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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 Cameraman's Revenge
Klassiki Cinema on the Hop Tuesday 14 April 2020 The Cameraman’s Revenge (1912) #Klassiki2 by Ladislas Starevich Ladislas Starevich is, to be frank, a name that everybody wonder whether this great heritage was fostered somewhat should know. A true pioneer, he is an early Russian stop by Starevich’s position as originator and homegrown genius. motion animator and his contributions to cinema still resonate today. The list of filmmakers he has influenced Animation lends itself to anthropomorphising animals, but includes luminaries such as Wes Anderson, the Brothers Quay Starevich was one of the first to tap into this power. He and Tim Burton. Charles Henri Ford, the American poet and stumbled accidentally on animation. As the Director of the filmmaker, stated that, “Starevich is one of those cinemagicians Natural History Museum in Kaunas, Lithuania, he wanted to whose name deserves to stand in film history alongside those of document the rituals of stag beetles. Upon finding that the Méliès, Emil Cohl and Disney.’” Not only was he technically nocturnal creatures went to sleep almost as soon as light innovative, Starevich had an artistic vision and keen turned on them, he decided to use the carcasses of dead emotional sensibility that makes his films utterly compelling. insects to produce educational films. However, he soon His stylistic imprint can be seen on many modern day plumbed the potential of this medium. The Cameraman’s classics. Recent contemporary animated films with entire Revenge is one of Starevich’s earliest films, and the direct sequences that reference his films include Wes Anderson’s result of this revelation. -
Cartoon Animals Vs. Actual Russians: Russian Television and the Dynamics of Global Cultural Exchange 2021
Repositorium für die Medienwissenschaft Jeffrey Brassard Cartoon Animals vs. Actual Russians: Russian Television and the Dynamics of Global Cultural Exchange 2021 https://doi.org/10.25969/mediarep/16243 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Brassard, Jeffrey: Cartoon Animals vs. Actual Russians: Russian Television and the Dynamics of Global Cultural Exchange. In: VIEW. Journal of European Television History and Culture, Jg. 10 (2021), Nr. 19, S. 4– 15. DOI: https://doi.org/10.25969/mediarep/16243. Erstmalig hier erschienen / Initial publication here: https://doi.org/http://doi.org/10.18146/view.252 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0/ Attribution - Share Alike 4.0/ License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz https://creativecommons.org/licenses/by-sa/4.0/ finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0/ volume 10 issue 19/2021 CARTOON ANIMALS VS. ACTUAL RUSSIANS RUSSIAN TELEVISION AND THE DYNAMICS OF GLOBAL CULTURAL EXCHANGE Jeffrey Brassard University of Alberta [email protected] Abstract: Despite continual improvements in production and writing quality, live-action Russian series have fared poorly in the global market. While many deals have been struck, Western remakes of Russian series have failed to appear, and live-action programs have failed to find mainstream audiences outside of Russia. Russian animated series, on the other hand, have enjoyed global success. The success and failure of different types of Russian series in the global media market suggests that many of the central problems of cultural exchange remain. -
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. -
Palm Springs International Animation Festival SCHEDULE
Palm Springs International Special Events Animation Festival Special Feature Presentations SCHEDULE WEDNESDAY Wednesday, August 22, 2018 11:15am – 12:39pm 10 am – 10:58 am 2017 Animated Short Film Award Winners Marnie’s World Theatre 1 Feature Film 2017 Animated Short Film Award Winners ( PCAW001 ) A collection of the Theatre 1 winning animated shorts of the 2017 inaugural season featuring Oscar US Premiere! winning talent and stories from all over the world. Weeds - 3:45 - USA - Director : Kevin Hudson 4pm Red Carpet Tokri (The Basket) 14:46 - India - Director : Suresh Eriyat 5pm – 6:40pm Adija - 4:08 - USA - Director : Apollonia Thomaier Sgt. Stubby: An Yellow Rose - 3:58 - Australia - Director : Xin Li American Hero Virtual Actors in Chinese Opera - 3:15 - Hong Kong - Director : Tobias Feature Film Gremmler Theatre 1 The Potato Eaters - 3:54 - Czech Republic - Director : Martin Kukal – Opening Night Event! Tanguito Argentino - 8:00 - Argentina - Director : Joaquin Braga Cuerdas - 10:52 - Spain - Director : Pedro Solis Escape - 4:45 - USA - Director : Brandon Oldenburg FRIDAY 3:45pm -4:45pm 10:15am – 10:52am Classic Auction: Animated Cells Theatre 2 Theatre 3 The collections of shorts in this segment will take you back in time to the beginning of this amazing unique visual art form. SATURDAY 11:00am-12:30pm A Thousand Kisses - 16:38 - USA - Director : Richard Goldgewicht Mission Kathmandu: Skyscrapers - 12:15 - Switzerland - Director : Fabienne Giezendanner The Adventures of Nelly Nowhere - 4:09 - USA - Director : HYEON JEONG CHO & Simon The Balloonatic - 3:00 - UK - - Director : Eoin Mcloughlin Theatre 1 3:00pm-4:45pm Isle of Dogs Special Presentation – Celebrating Loving All Animals Animal Shelter Theatre 1 11:15am – 12:39pm Marnie’s World Feature Film US Premiere Panels/ Theatre 1 Masterclass WEDNESDAY (2018) - 84 min - Germany Animation | Adventure | Comedy Spoiled orange house cat Marnie lives a comfy life in the Sunshine household. -
Expression of Language Etiquette in Russian Folktales
Expression of Language Etiquette in Russian Folktales Ildiko Csajbok-Twerefou, Department of Modern Languages, University of Ghana Yuriy Dzyadyk, Department of Modern Languages, University of Ghana Abstract Using different methods of analysis, this paper examines maxims of language etiquette, such as request, address forms and greetings in selected Russian folktales. Though language etiquette as a segment of politeness has its standards, it is dynamic, so it varies due to political, social, economic or cultural factors. Yet, folktales as a source of customs and beliefs, constitute an integral part of cultural heritage, serve as a means of upbringing, and play an important role in the linguistic development of a person. In Russia, expressions of politeness found in folktales are applied in accordance with the current requirements of Russian society. Keywords: Politeness, folklore, culture, language. Introduction Culture, traditions, language, and folklore are strongly related to each other and vary from nation to nation. Knowing the culture of a society, one may be acquainted with the traditions, language and folklore of that particular society, since culture encompasses all of them. The word folklore can be translated as “knowledge of people”. When referring to folklore in general, one may think about different genres, such as music, dance, tales, arts, crafts, etc. Usually, folklore is characterized by its collectiveness, since it is made on the earlier established traditions and standards of a society, taking into consideration its requirements and perceptions (Keszeg 2008). On the other hand, folklore is a piece of art, which exists not only by means of verbal units, but it often includes gestures, theatrical elements, dancing and singing. -
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production. -
Licensing World Russia 2020 Report
Report 2 0 2 0 www.licensingworld.ru www.kidsrussia.ru KIDS RUSSIA 2020: EXHIBITOR PROFILE Exhibitors TOP-5 reasons to participate 2019 2020 at Kids Russia: TOTAL: 203 168 1. Successful positioning of new products National: 168 144 2. Quality of visitors International: 12 24 No countries: 15 13 3. Post-fair business (expected) 4. Number of contacts with new customer Exhibition space: 7.000 м2 5. Number of firm sales talks «We represent our region and promote companies of the Udmurt Republic and Made in Udmurtia brand throughout Russia. We are participating in this exhibition of children’s products collectively for the first time, before that our regional companies took part in it individually. I actually really like the organization of this exhibition. 90,0% A large territory, bright, beautiful, large-scale stands, a lot of interesting things.» of exhibitors intend to participate Svetlana TRUDOLYUBOVA, Event Specialist, in Kids Russia 2021 (2019: 75%) Business Development Center of the Udmurt Republic «We are exhibiting at Kids Russia for the first time. All in one place,all is centralized, it is very convenient. The Russian market is large enough, and we are trying and doing everything we can to show our products and saturate the Russian market with high-quality and inexpensive 45,0% toys.» Aren MYASORUKOV, marketing manager, representative of the of new exhibitors (2019: 35%). collective exposition of the Republic of Uzbekistan «This is the first time when our company participates in such a large-scale exhibition as a manufacturer of children’s products. MARKET LEADERS – PARTICIPANTS We really liked the exhibition, it was so vivid and positive. -
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. -
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We Present the Catalog of Current Russian Animation-2021
RAFA is Russian animated film association. RAFA represents the interests of Russian animation industry and helps to create favorable conditions for effective development of animation in Russia and worldwide. RAFA includes more than 60 companies which are involved in animation: production companies, TV channels, distribution and licensing companies. • If you need to communicate with any Russian studio, organization or animator • If you need assistance in participation in festivals and film markets in Russia • If you need to organize the presentation of your projects to Russian partners • If you need talents and studios for co-production JUST CONTACT RAFA! RAFA is proud to present opportunity of Russian animation to you. TAP HERE CONTENTS RAFA NAVIGATION ALPHABETICAL LIST INDUSTRIAL ANIMATION INDEPENDENT ANIMATION Dear Friends, Russian Animated Film Association presents the 10th anniversary сatalog of Russian Animation. The global pandemic has changed the usual format of many events, so now for the second year we are publishing the catalog in a convenient web format. In the 10 years that have passed since the release of the first catalog, we have come a long way. Since 2012, when RAFA was formed, the number of animation studios in Russia has doubled, and the production of animation has grown more than 5 times. Today RAFA unites more than 60 animation studios from 7 regions of Russia, which animation is adapted into 60 languages and distributed in more than 150 countries of the world. It is gratifying that despite the problems faced by many industries, Russian studios are not only continuing to produce animation but are also increasing its number and quality. -
Deuxièmes Rencontres Internationales Des Médias Numériques (DRIMN)
Deuxièmes Rencontres Internationales des Médias Numériques (DRIMN) France , 25 juin – 13 juillet 2007 32 étudiants et jeunes professionnels du monde entier invités pendant trois semaines 32 foreign students invited to France for three weeks Un parcours technique, artistique et culturel A technical, artistic and cultural journey A la découverte de 3 régions de référence dans les médias numériques : écoles, studios, laboratoires, espaces d’exposition… Discovering 3 regions of excellence for digital media training : training centres, studios, laboratories, and exhibition areas A la rencontre des professionnels, créateurs, experts français Meetings with French professionals, artists and technicians L’accès à un réseau d’écoles spécialisées à travers le monde Accessing a worldwide network of specialised schools Un contact privilégié avec les meilleures écoles françaises Easy access to the best French training centres La création d'un réseau International Creation of an international network 6 étudiants français participent aux rencontres 6 French students will be taking part in the event http://www.diplomatie.gouv.fr Contacts : [email protected] http://www.arte.tv/drimn Tél : +33(0)1 43 17 84 74 h ttp ://www.Audi.fr Tél : +33(0)6 30 35 43 57 Le Ministère des Affaires Etrangères et européennes organise, du 25 au 13 juillet 2007, les Deuxièmes Rencontres Internationales des Médias Numériques (DRIMN). Cet événement offrira à 32 étudiants et jeunes professionnels étrangers et français un parcours de formation en France au cours duquel ils seront à même de rencontrer des artistes, des chercheurs et des techniciens actifs dans les différents secteurs de l’imagerie numérique, linéaire ou interactive, et de suivre un programme de conférences dispensées dans le cadre des meilleures écoles, universités et organismes de formation français.