Animation Industrial Chain Development in the U.S.A and Its Enlightenment to the Animation Industry in China
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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 -
The Formation of Temporary Communities in Anime Fandom: a Story of Bottom-Up Globalization ______
THE FORMATION OF TEMPORARY COMMUNITIES IN ANIME FANDOM: A STORY OF BOTTOM-UP GLOBALIZATION ____________________________________ A Thesis Presented to the Faculty of California State University, Fullerton ____________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Geography ____________________________________ By Cynthia R. Davis Thesis Committee Approval: Mark Drayse, Department of Geography & the Environment, Chair Jonathan Taylor, Department of Geography & the Environment Zia Salim, Department of Geography & the Environment Summer, 2017 ABSTRACT Japanese animation, commonly referred to as anime, has earned a strong foothold in the American entertainment industry over the last few decades. Anime is known by many to be a more mature option for animation fans since Western animation has typically been sanitized to be “kid-friendly.” This thesis explores how this came to be, by exploring the following questions: (1) What were the differences in the development and perception of the animation industries in Japan and the United States? (2) Why/how did people in the United States take such interest in anime? (3) What is the role of anime conventions within the anime fandom community, both historically and in the present? These questions were answered with a mix of historical research, mapping, and interviews that were conducted in 2015 at Anime Expo, North America’s largest anime convention. This thesis concludes that anime would not have succeeded as it has in the United States without the heavy involvement of domestic animation fans. Fans created networks, clubs, and conventions that allowed for the exchange of information on anime, before Japanese companies started to officially release anime titles for distribution in the United States. -
The Walt Disney Silly Symphony Cartoons and American Animation in the 1930S
Exploration in Imagination: The Walt Disney Silly Symphony Cartoons and American Animation in the 1930s By Kendall Wagner In the 1930s, Americans experienced major changes in their lifestyles when the Great Depression took hold. A feeling of malaise gripped the country, as unemployment rose, and money became scarce. However, despite the economic situation, movie attendance remained strong during the decade.1 Americans attended films to escape from their everyday lives. While many notable live-action feature-length films like The Public Enemy (1931) and It Happened One Night (1934) delighted Depression-era audiences, animated cartoon shorts also grew in popularity. The most important contributor to the evolution of animated cartoons in this era was Walt Disney, who innovated and perfected ideas that drastically changed cartoon production.2 Disney expanded on the simple gag-based cartoon by implementing film technologies like synchronized sound and music, full-spectrum color, and the multiplane camera. With his contributions, cartoons sharply advanced in maturity and professionalism. The ultimate proof came with the release of 1937’s Snow White and the Seven Dwarfs, the culmination of the technical and talent development that had taken place at the studio. The massive success of Snow White showed that animation could not only hold feature-length attention but tell a captivating story backed by impressive imagery that could rival any live-action film. However, it would take nearly a decade of experimentation at the Disney Studios before a project of this size and scope could be feasibly produced. While Mickey Mouse is often solely associated with 1930s-era Disney animation, many are unaware that alongside Mickey, ran another popular series of shorts, the Silly Symphony cartoons. -
Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
ANNEX IV ISLA CARTOON, a SUCCESSFUL CASE Annex IV
Ibero-American Animation Quirino White Paper ANNEX IV ISLA CARTOON, A SUCCESSFUL CASE Annex IV Isla Cartoon, a successful case The Animation lives in a sweet moment in Tenerife, both for the studios of the island and for professionals and students looking to make a career in this exciting industry. Companies like 3 Doubles, BWater, La Casa Animada and Mondo TV Iberoamérica develop from Tenerife millionaire productions that compete in international markets and have become success stories of what is now known as Isla Cartoon. Long before the boom of animation came to Tenerife, the largest of the eight Canary Islands, practically all the Hollywood majors had already discovered the wonders of this overseas territory: an unusual variety of landscapes, stable weather all year round, pool of local talent and one of the biggest tax incentives in Europe. Tenerife has hosted big shootings. However, it was in 2015 when the island included the animation sector in its commitment to strategic and complementary sectors to the more than 4 decades successful tourism sector. Strong institutional support, increasing fiscal incentives and a strategy designed to facilitate the establishment of companies were decisive, so that in just 3 years, Tenerife managed to go from 2 local animation studios and thirty jobs to the current 7 studios. and its more than 300 jobs. During this period, this Cartoon Island has also positioned itself as a meeting point for Ibero-American animation by becoming promoter and the main sponsor as well as host of the Quirino Awards and the international animation lab Bridging the Gap, that join to the existing ones as MiradasDoc with thirteen editions to his credit. -
The Animation Industry: Technological Changes, Production Challenges, and Global Shifts
THE ANIMATION INDUSTRY: TECHNOLOGICAL CHANGES, PRODUCTION CHALLENGES, AND GLOBAL SHIFTS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hyejin Yoon, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Edward J. Malecki, Adviser Professor Nancy Ettlinger Adviser Graduate Program in Geography Professor Darla K. Munroe ABSTRACT Animated films have grown in popularity as expanding markets (such as TV and video) and new technologies (notably computer graphics imagery) have broadened both the production and consumption of cartoons. As a consequence, more animated films are produced and watched in more places, as new “worlds of production” have emerged. The animation production system, specialized and distinct from film production, relies on different technologies and labor skills. Therefore, its globalization has taken place differently from live-action film production, although both are structured to a large degree by the global production networks (GPNs) of the media conglomerates. This research examines the structure and evolution of the animation industry at the global scale. In order to investigate these, 4,242 animation studios from the Animation Industry Database are used. The spatial patterns of animation production can be summarized as, 1) dispersion of the animation industry, 2) concentration in world cities, such as Los Angeles and New York, 3) emergence of specialized animation cities, such as Annecy and Angoulême in France, and 4) significant concentrations of animation studios in some Asian countries, such as India, South Korea and the Philippines. In order to understand global production networks (GPNs), networks of studios in 20 cities are analyzed. -
H-France Review Vol. 1 (February 2013), No. 28 Richard Neupert, French Animation History
H-France Review Volume 13 (2013) Page 1 H-France Review Vol. 1 (February 2013), No. 28 Richard Neupert, French Animation History. Chichester, West Sussex: Wiley-Blackwell, 2011. xviii + 192 pp. Figures, plates, references, further reading, and index. $115.95 U.S. (cl). ISBN 978-1-4443-3836-2; $94.95 U.S. (eb). ISBN 978-1-4443-9257-9. Review by Robin Walz, University of Alaska Southeast. French Animation History delivers precisely what it promises, a focused treatment of animated films and their makers in France from late nineteenth-century origins to the twenty-first century. In this concise, erudite, and synoptic treatment, Richard Neupert covers some familiar territory in film history, such as the development of basic animation techniques, the contributions of pioneering animators like Emile Cohl, and provides informative treatments of well-known feature-length French animated films such as Fantastic Planet and The Triplets of Belleville. He also delves into film projects and experimental techniques developed by animators that were not commercially viable, but were rich in aesthetic, narrative, and avant-garde possibilities. Not until the contemporary era, Neupert argues, with the establishment of the Centre National de la Cinématographie and the founding of the International Animation Film Association in Annecy, did animation emerge from margins of film to gain widespread recognition in terms of French national cinema and international acclaim. So, while French animators and their productions may not be as well-known or as widely distributed internationally as the Looney Tunes cartoons or Disney animated feature films produced in Hollywood, Neupert champions French animation for its long history of aesthetic innovations and quality. -
Nationalism, the History of Animation Movies, and World War II Propaganda in the United States of America
University of Akureyri Faculty of Humanities and Social Science Modern Studies 2011 Intersections of Modernity: Nationalism, The History of Animation Movies, and World War II propaganda in the United States of America Kristján Birnir Ívansson Final BA Thesis in the Faculty of Humanities and Social Sciences University of Akureyri Faculty of Humanities and Social Science Modern studies 2011 Intersections of Modernity: Nationalism, The History of Animation Movies, and World War II propaganda in the United States of America Kristján Birnir Ívansson A final BA Thesis for 180 ECTS unit in the Faculty of Humanities and Social Sciences Instructor: Dr. Giorgio Baruchello Statements I hereby declare that I am the only author of this project and that is the result of own research Ég lýsi hér með yfir að ég einn er höfundur þessa verkefnis og að það er ágóði eigin rannsókna ______________________________ Kristján Birnir Ívansson It is hereby confirmed that this thesis fulfil, according to my judgement, requirements for a BA -degree in the Faculty of Hummanities and Social Science Það staðfestist hér með að lokaverkefni þetta fullnægir að mínum dómi kröfum til BA prófs í Hug- og félagsvísindadeild. __________________________ Giorgio Baruchello Abstract Today, animations are generally considered to be a rather innocuous form of entertainment for children. However, this has not always been the case. For example, during World War II, animations were also produced as instruments for political propaganda as well as educational material for adult audiences. In this thesis, the history of the production of animations in the United States of America will be reviewed, especially as the years of World War II are concerned. -
Introduction
Introduction “this is the story of gerald mccloy and the strange thing that happened to that little boy.” These words, despite their singsong cadence and children’s-book diction, ushered in a new age of the American cartoon marked by a maturity widely perceived to be lacking in the animated shorts of Disney Studios and Warner Bros. Released in November 1950, Gerald McBoing Boing instantly made its production studio, United Productions of America (UPA), a major name in the Hollywood cartoon industry, netting the studio its first Oscar win two years after it began making shorts for Columbia’s Screen Gems imprint. Six years later, in 1956, every single short nominated in the Best Animated Short Film category was a UPA cartoon.1 Gerald McBoing Boing, a seven-minute Dr. Seuss–penned short about a small boy who finds himself unable to speak in words—only disruptive sound effects emerge from his mouth—became a box office sensation as well as a critical success. TheNew York Times observed, “Audiences have taken such a fancy to this talented young man that there has been a heap of inquiries about him and his future plans.”2 TheWashington Post called it “so refreshing and so badly needed . that its creators, United Productions and director Robert Cannon, rate major salutes,” and international publications such as the Times of India dubbed it “the first really fresh cartoon work since Disney burst on the scene.”3 The qualities that made UPA stand out—an abstract, graphic sensibility marked by simplified shapes, bold colors unmodulated by rounding effects or shadow, and a forceful engagement with the two-dimensional surface of the frame, as well as an insistence on using human characters—convinced audi- ences that it was aiming for an adult demographic while also retaining a childlike heart, positioning itself as a popular explorer of the human 1 Bashara-Cartoon Vision.indd 1 17/12/18 7:27 PM condition. -
Anime in America, Disney in Japan: the Global Exchange of Popular Media Visualized Through Disney’S “Stitch”
Anime in America, Disney in Japan: The Global Exchange of Popular Media Visualized through Disney’s “Stitch” Nicolette Lucinda Pisha Asheville, North Carolina Bachelor of Arts, University of North Carolina at Chapel Hill, 2008 A Thesis presented to the Graduate Faculty of the College^oEWilliam and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary January, 2010 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts NicoletteAucinda Pisha Approved ®y the £r, 2009 Associate Professor Arthur Knight, American Studies and English The College of William and Mary,, Visiting Assistant Professor Timothy Barnard, American Studies The College of William and Mary Assistant Professor Hiroshi Kitamura, History The College of William and Mary ABSTRACT PAGE My thesis examines the complexities of Disney’s Stitch character, a space alien that appeals to both American and Japanese audiences. The substitutive theory of Americanization is often associated with the Disney Company’s global expansion; however, my work looks at this idea as multifaceted. By focusing on the Disney Company’s relationship with the Japanese consumer market, I am able to provide evidence of instances when influence from the local Japanese culture appears in both Disney animation and products. For example, Stitch contains many of the same physical characteristics found in both Japanese anime and manga characters, and a small shop selling local Japanese crafts is located inside the Tokyo Disneyland theme park. I completed onsite research at Tokyo Disneyland and learned about city life in Tokyo. -
ANNEX I WOMEN DIRECTORS in IBERO-AMERICAN ANIMATION: the FUTURE WILL BE FEMINIST of WILL NOT HAPPEN Annex I
Ibero-American Animation Quirino White Paper ANNEX I WOMEN DIRECTORS IN IBERO-AMERICAN ANIMATION: THE FUTURE WILL BE FEMINIST OF WILL NOT HAPPEN Annex I Women Directors in Ibero-American Animation: The Future Will Be Feminist or Will Not Happen Ibero-American animated films - like all others - are told by men. Of the nearly 300 premieres* in the Ibero-American region, less than 20 have been directed by women, and less than ten are co-directed by at least one woman and one man. These figures help us focus on gender representativeness and the types of worlds and characters that are portrayed in animated films aimed at children and young and adult audiences, highlighting the gender gap in the industry. The figures in terms of premieres and projects in development call for a change that can’t be just lectures and meetings- proactive measures are needed to achieve a much-desired gender equality. By Marta García Since the launch of the first animated feature film in history, “The Apostle” by Quirino Cristiani in 1917, about 60 animated features have been released in Argentina, according to data from INCAA (Instituto de Cine y Artes Audiovisuales de Argentina); of which only ten were directed by women. In 2002, María Valentini led the way with “Bahía mágica”, a co-production by Cine Media Group, Naya Films, Cinecolor, JZ y Asociados and Mundo Marino with MDA Films from Spain, about a female biologist with a passion for animals. In 2007, Liliana Romero co-directed “Martín Fierro, la película” with Norman Ruiz (Aleph Media, Argentina/ Maíz Producciones, Spain).