DOCSLIB.ORG

Skripsi Representasi Superhero Dalam Film Megamind Film

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Skripsi Representasi Superhero Dalam Film Megamind Film ABSTRAK Yurica Asmoyong: Skripsi Representasi Superhero dalam film Megamind Film Megamind merupakan salah satu film animasi yang menggambarkan tentang sosok Superhero yang unik. Jika pada film Superhero lain, tokohnya digambarkan sebagai seseorang yang baik, memiliki wajah yang tampan, disukai semua orang, Megamind menceritakan tentang seorang tokoh antagonis atau penjahat ulung bernama Megamind, yang berubah menjadi Superhero. Menggunakan metode kode televisi John Fiske dengan mengadaptasi kode-kode animasi. Peneliti ingin mengetahui bagaimana representasi Superhero dalam film Megamind. Hasil penelitian menunjukkan representasi Superhero yang ditampilkan adalah Superhero dengan latar belakang dididik dan dibesarkan di penjara, tidak memiliki kekuatan alami dalam diri, sangat bergantung pada alat- alat canggih dan modern yang ia miliki, memiliki wajah yang buruk rupa, memiliki 3 kepribadian yaitu kejahatan, kebaikan dan kekonyolan yang sulit ditemukan dalam karakter Superhero lainnya. Dari hasil penelitian dan pengamatan, peneliti menemukan bahwa film Megamind tengah diupayakan untuk menggambarkan sosok Superhero yang baru. Dari perspektif pop Culture tampak Dreamworks Animation, juga menciptakan film dengan karakter serupa, seperti Shrek dan Kung fu Panda. Dengan demikian, standarisasi tokoh untuk mendobrak Hero atau Superhero dalam cerita dongeng pun teramati. Kata kunci: Superhero, representasi, pop culture, film Megamind, semiotik vii Universitas Kristen Petra ABSTRACT Yurica Asmoyong: Undergraduate Thesis The Representation of a Superhero in Megamind Movie Megamind was one of the animation films that described a unique Superhero. Other films characterized a Superhero as someone good, handsome, and famous, while Megamind described an antagonist who characterized a superior criminal later became a superhero. By using John Fiske television method And adaptating the animation codes, the researcher discovered the representation of a Superhero in the Megamind film. The result of the research showed that the representation of the Superhero in this film was a Superhero that grew up in a jail, had no natural power and depended on the modern devices, had a ugly face, had three characteristics namely evil, goodness, and fool are hard to find in other Superhero characters. From the results of research and observations it is found that the film to try to describe Superhero in a new figure. Another, there found the pop culture perspective behind this film. Dreamworks Animation as a creator also created similar films like Shrek and Kungfu Panda. It was due to the standardization of the viewers’ opinion and break up the general tale stories became a new and unique film. Keywords: Superhero, representation, pop culture, Megamind film, semiotic viii Universitas Kristen Petra DAFTAR ISI HALAMAN JUDUL ........................................................................................... i LEMBAR PENGESAHAN ................................................................................ ii LEMBAR PERSETUJUAN PUBLIKASI ILMIAH .......................................... iii KATA PENGANTAR ........................................................................................ iv ABSTRAK ................................................................................................... vii DAFTAR ISI ................................................................................................... ix DAFTAR BAGAN ............................................................................................. xii DAFTAR GAMBAR .......................................................................................... xiii DAFTAR LAMPIRAN ....................................................................................... xiv 1. PENDAHULUAN ..................................................................................... 1 1.1. Latar Belakang Masalah ................................................................... 1 1.2. Rumusan Masalah ............................................................................ 6 1.3. Tujuan Penelitian.............................................................................. 6 1.4. Manfaat Penelitian............................................................................ 7 1.4.1 Manfaat Akademis .................................................................. 7 1.4.2 Manfaat Praktis ....................................................................... 7 1.5. Batasan Penelitian ............................................................................ 7 1.6. Sistematika Penulisan ....................................................................... 8 2. TINJAUAN PUSTAKA ............................................................................ 10 2.1. Hero dan Superhero dalam Media ................................................... 10 2.2. Superhero dan Film Animasi ........................................................... 12 2.2.1 Sejarah Animasi ...................................................................... 13 2.2.2 Jenis-Jenis Animasi ................................................................ 14 2.2.3 Prinsip Animasi ...................................................................... 17 2.3. Superhero dalam Konteks Sosialnya................................................ 21 2.4. Pop Culture dalam Film sebagai Media ........................................... 22 2.5. Ideologi dalam Media Massa ........................................................... 25 2.6. Television Codes .............................................................................. 25 2.7. Representasi ..................................................................................... 26 2.8. Semiotika .......................................................................................... 27 2.9. Nisbah Antar Konsep ....................................................................... 28 2.10. Kerangka Pemikiran ......................................................................... 30 ix Universitas Kristen Petra 3. METODE PENELITIAN .......................................................................... 31 3.1 Definisi Konseptual .......................................................................... 31 3.2 Jenis Penelitian ................................................................................. 31 3.3 Metode Penelitian ............................................................................. 32 3.4 Sasaran Penelitian ............................................................................ 33 3.5 Jenis Sumber Data ............................................................................ 33 3.6 Teknik Pengumpulan Data ............................................................... 33 3.7 Teknik Analisis dan Interpretasi Data .............................................. 33 3.8 Unit Analisis ..................................................................................... 34 3.9 Triangulasi Data ............................................................................... 36 4. ANALISIS DATA ..................................................................................... 37 4.1. Gambaran Umum Film “Megamind” ............................................... 37 4.1.1 Profil Film “Megamind”.......................................................... 37 4.1.2 Sinopsis Film “Megamind” ..................................................... 39 4.1.3 Deskripsi Tokoh ...................................................................... 41 4.1.4 DW sebagai perusahaan yang memproduksi .......................... 46 4.2. Deskripsi Level Kode John Fiske dalam Film Megamind ............... 48 4.2.1 Deskripsi Level Kode John Fiske Kategori Latar Belakang ... 49 4.2.1.1 Masa Pertumbuhan ........................................................ 49 4.2.1.2 Mencari Tujuan Hidup .................................................. 58 4.2.1.3 Masa Ditolak atau Dikucilkan ....................................... 65 4.2.1.4 Proses Pengambilan Keputusan .................................... 68 4.2.2 Deskripsi Level Kode John Fiske Kategori ilmu & kekuatan . 70 4.2.2.1 Kepintaran ..................................................................... 71 4.2.2.2 Teknologi/Alat yang Digunakan ................................... 75 4.2.3 Deskripsi Level Kode John Fiske Kategori Penampilan ......... 83 4.2.3.1 Fisik ............................................................................... 84 4.2.3.2 Pakaian .......................................................................... 86 4.2.3.3 Nama Khas Superhero .................................................. 89 4.2.3.4 Adegan Menawan.......................................................... 91 4.2.4 Deskripsi Level Kode John Fiske Kategori Hub dgn Wanita . 93 4.2.4.1 Dekat dengan Wanita .................................................... 93 4.2.4.2 Jatuh Cinta ..................................................................... 95 4.2.4.3 Putus Cinta .................................................................... 96 4.2.5 Deskripsi Level Kode John Fiske Kategori Karakter.............. 97 4.2.5.1 Kejahatan....................................................................... 98 4.2.5.2 Kebaikan ....................................................................... 103 4.2.5.3 Kekonyolan ................................................................... 106 4.3. Interpretasi Data ............................................................................... 112 5. KESIMPULAN DAN SARAN ................................................................
Load more

Recommended publications
  • Animating Failure
    ChApter six Animating Failure enDing, Fleeing, surviving Who am I? Why a fox? Why not a horse, or a beetle, or a bald eagle? I’m saying this more as, like, existentialism, you know? Who am I? And how can a fox ever be happy without, you’ll forgive the expres- sion, a chicken in its teeth? —Fantastic Mr. Fox On the topic of animation, as on so many other topics, I disagree with Slavoj Žižek (2009), who, in an article on the link between capitalism and new forms of authoritarianism, offers up the ani- mated film Kung Fu Panda (2008) as an example of the kind of ideological sleight of hand that he sees as characteristic of both representative democracy and films for children. For Žižek, the fat and ungainly panda who accidently becomes a kung fu mas- ter is a figure that evokes George W. Bush or Silvio Berlusconi: by rising to the status of world champion without either talent or training, he masquerades as the little man who tries hard and succeeds, when in fact he is still a big man who is lazy but suc- ceeds anyway because the system is tipped in his favor. By em- bedding this narrative in a fluffy, cuddly panda bear film, Žižek implies, what looks like entertainment is actually propaganda. Žižek has managed to get a lot of mileage out of his reading of this film precisely because his “big” critiques of economy and world politics seem so hilarious when personified by a text sup- posedly as inconsequential as Kung Fu Panda.
    [Show full text]
  • ALPHABETICAL LIST of Dvds and Vts 9/6/2011 DVD a Mighty Heart
    ALPHABETICAL LIST OF DVDs AND VTs 9/6/2011 DVD A Mighty Heart: Story of Daniel Pearl A Nurse I am – Documentary and educational film about nurses A Single Man –with Colin Firth and Julianne Moore (R) Abe and the Amazing Promise: a lesson in Patience (VeggieTales) Akeelah and the Bee August Rush - with Freddie Highmore, Keri Russell, Jonathan Rhys Meyers, Terrence Howard, Robin Williams Australia - with Hugh Jackman, Nicole Kidman Aviator (story of Howard Hughes - with Leonardo DiCaprio Because of Winn-Dixie Beethoven - with Charles Grodin, Bonnie Hunt Big Red Black Beauty Cats & Dogs Changeling - with Angelina Jolie Charlie and the Chocolate Factory - with Johnny Depp Charlie Wilson’s War - with Tom Hanks, Julie Roerts, Phil Seymour Hoffman Charlotte’s Web Chicago Chocolat - with Juliette Binoche, Judi Dench, Alfred Molina, Lena Olin & Johnny Depp Christmas Blessing - with Neal Patrick Harris Close Encounters of the Third Kind – with Richard Dreyfuss Date Night – with Steve Carell and Tina Fey (PG-13) Dear John – with Channing Tatum and Amanda Seyfried (PG-13) Doctor Zhivago Dune Duplicity - with Julia Roberts and Clive Owen Enchanted Evita Finding Nemo Finding Neverland Fireproof – with Kirk Cameron on Erin Bethea (PG) Five People You Meet in Heaven Fluke Girl With a Pearl Earring – with Colin Firth, Scarlett Johannson, Tom Wilkinson Grand Torino (with Clint Eastwood) Green Zone – with Matt Damon (R) Happy Feet Harry Potter and the Half-Blood Prince Hildalgo with Viggo Mortensen (PG13) Holiday, The – with Cameron Diaz, Kate Winslet,
    [Show full text]
  • Irradiance Caching at Dreamworks
    Global Illumination Across Industries Ray Tracing vs. Point-Based GI for Animated Films Eric Tabellion [email protected] Introduction • Global Illumination (GI) usage at DreamWorks Animation – Bounce lighting – Ambient occlusion – HDR Environment map lighting (IBL) – Used on many films since “Shrek 2” • Used in a variety of shots • Various characters, props and environments • Global Illumination system – Using Ray Tracing and Irradiance Caching (IC) • [Tabellion and Lamorlette 2004] • [Krivanek et al. 2008] – Using point-based GI • [Christensen 2008] Direct Lighting Only Direct + Indirect Lighting Example: “How To Train Your Dragon ” Example: “How To Train Your Dragon ” Example: “Shrek Forever After” GI in Animated Film Production • Requirements: – High Quality • No noise, buzzing or popping – Artistic control • Offer physically correct starting point • Let the user tweak shaders further – Good shader integration – Speedy interaction • Add bounce cards to control lighting • Apply localized filters to GI – Scene complexity • Scene complexity is unbounded (more or less tuned) GI in Animated Film Production • Multi-department Impact: – Modelling & Animation • Geometry with bad contact / penetrations – Surfacing • Account for GI as a lighting scenario • Define bouncing characteristics – FX • Effects do illuminate and occlude – Lighting • GI not always intuitive – Light is coming from everywhere • GI produces simpler lighting rigs • Propagates well to other shots / sequences Ray-Tracing-Based GI System Overview • Micropolygon Deep Frame Buffer Renderer
    [Show full text]
  • KUNG FU PANDA Fun Facts
    KUNG FU‘N’ FACTS! Starting With Some Cool Stuff • Including voice actors, 448 different people put over 21,442 manweeks into the film. That’s 107,210 mandays or 857,680 manhours. • It took a total of 391 artists to create “Kung Fu Panda” (the total crew number minus production staff and voice talent). “Kung Fu Panda” was in production for approximately 4.5 years (from Fall 2003 to Spring 2008). • The “Kung Fu Panda” Animation department is comprised of animators from around the globe, including artists from the USA, China, Canada, France, Italy, Spain, Ireland, the United Kingdom, Mexico, Philippines, Japan, Sweden, Belgium and Israel. • Every time a scene was finalized in Animation, the animator received one fortune cookie (with a customized fortune inside). • During the development process, there was talk of cutting one of the five and making them the Furious Four…but everyone had grown so attached to them all that DreamWorks couldn’t part with any of the characters. • The animators’ first pass shots of kung fu were choreographed in 2D before being animated in CGI. • There are 1,478 unique villagers in the Valley of Peace and 2,306 spectators in the stadium during the Dragon Warrior ceremony. • It took a combined 54 systems (including rockets, trails, lights and emitters) to create the single effect of Po riding the rocket chair into the stadium. Kung Fu Panda ™ & © 2008 DreamWorks Animation L.L.C. “Kung Fu Panda” Fun Facts 2 Now, About That Panda… • The weirdest animation control was for Po’s uvula. • Q: What do pandas eat? A: Mostly bamboo shoots, leaves and stems, plus some other vegetation.
    [Show full text]
  • Movie Program Family Movies in Canada Exclusively the BEST NEW SUMMER MOVIES at ACF!
    Call us now at The best copyright Exclusive access to the 1 800 289-8887 coverage for your largestlargest selectionselection ofof Movie Program family movies in Canada Exclusively THE BEST NEW SUMMER MOVIES at ACF! The best blockbusters available! 1 800 289-8887 ★ www.acf-film.com ★ [email protected] Fax: 514-493-9058 COPYRIGHT MOVIE LICENSING ABOUT US WHAT DOES THE LAW SAY? Founded in 1966, Audio Cine Films Inc. is one of the The Canadian Copyright Act applies in all cases, even if films are: largest rights representatives in Canada, and is Purchased from retail stores or online vendors. Obtained from personal collections or borrowed from the exclusive Canadian non-theatrical distributor for public libraries (for example). numerous major studios, producers and thousands of Shown freely, for charity purposes or to small groups. films. As such, it issues performance licenses that legalize Complete information on copyrights can be found at the public presentation of commercially available films. www.acf-film.com. ACF HAS EXCLUSIVE RIGHTS IN CANADA No other entity in Canada or the United States is allowed to issue public performance licenses from our partner studios (among others) and their movies. Licenses obtained from organizations outside of Canada do not cover or allow for the presentation of movies from the studios we represent in Canada. A complete listing of studios exclusively represented by ACF in Canada is available in this document. 100% Canadian . Since 1966. HOW TO OBTAIN A LICENSE? Simply complete the application form included
    [Show full text]
  • Antz Bee Movie El Dorado Flushed Away Kung Fu Panda How to Train Your Dragon Madagascar Madagascar: Escape 2 Africa Monsters Vs
    YOU ARE CORDIALLY INVITED TO THE OPENING RECEPTION FOR an exhibition of visual development and production artwork from DreamWorks DreamWorlds Animation’s feature films. PLEASE JOIN DREAMWORKS ANIMATION ARTISTS AND EXECUTIVES, ART CENTER PRESIDENT LORNE BUCHMAN, ART CENTER TRUSTEE ALYCE WILLIAMSON, ILLUSTRATION DEPARTMENT CHAIR ANN FIELD AND WILLIAMSON GALLERY DIRECTOR STEPHEN NOWLIN FOR THE OPENING OF DreamWorlds, a behind-the-scenes look at the artistry and imagination of animated filmmaking. THURSDAY, MARCH 4, 2010 7–8 PM PANEL DISCUSSION Ahmanson Auditorium 8–9 PM WILLIAMSON GALLERY RECEPTION Panel Discussion: Kathy Altieri DreamWorks Production Designer for the soon-to-be-released How to Train Your Dragon (March 26, 2010), Art Center alumna, ILLU ’81 Kendal Cronkhite DreamWorks Production Designer, Madagascar films, Art Center alumnus, ILLU ’87 Sam Michlap DreamWorks Visual Development Artist and DreamWorlds co-curator Alyce de Roulet Williamson Gallery Art Center College of Design | 1700 Lida Street | Pasadena, CA 91103 (Once on campus, please follow the signs for parking information.) featuring artwork from: ANTZ BEE MOVIE EL DORADO FLUSHED AWAY KUNG FU PANDA HOW TO TRAIN YOUR DRAGON MADAGASCAR MADAGASCAR: ESCAPE 2 AFRICA MONSTERS VS. ALIENS OVER THE HEDGE PRINCE OF EGYPT SHARK TALE SHREK SHREK 2 SHREK THE THIRD SINBAD SPIRIT: STALLION OF THE CIMARRON EXHIBITION DATES: MARCH 5 – MAY 9, 2010 DreamWorlds has been made possible through the support of DreamWorks Animation, Williamson Gallery Patrons and the Pasadena Art Alliance. Art Center extends a special thanks to all DreamWorks staff who have contributed to the exhibition’s development — in particular Angela Lepito, Sam Michlap, Brian Smith and Beverly Herman, without whose expertise, patience and commitment this project would never have been realized..
    [Show full text]
  • Shrek's Law Meets Moore's
    CASE STUDY Intel® Xeon® processor 5600 series Enterprise Server Performance for Data-Intensive Computing Shrek’s Law Meets Moore’s Law DreamWorks Animation brings imagination to life with Intel® Xeon® processor 5600 series With the stakes higher for each new computer-generated (CG) animated 3D feature film, DreamWorks Animation has an ever-increasing need for computing performance. Using Intel® Xeon® processor 5600 series-based platforms, the studio is achieving more than a 60 percent performance increase over previous-generation systems. DreamWorks Animation is using that boost in performance to help deliver two stereoscopic 3D animated films in 2011: Kung Fu Panda 2* and Puss in Boots*. CHALLENGE • High-performance, stereoscopic, 3D CG animation. DreamWorks Animation artistic teams are ambitious and continually need more compute power, including performance, throughput, and capacity, to produce increasingly visually rich characters, environments, and effects in high-quality, stereoscopic 3D. SOLUTIONS • Intel Xeon processors. DreamWorks Animation optimizes its data centers and maximizes rendering throughput with render farms of the newest HP ProLiant* G7, G6, and G5 server blades powered by Intel Xeon processors. Animators and filmmakers use Intel Xeon processor-based workstations to work more interactively. Servers and workstations run Red Hat Enterprise Linux* V5, and servers are configured with 48 GB of RAM. • Collaboration. DreamWorks Animation uses Intel® visual computing software tools and works with Intel software experts to optimize its applications for Intel technologies. IMPACT • Twice the throughput per processor. The Intel Xeon processor 5600 series more than doubles the rendering throughput per processor of previous generations while “Taking advantage of improving density and energy efficiency.
    [Show full text]
  • Title Barcode Call Number 101 Dalmatians 31027150427413 DVD-O 101 Dalmatians II Patch's London Adventure 31027150151013 D 101 Da
    Title Barcode Call Number 101 Dalmatians 31027150427413 DVD-O 101 dalmatians II Patch's London adventure 31027150151013 D 101 dalmatians II Patch's London adventure 31027150427421 DVD-O 20 fairy tales 31027150332779 J DVD T A cat in Paris 31027150324552 JDVD-C A Charlie Brown Thanksgiving 31027150308191 C A Charlie Brown valentine 31027150431993 J DVD C A Cinderella story 31027150508006 J DVD-C A dog's way home 31027150336366 J DVD D A very merry Pooh year 31027100103544 W A wrinkle in time 31027150286017 W Abominable 31027150337182 J DVD A Adventure time The suitor 31027150330112 J DVD A Air Bud seventh inning fetch 31027150146823 A Air buddies 31027150385355 A Aladdin 31027100101845 VC FEATURE Alexander and the terrible, horrible, no good, very bad day 31027150331177 J DVD A Alice in Wonderland 31027150429179 DVD-A Alice in Wonderland 31027150431175 DVD-A Aliens in the attic 31027150425854 A Alvin and the chipmunks batmunk 31027150508196 J DVD-A Alvin and the chipmunks Chipwrecked 31027150507065 DVDJ-A Alvin and the chipmunks Christmas with the chipmunks 31027150504039 JDVD-C Alvin and the Chipmunks Road chip 31027150332738 J DVD A Alvin and the Chipmunks the squeakquel 31027150333330 J DVD A Anastasia 31027150508345 DVDJ-A Angelina Ballerina All dancers on deck 31027150288492 J DVD A Angelina Ballerina Mousical medleys 31027150327423 J DVD A Angelina ballerina Ultimate dance collection 31027150507214 DVDJ-A Angry birds toons Season one, volume two 31027150330047 J DVD A Angry birds toons Volume 1 31027150329148 J DVD A Annie 31027150385074 JDVD -A Another Cinderella story 31027150325872 J DVD A Arthur stands up to bullying 31027150327506 J DVD ART Atlantis, the lost empire 31027150290738 J DVD A B.O.B.'s big break 31027150333355 J DVD B Baby Looney Tunes Volume 3 Puddle Olympics 31027150386346 B Balto Wings of change 31027150304364 BALTO Barbie in the Nutcracker 31027150388789 B Barbie The Pearl Princess 31027150330088 J DVD B Barney A very merry Christmas 31027150503726 DVD-J Batman & Mr.
    [Show full text]
  • Dreamworks Animation SKG, Inc
    DreamWorks Animation SKG, Inc. Website dreamworksanimation.com DreamWorks Animation SKG, Inc. (NASDAQ: DWA) is an American animation studio based in Glendale, California that creates animated feature films, television program and online virtual worlds. They have released a total of 22 feature films, including Shrek, Madagascar, Kung Fu Panda and How to Train Your Dragon series. Although the studio also made traditionally animated films about serious subjects earlier, such as The Prince of Egypt, Joseph: King of Dreams, The Road to El Dorado, Spirit: Stallion of the Cimarron, and Sinbad: Legend of the Seven Seas, most of their computer-generated films and television series have now gained the studio a reputation for being focused on popular culture and satire. The studio was formed by the merger of the feature animation division of DreamWorks and Pacific Data Images (PDI). Originally formed under the banner of DreamWorks in 1997 by some of Amblin Entertainment's former animation branch Amblimation alumni, it was spun off into a separate public company in 2004. DreamWorks Animation currently maintains two campuses: the original DreamWorks feature animation studio in Glendale, California and the PDI studio in Redwood City, California. Films produced by DreamWorks Animation are currently distributed worldwide by Paramount Pictures, a subsidiary of Viacom, who acquired the DreamWorks live-action studio in February 2006, spinning it off again in 2008. History The PDI/DreamWorks Studio in Redwood City, California 1994–2004 On October 12, 1994, DreamWorks SKG was formed and founded by a trio of entertainment players, director and producer Steven Spielberg, music executive David Geffen, and former Disney executive Jeffrey Katzenberg.
    [Show full text]
  • Nickelodeon to Launch New CG Animated Kung Fu Panda: the Series from Dreamworks Animation SKG
    Nickelodeon to Launch New CG Animated Kung Fu Panda: The Series from DreamWorks Animation SKG Series Based on Academy Award-Nominated Theatrical Blockbuster Set to Premiere in 2010 BURBANK, Calif., May 14 -- Following a record-breaking ratings premiere of The Penguins of Madagascar, Nickelodeon today announced that it has ordered 26 episodes of its second co-production with DreamWorks Animation SKG, Inc. (Nasdaq: DWA), Kung Fu Panda: The Series -- a new CG animated comedy series adapted from the studio's 2008 blockbuster film. Today's announcement, which strengthens the strategic alliance between two of the world's most prolific producers of television and feature film animation, was made by Brown Johnson, President, Animation for Nickelodeon and MTVN Kids & Family Group. (Photo: http://www.newscom.com/cgi-bin/prnh/20090514/NY17075 ) Today's announcement comes just six weeks after Nickelodeon's unprecedented March 28 debut of the hit CG-animated series The Penguins of Madagascar, which ranked as the most-watched series premiere in the network's history, drawing 6.1 total million viewers (P2+). The half-hour premiere also delivered more kids 6-11 than any other Nick animated series premiere, averaging an 11.0/2.3 million K6-11. Since then, The Penguins of Madagascar has already become a top program with kids on all of broadcast and cable television, averaging nearly 13 million kids 2-11 each week and also averaging nearly 28 million total viewers (P2+) every week. The series is currently the #2 program (live action or animated), only behind only SpongeBob SquarePants, with kids 2-11 and 6-11 and is the #2 kid-targeted program (live-action or animated) among total viewers (P2+) on all of broadcast and cable television.* "Our seamless collaboration with DreamWorks Animation has now reached an anticipated 78 half-hours of unparalleled television CG animation," said Brown.
    [Show full text]
  • Document Number: 213270 Page 1 of 1 April 3, 2018 Re: AETN Networks
    235 E 45th Street New York, NY 10017 April 3, 2018 Re: AETN Networks — Certification of Compliance with Children’s Television Act of 1990 and Closed-Captioning Programming Laws 1st Quarter — January 1, 2018 – March 31, 2018 To Whom It May Concern: This letter shall serve as certification under the Children’s Television Act of 1990 (the “Act”) that for the respective quarter ended March 31, 2018, A&E Television Networks, LLC (“AETN”) has been in compliance with the Act with respect to all of its networks (including in high definition). This letter shall also serve as certification that AETN has been in compliance with the closed-captioning requirements set forth in Section 79.1 of Title 47 of the Code of Federal Regulations, including Section 79.1(j)(2) with respect to its programming services for the quarter ended March 31, 2018. A&E Television Networks, LLC is dedicated to providing the best programming and customer service possible. I can be reached at (212) 210-9110 or via email: [email protected] with any questions or concerns. We thank you for your business and wish you continued success. Regards, Pamala Steward Director Distribution Operations cc: S. Plasse Document Number: 213270 Page 1 of 1 CHILDREN’S TELEVISION ACT COMPLIANCE In accordance with the Children’s Television Act of 1990, 47 U.S.C. § 503(b)(6)(B) and 47 C.F.R. §76.225 and 47 C.F.R. §76.1703 (the “Regulations”), CSTV Networks, Inc. d/b/a CBS Sports Network certifies that the CBS Sports Network programming service does not format or air any “children’s programming”
    [Show full text]
  • User Profile - Scott Brisbane
    2/15/2018 e-on software - Spotlights User Profile - Scott Brisbane "VUE is just an essential part of our work-flow here. Every time I show people what I do with it they go "that's amazing!"" Scott Brisbane, DreamWorks Animation. A few example of movies in which Scott used VUE Please meet Scott Brisbane, currently Head of Matte Painting at DreamWorks Animation. His credits include "The Croods", "How to Train your Dragon 2", "Avatar", "Shrek 3 & 4", "Kung Fu Panda", "Over the Hedge", "Flushed Away", and a lot more. In addition to Dreamworks, Scott has worked at Weta Digital, Rythm & Hues and Matte World Digital. Scott also teaches VUE classes at StudioArts, and is regularly part of the 3D Environment Competition judges squad. E-on: Can you tell us a bit about yourself and what lead you to 3G in general? Scott Brisbane: My background was in arts, I was into makeup effects and that kind of thing like Rick Baker and Stan Winston. Eventually I started making my own movies in high school. That led to me going to film school at USC here in LA. I started to focus more on film making as opposed to makeup effects and this was back in the 90s so there wasn't a lot of digital film, everything was photo-chemical/optical. There wasn't a lot of Visual FX classes either so I ended up focusing on cinematography and graduated with that. I worked in the industry for a bit and fell into editing, then I realized I didn't want to do that.
    [Show full text]