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Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
Film Is GREAT, Edition 2, November 2016
©Blenheim Palace ©Blenheim Brought to you by A guide for international media The filming of James Bond’s Spectre, Blenheim Palace, Oxfordshire visitbritain.com/media Contents Film is GREAT …………………………………………………………........................................................................ 2 FILMED IN BRITAIN - British film through the decades ……………………………………………………………………………………….. 9 - Around the world in British film locations ……………………………………………….…………………........ 15 - Triple-take: Britain's busiest film locations …………………………………………………………………….... 18 - Places so beautiful you'd think they were CGI ……………………………………………………………….... 21 - Eight of the best: costume dramas shot in Britain ……………………………………………………….... 24 - Stay in a film set ……………………………………………………………………………………………………………...... 27 - Bollywood Britain …………………………………………………………………………………………………………….... 30 - King Arthur's Britain: locations of legend ……………………………………………………………………...... 33 - A galaxy far, far away: Star Wars in Britain .…………………………………………………………………..... 37 ICONIC BRITISH CHARACTERS - Be James Bond for the day …………………………………………………………………………………………….... 39 - Live the Bridget Jones lifestyle ……………………………………………………………………………………..... 42 - Reign like King Arthur (or be one of his knights) ………………………………………………………….... 44 - A muggles' guide to Harry Potter's Britain ……………………………………………………………………... 46 FAMILY-FRIENDLY - Eight of the best: family films shot in Britain ………………………………………………………………….. 48 - Family film and TV experiences …………………….………………………………………………………………….. 51 WATCHING FILM IN BRITAIN - Ten of the best: quirky -
Bruce Jackson & Diane Christian Video Introduction to This Week's Film
April 28, 2020 (XL:13) Wes Anderson: ISLE OF DOGS (2018, 101m) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Bruce Jackson & Diane Christian video introduction to this week’s film (with occasional not-very-cooperative participation from their dog, Willow) Click here to find the film online. (UB students received instructions how to view the film through UB’s library services.) Videos: Wes Anderson and Frederick Wiseman in a fascinating Skype conversation about how they do their work (Zipporah Films, 21:18) The film was nominated for Oscars for Best Animated Feature and Best Original Score at the 2019 Academy Isle of Dogs Voice Actors and Characters (8:05) Awards. The making of Isle of Dogs (9:30) CAST Starting with The Royal Tenenbaums in 2001, Wes Isle of Dogs: Discover how the puppets were made Anderson has become a master of directing high- (4:31) profile ensemble casts. Isle of Dogs is no exception. Led by Bryan Cranston (of Breaking Bad fame, as Weather and Elements (3:18) well as Malcolm in the Middle and Seinfeld), voicing Chief, the cast, who have appeared in many Anderson DIRECTOR Wes Anderson films, includes: Oscar nominee Edward Norton WRITING Wes Anderson wrote the screenplay based (Primal Fear, 1996, American History X, 1998, Fight on a story he developed with Roman Coppola, Club, 1999, The Illusionist, 2006, Birdman, 2014); Kunichi Nomura, and Jason Schwartzman. Bob Balaban (Midnight Cowboy, 1969, Close PRODUCERS Wes Anderson, Jeremy Dawson, Encounters -
Tidligere Vindere 1975-2012
I dette dokument kan du finde tidligere vindere af Odense Internationale Film Festival. Derudover kan du se, hvem der var jury det pågældende år samt læse en kort beskrivelse af de enkelte festivaler. Følg hyperlinksene herunder for at komme frem til det ønskede år: 1975, 1977, 1979, 1981, 1983, 1985, 1987, 1989, 1991, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012 Hvis du har spørgsmål, er du altid velkommen til at kontakte os på telefon 6551 2837 eller på mail [email protected] 1975, 27. juli – 4. august I 1975 afholdes festivalen for første gang under navnet Den Internationale Eventyrfestival. Festivalen kunne præsentere 58 udvalgte film fra 20 forskellige lande. Filmene blev vist i Palace Biografen. Juryen bestod af: - Jan Lenica, Polen - Thorbjørn Egner, Norge - Georg Poulsen, Danmark - Niels Oxenvad, Danmark - Ebbe Larsen, Danmark 1.pris - Guldpris THE THREE COMPANIONS af Jan Karpas, Tjekkoslovakiet THE LEGEND OF POUL BUNYAN af Sam Weiss, USA 2.pris - Sølvpris THE LITTLE MATCH GIRL af Kazuhiko Watanabe, Japan Vinderfilm THE FROG PRINCE af Jim Henson, USA THE SHADOW af Jørgen Vestergaard, Danmark THE SWINEHERD af Gene Deitch, Danmark ARROW TO THE SUN af Gerald McDermott, USA BLACK OR WHITE af Waclaw Wajser, Polen Personlige priser Thorbjørn Egner: THE BAG OF APPLES af Vladimir Bordzilovskij, U.S.S.R. Speciel Jurypris: THE SERIES OF CARTOONS af Raoul Servais, Belgien 1977, 31. juli - 7. august Den 2. Internationale Eventyrfestival bød på 68 film fra 18 forskellige lande. Filmene blev vist i Palads Teatret, Bio Centret, Folketeatret Grand og Bio Vollsmose. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
Shaun the Sheep's Creator
PRODUCTION NOTES STUDIOCANAL RELEASE DATES: UK – OCTOBER 18th 2019 SOCIAL MEDIA: Facebook - https://www.facebook.com/shaunthesheep Twitter - https://twitter.com/shaunthesheep Instagram - https://www.instagram.com/shaunthesheep/ YouTube - https://www.youtube.com/user/aardmanshaunthesheep For further information please contact STUDIOCANAL: UK ENQUIRIES [email protected] [email protected] 1 Synopsis Strange lights over the quiet town of Mossingham herald the arrival of a mystery visitor from far across the galaxy… For Shaun the Sheep’s second feature-length movie, the follow-up to 2015’s smash hit SHAUN THE SHEEP MOVIE, A SHAUN THE SHEEP MOVIE: FARMAGEDDON takes the world’s favourite woolly hero and plunges him into an hilarious intergalactic adventure he will need to use all of his cheekiness and heart to work his way out of. When a visitor from beyond the stars – an impish and adorable alien called LU-LA – crash-lands near Mossy Bottom Farm, Shaun soon sees an opportunity for alien-powered fun and adventure, and sets off on a mission to shepherd LU-LA back to her home. Her magical alien powers, irrepressible mischief and galactic sized burps soon have the flock enchanted and Shaun takes his new extra-terrestrial friend on a road-trip to Mossingham Forest to find her lost spaceship. Little do the pair know, though, that they are being pursued at every turn by a mysterious alien- hunting government agency, spearheaded by the formidable Agent Red and her bunch of hapless, hazmat-suited goons. With Agent Red driven by a deep-seated drive to prove the existence of aliens and Bitzer unwittingly dragged into the haphazard chase, can Shaun and the flock avert Farmageddon on Mossy Bottom Farm before it’s too late? 2 Star Power The creative team behind the world’s favourite woolly wonder explain how, in Farmageddon, they’ve boldly gone where no sheep has gone before.. -
Steve's Film Festival Reviews for 2005
Steve’s Film Festival Reviews for 2005 By Steve Munro Ratings * I stayed to the bitter end (but probably shouldn’t have) ** Maybe worth seeing once *** Recommended **** First rate ***** Best of the festival The reviews are arranged in the order of viewing. Festival Main Title From the poster, a pair of hands making a square frame, I had expected something rather boring, but this year’s title was a joy to watch 33 times over. A series of images, all made from hands, represents each of the aspects of the Film Festival including its library, the Sprockets Children’s festival and the out-of-town film circuit. One night, as I waved to a friend who was looking for me in the house as this sequence ran, I realized that these are also the hands that shoot up in front of a screen to make pictures. A lovely 30th anniversary piece. Universal Studios’ salute to the volunteers is partly recycled from years past, and been updated with the new NBC/Universal logo. All the same, it drew applause at each viewing right up to the end, with especially lusty cheers on the last day. Every screening began with an exhortation to turn off cell phones and not to photograph the film. The less said about this trailer, sponsored by Motorola, the better. It got very tiring by the third viewing. (Several of my screenings had security folk scanning the audience for video pirates, but nobody was hauled out of any theatre and fed to the dogs. A shame as this would have been at least as entertaining as the onscreen action for a few flicks.) Visa Trailers Times are getting tough. -
ASIFA 50 on 50” (Aka “ASIFA 51 on 51”) – the Contest
“ASIFA 50 on 50” (aka “ASIFA 51 on 51”) – the contest th inspired by the 50 anniversary of International Animated Film Association (Association Internationale du Film d’Animation – ASIFA) This year, a significant group of artists, producers, festival directors, animation critics and viewers can th celebrate the 50 anniversary of the creation of the International Animated Film Association (Association Internationale du Film d’Animation – ASIFA), an organization founded by Norman Mc Laren and other exceptional creators in order to unite animation artists from all around the world. th The head of the Association chose 2010 to be the year in which the 50 anniversary is celebrated. As people responsible for the International Etiuda&Anima Film Festival, which is the oldest Polish festival devoted to film education and international animation, we have decided to hold a competition together with ASIFA Poland. The international contest called “ASIFA 50 on 50” focuses on creating a list of 50 best animated shorts created during the 50 years that the Association has been active. The idea was welcomed by the ASIFA and honorary Patronage was provided by the Association President, Mr Nelson Shin from Korea, and Mr Raoul Servais from Belgium, the Honorary President of the celebration. The story is worth remembering. In the 1984, the ASIFA Hollywood decided to celebrate the Los Angeles Olympics together with the American Academy of Motion Picture Arts and Sciences and conducted the famous “Champions of Animation” poll. The idea first occurred to the late Fini Littlejohn, an ASIFA Hollywood member, designer and illustrator working for the Disney Studios. -
Varga Zoltán
Kurzus kódjai: BBN-FLM-241:25 BMA-FLMD-111:15 BMA-FLMD-211:29 Kurzus címe: Az animációs film tendenciái Tanár neve: Varga Zoltán Kurzus időpontja, helye: Péntek,15:30-17:00, 34-es terem Kurzus típusa: Előadás Kurzus leírása: A kurzus célja a bevezetés az animációs filmmel kapcsolatos fogalmak és jelenségek vizsgálatába. Az animációs film meghatározási lehetőségeinek térképezését és történetének felvázolását követően olyan jellegzetességek vizsgálatára helyeződik a hangsúly, mint az animációs film sajátos vizualitása és hanghasználatának különleges konvenciói; az animációs film és az elbeszélésmódok összekapcsolódása; valamint animáció és műfajiság kérdésköre. A félév az alábbi módon tagolódik; a témák több órát fed(het)nek le: 1. Az animációs film meghatározásának lehetőségei és problémái 2. Az animációs film történetének vázlata 3. Az animációs film és a vizualitás 4. Az animációs film és a hang 5. Az animációs film és az elbeszélés 6. Az animációs film és a műfajiság: burleszk, horror és musical az animációban Kurzus teljesítésének követelményei: Írásbeli vizsga: az óra anyaga + a kötelező filmek ismerete Kötelező filmek: Tex Avery: Dumb-Hounded; Red Hot Riding Hood; King Size Canary; Bad Luck Blackie Paul Berry: The Sandman Walerian Borowczyk – Jan Lenica: Dom/Ház/House Walerian Borowczyk: Renaissance; Les Yeux des Anges/Game of Angels/Angyaljáték Konstantin Bronzit: Switchcraft Tim Burton: Vincent Émile Cohl: Fantasmagorie Walt Disney: Steamboat Willie; The Old Mill Disney – John Kahrs: Paperman Piotr Dumala: Sciany/Walls Oskar Fischinger: -
Wallace & Gromit
WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT Programme Notes If Nick Park and co. at Aardman gradually established themselves as a sort of millennial plasticine Ealing, then surely ‘Wallace & Gromit: The Curse of the Were-Rabbit’ is their diversion into Hammer horror territory. Aardman’s plunge into the daunting world of feature-length production had begun with ‘Chicken Run’ (2000), which set something of a precedent with its own co-opting of a broad, recognisable genre, on this occasion the wartime prison break drama, and the much-loved Wallace & Gromit followed suit with a good old-fashioned monster spooker. Ok, it tones down its terrors in favour of good old English standbys like garden fêtes, marrow-growing contests, and aerial dogfights, yet this in itself all shows a keen awareness of the frequently clichéd vision of Britain depicted in our genre fare, with emphasis often placed on class-system clashes (compare the respective foxhunter sequences in ‘The Hound of the Baskervilles’, ‘The Tomb of Ligeia’, ‘The Plague of the Zombies’ and ‘The Final Conflict’, for example – our ‘proper’ horror films straying every bit as far from their fear focus and using traditional imagery to offer comment on wider issues). We probably have as many fictional ‘national treasures’ as we do real ones – for every Florence Nightingale or Mo Farah, say, there’s a ‘James Bond’ or ‘Sherlock Holmes’. An instant hit as soon as ‘A Grand Day Out’ took to the screens in 1989, both Wallace and Gromit leapt on to everyone’s list of praiseworthy favourites, consolidating their success with ‘The Wrong Trousers’ (1993), perhaps their defining half-hour, and ‘A Close Shave’ (1995).