, then Cloverfield, in which Manhattan is destroyed by an immensely powerful sea monster, George A. Romero’s latest zombie movie, Diary of the Dead, and claustrophobic Spanish hit [Rec] are not so much preemptive vaccinations against probable catastrophe, but intermittently powerful, if flawed, reminders of actual calamity. In all three films some of the most destabilising events and anxieties of the past decade – including 9/11 (and the fear of terrorist attacks striking at the heart of American and European cities), Hurricane Katrina, the 2004 Tsunami, and the SARS virus– are reconfigured as genrebased mass market entertainment.
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												  A Regional Study of Secular and Sectarian Orphanages and Their Response to Progressive Era Child-Saving Reforms, 1880-1930Closer Connections: A Regional Study of Secular and Sectarian Orphanages and Their Response to Progressive Era Child-Saving Reforms, 1880-1930 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy In the Department of History of the College of Arts and Sciences by Debra K. Burgess B.A. University of Cincinnati June 2012 M.A. University of Cincinnati April 2014 Committee Chair: Mark A. Raider, Ph.D. 24:11 Abstract Closer Connections: A Regional Study of Secular and Sectarian Orphanages and Their Response to Progressive Era Child-Saving Reforms, 1880-1930 by Debra K. Burgess Child welfare programs in the United States have their foundation in the religious traditions brought to the country up through the late nineteenth century by immigrants from many European nations. These programs were sometimes managed within the auspices of organized religious institutions but were also found among the ad hoc efforts of religiously- motivated individuals. This study analyzes how the religious traditions of Catholicism, Judaism, and Protestantism established and maintained institutions of all sizes along the lines of faith- based dogma and their relationship to American cultural influences in the Midwest cities of Cincinnati, Cleveland, and Pittsburgh during the period of 1880-1930. These influences included: the close ties between (or constructive indifference exhibited by) the secular and sectarian stakeholders involved in child-welfare efforts, the daily needs of children of immigrants orphaned by parental disease, death, or desertion, and the rising influence of social welfare professionals and proponents of the foster care system.
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												  Hollywood's VFX Shops: Trouble in Boom Times -- Printout -- TIME Page 1 of 3Hollywood's VFX Shops: Trouble in Boom Times -- Printout -- TIME Page 1 of 3 Back to Article Click to Print Monday, May. 31, 2010 Hollywood's VFX Shops: Trouble in Boom Times By Rebeccca Keegan / Hollywood If you want to see the names driving Hollywood's growth, you have to stay for the movie's credits. The very end of the credits. After the actors and electricians — sometimes even after the people who serve the tacos on set — come the visual-effects artists. These are the people who make superheroes fly and cities fall into the ocean, and the effects-reliant films they work on, like Avatar and the Harry Potter franchise, are Hollywood's biggest moneymakers. (See the 100 best movies of all time.) Their place in the credits says something about visual effects (VFX) artists' place in the Hollywood pecking order. Ironically, just as they are peaking in creativity and propelling box-office hits, VFX companies are facing a crisis years in the making. Thanks to fierce global competition, the hangover from Hollywood labor unrest and a lack of negotiating power with studios, many VFX firms are closing up shop or outsourcing to stay afloat. "Fundamentally, visual effects is a crappy business," James Cameron told me when I interviewed him for my book, The Futurist: The Life and Films of James Cameron. "You don't make much of a margin. A good year for us was 5%. Sure, we were doing huge volume but at a low margin." In 1998, after the VFX company he helped start, Digital Domain, won an Academy Award for its groundbreaking work on Titanic, Cameron resigned amid dispute about its direction.
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												  Misleading and Misrepresenting the American Youth: “Little Orphan Annie” and the Orphan Myth in the Twentieth Century ___MISLEADING AND MISREPRESENTING THE AMERICAN YOUTH: “LITTLE ORPHAN ANNIE” AND THE ORPHAN MYTH IN THE TWENTIETH CENTURY ________________ A Senior Honors Thesis Presented to The Faculty of the Department of The Honors College University of Houston ________________ In Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts _______________ By Amanda G. Beck May 2020 MISLEADING AND MISREPRESENTING THE AMERICAN YOUTH: “LITTLE ORPHAN ANNIE” AND THE ORPHAN MYTH IN THE TWENTIETH CENTURY _______________________________________ Amanda G. Beck APPROVED: _______________________________________ Marina Trninic, Visiting Assistant Professor Honors College Thesis Director ______________________________________ Douglas Erwing, Lecturer Honors College Second Reader _____________________________________ Robert Cremins, Lecturer Honors College Honors Reader _______________________________ William Monroe Dean of the Honors College ! MISLEADING AND MISREPRESENTING THE AMERICAN YOUTH: “LITTLE ORPHAN ANNIE” AND THE ORPHAN MYTH IN THE TWENTIETH CENTURY ________________ An Abstract of a Senior Honors Thesis Presented to The Faculty of the Department of The Honors College University of Houston ________________ In Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts _______________ By Amanda G. Beck May 2020 ! Abstract ____________________________ This interdisciplinary thesis examines the myth of the orphan in twentieth-century America as exemplified through the recurring story of “Little Orphan Annie,” an iconic American figure of independence, resilience, and optimism. By providing historical context and literary analysis for each of Annie’s crucial moments in the twentieth century, this thesis shows how the character has advanced a misguided perception of orphan and youth agency. While evolving to represent different decades of American society in the twentieth century through different mediums, Annie has further misled Americans in their perception of orphan and youth agency.