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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 -
Crystal Reports
Të dhëna për QV-të dhe numrin e zgjedhësve sipas listës paraprake QARKU Berat ZAZ 64 Berat Nr. QV Zgjedhës Adresa Ambienti 1 3264 730 Lagjia "Kala",Shkolla Publik 2 3265 782 Lagjia "Mangalen", Shkolla Publik 3 3266 535 Lagjia " Mangalem", Shkolla " Llambi Goxhomani" Publik 4 3267 813 Lagjia " Mangalem", Shkolla " Llambi Goxhomani" Publik 5 3268 735 Lagjia "28 Nentori", Ambulanca Publik 6 32681 594 Lagjia "28 Nentori", Ambulanca Publik 7 3269 553 Lagjia "28 Nentori", Poliambulanca Publik 8 32691 449 Lagjia "28 Nentori", Poliambulanca Publik 9 3270 751 Lagjia "22 Tetori", Pallati I Kultures Publik 10 32701 593 Lagjia "22 Tetori", Pallati I Kultures Publik 11 3271 409 Lagjia "30 Vjetori", Shkolla "B.D. Karbunara" Publik 12 3272 750 Lagjia "30 Vjetori", Shkolla "B.D. Karbunara" Palestra Publik 13 32721 704 Lagjia "30 Vjetori", Shkolla "B.D. Karbunara" Palestra Publik 14 3273 854 Lagjia "30 Vjetori",Stadiumi "Tomori" Publik 15 32731 887 Lagjia "30 Vjetori",Stadiumi "Tomori" Publik 16 32732 907 Lagjia "30 Vjetori",Stadiumi "Tomori" Publik 17 3274 578 Lagjia "30 Vjetori", Shkolla"1Maji" Publik 18 32741 614 Lagjia "30 Vjetori", Shkolla"1Maji" Publik 19 3275 925 Lagjia "30 Vjetori", Sigurimet Shoqerore Publik 20 32751 748 Lagjia "30 Vjetori", Sigurimet Shoqerore Publik 21 3276 951 Lagjia "30 Vjetori", Sigurimet Shoqerore K2 Publik 22 3279 954 Lagjia "10 Korriku", Shkolla "22 Tetori" Publik 23 3280 509 Lagjia "10 Korriku", Shkolla "22 Tetori" Kati 2 Publik 24 32801 450 Lagjia "10 Korriku", Shkolla "22 Tetori" Kati 2 Publik 25 3281 649 Lagjia "J.Vruho", -
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. -
Title of Thesis: ABSTRACT CLASSIFYING BIAS
ABSTRACT Title of Thesis: CLASSIFYING BIAS IN LARGE MULTILINGUAL CORPORA VIA CROWDSOURCING AND TOPIC MODELING Team BIASES: Brianna Caljean, Katherine Calvert, Ashley Chang, Elliot Frank, Rosana Garay Jáuregui, Geoffrey Palo, Ryan Rinker, Gareth Weakly, Nicolette Wolfrey, William Zhang Thesis Directed By: Dr. David Zajic, Ph.D. Our project extends previous algorithmic approaches to finding bias in large text corpora. We used multilingual topic modeling to examine language-specific bias in the English, Spanish, and Russian versions of Wikipedia. In particular, we placed Spanish articles discussing the Cold War on a Russian-English viewpoint spectrum based on similarity in topic distribution. We then crowdsourced human annotations of Spanish Wikipedia articles for comparison to the topic model. Our hypothesis was that human annotators and topic modeling algorithms would provide correlated results for bias. However, that was not the case. Our annotators indicated that humans were more perceptive of sentiment in article text than topic distribution, which suggests that our classifier provides a different perspective on a text’s bias. CLASSIFYING BIAS IN LARGE MULTILINGUAL CORPORA VIA CROWDSOURCING AND TOPIC MODELING by Team BIASES: Brianna Caljean, Katherine Calvert, Ashley Chang, Elliot Frank, Rosana Garay Jáuregui, Geoffrey Palo, Ryan Rinker, Gareth Weakly, Nicolette Wolfrey, William Zhang Thesis submitted in partial fulfillment of the requirements of the Gemstone Honors Program, University of Maryland, 2018 Advisory Committee: Dr. David Zajic, Chair Dr. Brian Butler Dr. Marine Carpuat Dr. Melanie Kill Dr. Philip Resnik Mr. Ed Summers © Copyright by Team BIASES: Brianna Caljean, Katherine Calvert, Ashley Chang, Elliot Frank, Rosana Garay Jáuregui, Geoffrey Palo, Ryan Rinker, Gareth Weakly, Nicolette Wolfrey, William Zhang 2018 Acknowledgements We would like to express our sincerest gratitude to our mentor, Dr. -
Virtual Rusophonia: Language Policy As 'Soft Power' in the New Media
Virtual Rusophonia: Language Policy as ‘Soft Power’ in the New Media Age MICHAEL GORHAM University of Florida Abstract: Debates on Russian language policy in the internet age have typically focused ei- ther on the formal degradation of language by a variety of internal and external forces of cor- ruption or on the functional democratization of speech afforded by the internet’s decentral- ized and relatively uncensored mode of operation. Yet more recent trends complicate this dichotomy and reflect official efforts to use language and the internet as tools for ‘soft power’ – educational and cultural means of promoting Russian national interests both at home and abroad. In ‘Virtual Rusophonia’ I examine two specific manifestations of this effort – the ‘Russian World Foundation’ (Fond ‘Russkii Mir’) and the ‘.rf’ Cyrillic internet domain pro- ject. While both represent a state-sponsored attempt to use language and new technology as tools for creating new spaces of ‘Russianness’, they present quite different, if not mutually exclusive visions, each fraught with tensions between the de-centered nature of web-based communication and the top-down, paternalistic penchants of the Putin-era political elite. Keywords: language policy, Runet, rusophonia, russkii mir [Russian world], Russian World Foundation, Russian diaspora, virtual communities, sovereign internet quick survey of the discourse on Russian internet language over the past decade or so A reveals two dominant trends, one primarily formal in nature, and the other ‒ func- tional.1 Comments on form tend to be purist or preservationist in tone, bemoaning the ‘spoil- ing’ of the ‘great and mighty’ Russian language by a host of negative influences. -
Contentreport C
CISCCONTENTONTENT:CONTENRTRREPORTEPORTEPORT CC ReviewОбзорОбзор of новостейaudiovisualновостей рынка content производства production and ии дистрибуциидистрибуции distribution аудиовизуальногоаудиовизуальногоin the CIS countries контента контента Media«»«MediaМ«»ÌЕДИÅÄÈ ResourcesА ResourcesÀРЕСУРСЫÐÅÑÓÐÑÛ МManagement ÌManagementЕНЕДЖМЕНТÅÍÅÄÆÌÅÍÒ» №21,№ №2№121(9) December №2 13 1April января, April, 1 April, 30, 20142012 20132011 2012 тема FOCUSномераfocUs DEARсловоDEAR CCOLLEAGUES редакциOLLEAgUESи УжеWeWe areareв первые happy to дни presentpresent нового you you the годаthe December Aprilнам, issue редак issue of цthe иofи andПервыйLast seriesautumn номер you’ll members alsoContent find of Russian theReport detailed association выходит report of вon televiк ануthe н- EgorКИНОТЕАТРАЛЬНЫ BorschEvsky:Й ContentCIS:the CIS:Content Report, Content Report сразу Report whereстало where понятно,we we tried tried toчто to gathergather в 2011 theм recentСтарогоsion and deals movie Нового of producers international года, который chose distributors Red (наконецто) Square with Screen the за - mostmost interesting interesting up-to-date up-to-date information information about about rapidly rap- CIS-partners.ings as the most important industry event of the season. РЫН О К В КРАИН Е все мы будем усердно и неустанно трудиться. За вершает череду праздников, поэтому еще раз “TodayTV MARKETS: Ukrainian У visual : нимаясьdevelopingidly developing подготовкой content content production первого production andвыпуска distributionand обзораdistribution mar -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991. -
A Microhistory of Ukraine's Generation of Cultural Rebels
This article was downloaded by: [Selcuk Universitesi] On: 07 February 2015, At: 17:31 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Nationalities Papers: The Journal of Nationalism and Ethnicity Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/cnap20 The early 1960s as a cultural space: a microhistory of Ukraine's generation of cultural rebels Serhy Yekelchyka a Department of Germanic and Slavic Studies, University of Victoria, Victoria, Canada Published online: 10 Oct 2014. Click for updates To cite this article: Serhy Yekelchyk (2015) The early 1960s as a cultural space: a microhistory of Ukraine's generation of cultural rebels, Nationalities Papers: The Journal of Nationalism and Ethnicity, 43:1, 45-62, DOI: 10.1080/00905992.2014.954103 To link to this article: http://dx.doi.org/10.1080/00905992.2014.954103 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
The Eastern Mission of the Pontifical Commission for Russia, Origins to 1933
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2017 Lux Occidentale: The aE stern Mission of the Pontifical Commission for Russia, Origins to 1933 Michael Anthony Guzik University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the European History Commons, History of Religion Commons, and the Other History Commons Recommended Citation Guzik, Michael Anthony, "Lux Occidentale: The Eastern Mission of the Pontifical ommiC ssion for Russia, Origins to 1933" (2017). Theses and Dissertations. 1632. https://dc.uwm.edu/etd/1632 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. LUX OCCIDENTALE: THE EASTERN MISSION OF THE PONTIFICAL COMMISSION FOR RUSSIA, ORIGINS TO 1933 by Michael A. Guzik A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History at The University of Wisconsin-Milwaukee August 2017 ABSTRACT LUX OCCIDENTALE: THE EASTERN MISSION OF THE PONTIFICAL COMMISSION FOR RUSSIA, ORIGINS TO 1933 by Michael A. Guzik The University of Wisconsin-Milwaukee, 2017 Under the Supervision of Professor Neal Pease Although it was first a sub-commission within the Congregation for the Eastern Churches (CEO), the Pontifical Commission for Russia (PCpR) emerged as an independent commission under the presidency of the noted Vatican Russian expert, Michel d’Herbigny, S.J. in 1925, and remained so until 1933 when it was re-integrated into CEO. -
DIRECTOR Larisa Shepitko WRITING Yuri Klepikov and Larisa Shepitko Wrote the Screenplay Adapted from a Novel by Vasiliy Bykov
October 29, 2019 (XXXIX:10) Larisa Shepitko: THE ASCENT (1977, 111m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Larisa Shepitko WRITING Yuri Klepikov and Larisa Shepitko wrote the screenplay adapted from a novel by Vasiliy Bykov. Production Company Mosfilm MUSIC Alfred Schnittke CINEMATOGRAPHY Vladimir Chukhnov and Pavel Lebeshev EDITING Valeriya Belova CAST Boris Plotnikov...Sotnikov Vladimir Gostyukhin...Rybak Sergey Yakovlev...Village elder Lyudmila Polyakova...Demchikha Viktoriya Goldentul...Basya Anatoliy Solonitsyn...Portnov, the Nazi interrogator Mariya Vinogradova...Village elder's wife Nikolai Sektimenko...Stas' She also adopted his motto, "Make every film as if it's your last." Shepitko graduated from VGIK in 1963 with LARISA SHEPITKO (b. January 6, 1938 in her prize winning diploma film Heat*, or Znoy made Artyomovsk, Ukrainian SSR, USSR [now Artemivsk, when she was 22 years old. The film was influenced by a Donetsk Oblast, Ukraine]—d. July 2, 1979 (age 41) in short story, ''The Camel's Eye'', by Chingiz Aitmatov. near Redkino, Kalinin Oblast, Russian SFSR, USSR), Her 1967 short film, “Homeland of electricity,”* part of whose filmmaking career was tragically cut short by a car the omnibus Beginning of an Unknown Era, suffered accident, was on the verge of becoming a name censorship for its perceived negative portrayal of the synonymous with internationally renowned directors to Bolsheviks, despite its intention to commemorate the emerge from the Soviet Union. -
Canadian and Russian Animation on Northern Aboriginal Folklore
Canadian and Russian Animation on Northern Aboriginal Folklore Elena Korniakova A Thesis in The Individualized Program of The School of Graduate Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Fine Arts) at Concordia University Montreal, Quebec, Canada September 2014 Elena Korniakova, 2014 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Elena Korniakova Entitled: Canadian and Russian Animation on Northern Aboriginal Folklore and submitted in partial fulfillment of the requirement for the degree of Master of Arts (Fine Arts) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _________________________________Chair Chair's name _________________________________Examiner Examiner's name _________________________________Examiner Examiner's name _________________________________Supervisor Supervisor's name Approved by ______________________________________________________ Chair of Department or Graduate Program Director _____________2014 ____________________________________________________ Dean of Faculty -iii- ABSTRACT Canadian and Russian Animation on Northern Aboriginal Folklore Elena Korniakova Aboriginal legends depict the relationships between humans and nature as deeply symbolic and intertwined. When adapted to films by non-Aboriginal filmmakers, these legends are often interpreted in ways which modify human-nature relationships experienced by Aboriginal peoples. I explore such modifications by looking at Canadian and Russian ethnographic animation based on Northern Aboriginal folklore of the two countries. In my thesis, I concentrate on the analysis of ethno-historical and cinematic traditions of Canada and Russia. I also explore the Canadian and Russian conventions of animated folktales and compare ethnographic animation produced by the National Film Board of Canada and Russian animation studio Soyuzmultfilm. -
October 30, 2012 (XXV:9) Elim Klimov, COME and SEE/Иди И Смотри (1985, 136 Min)
October 30, 2012 (XXV:9) Elim Klimov, COME AND SEE/Иди и смотри (1985, 136 min) Directed by Elem Klimov Written by Ales Adamovich and Elem Klimov Original Music by Oleg Yanchenko Cinematography by Aleksei Rodionov Film Editing by Valeriya Belova Production Design by Viktor Petrov Art Direction by Viktor Petrov Set Decoration by Viktor Petrov P. Gutenko…military advisor Aleksey Kravchenko…Florya Gaishun Olga Mironova…Glasha Liubomiras Lautsyavichius …Kosach Vladas Bagdonas Jüri Lumiste Viktor Lorents Kazimir Rabetsky Yevgeni Tilicheyev Aleksandr Berda vracha, 1964 Welcome, or No Trespassing, 1962 Smotrite, nebo!, G. Velts 1960 Zhenikh, and 1959 Ostorozhno: poshlost. V. Vasilyev Igor Gnevashev ALEKSEI RODIONOV (April 26, 1947, Moscow, Soviet Union) has 23 Vasili Domrachyov cinematographer credits: 2011 Generation P, 2008 Admiral, 2004/I G. Yelkin Yes, 2002 Letniy dozhd, 2002 Where Eskimos Live, 2000 24 Hours, Ye. Kryzhanovsky 2000 Eisenstein, 2000/I “Cinderella”, 1998 Talk of Angels, 1997 N. Lisichenok Passion in the Desert, 1995-1996 “Red Shoe Diaries”, 1995 Viktor Manaev Musulmanin, 1993 Ya khotela uvidet angelov, 1992 Orlando, 1989 Takhir Matyullin Zhena kerosinshchika, 1987 Shura i Prosvirnyak, 1986 My vesely, Pyotr Merkurev schastlivy, talantlivy!, 1985 Come and See (as A. Rodionov), 1985 Valentin Mishatkin “Vstrecha pered razlukoy”, 1985 “Protivostoyanie”, 1983 Sredi G. Matytsky serykh kamney, 1983 Proshchanie,, and 1970 Moya sudba. Yevgeniya Polyakova Anatoli Slivnikov Georgi Strokov ALEKSEY KRAVCHENKO… Florya Gaishun (Aleksei Yevgenyevich