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Review of the Scottish Animation Sector
__ Review of the Scottish Animation Sector Creative Scotland BOP Consulting March 2017 Page 1 of 45 Contents 1. Executive Summary ........................................................................... 4 2. The Animation Sector ........................................................................ 6 3. Making Animation ............................................................................ 11 4. Learning Animation .......................................................................... 21 5. Watching Animation ......................................................................... 25 6. Case Study: Vancouver ................................................................... 27 7. Case Study: Denmark ...................................................................... 29 8. Case Study: Northern Ireland ......................................................... 32 9. Future Vision & Next Steps ............................................................. 35 10. Appendices ....................................................................................... 39 Page 2 of 45 This Report was commissioned by Creative Scotland, and produced by: Barbara McKissack and Bronwyn McLean, BOP Consulting (www.bop.co.uk) Cover image from Nothing to Declare courtesy of the Scottish Film Talent Network (SFTN), Studio Temba, Once Were Farmers and Interference Pattern © Hopscotch Films, CMI, Digicult & Creative Scotland. If you would like to know more about this report, please contact: Bronwyn McLean Email: [email protected] Tel: 0131 344 -
UK@Kidscreen Delegation Organised By: Contents
© Bear Hunt Films Ltd 2016 © 2016 Brown Bag Films and Technicolor Entertainment Services France SAS Horrible Science Shane the Chef © Hoho Entertainment Limited. All Rights Reserved. ©Illuminated Films 2017 © Plug-in Media Group Ltd. UK@Kidscreen delegation organised by: Contents Forewords 3-5 KidsCave Entertainment Productions 29 David Prodger 3 Kidzilla Media 30 Greg Childs and Sarah Baynes 4-5 Kindle Entertainment 31 Larkshead Media 32 UK Delegate Companies 6-53 Lupus Films 33 Accorder Music 6 MCC Media 34 Adorable Media 7 Mezzo Kids 35 Animation Associates 8 Myro, On A Mission! 36 Blink Industries 9 Blue-Zoo Productions 10 Ollie’s Edible Adventures/MRM Inc 37 Cloth Cat Animation 11 Plug-in Media 38 DM Consulting 12 Raydar Media 39 Enabling Genius 13 Reality Studios 40 Eye Present 14 Serious Lunch 41 Factory 15 Sixth Sense Media 42 Film London 16 Spider Eye 43 Fourth Wall Creative 17 Studio aka 44 Fudge Animation Studios 18 Studio Liddell 45 Fun Crew 19 The Brothers McLeod 46 Grass Roots Media 20 The Children’s Media Conference 47 History Bombs Ltd 21 The Creative Garden 48 HoHo Rights 22 Three Arrows Media 49 Hopster 23 Thud Media 50 Ideas at Work 24 Tiger Aspect Productions 51 Illuminated Productions 25 Tom Angell Ltd 52 ITV PLC 26 Visionality 53 Jellyfish Pictures 27 Jetpack Distribution 28 Contacts 54 UK@Kidscreen 2017 3 Foreword By David Prodger, Consul General, Miami, Foreign and Commonwealth Office I am delighted to welcome such an impressive UK delegation to Kidscreen which is taking place in Miami for the third time. -
2019 Sony Group Statement on UK Modern Slavery
Sony Group Statement on U.K. Modern Slavery Act We make this Statement pursuant to Section 54 of the United Kingdom (UK) Modern Slavery Act 2015 (the “Act”) to identify actions we have taken on a Sony Group-wide basis during the financial year ending March 31, 2019 to prevent slavery and human trafficking from occurring in our business operations and supply chains. Although not all Sony Group1 companies are subject to the Act, we have undertaken a Group-wide approach to our human rights commitment, and make this Statement on behalf of all Sony Group companies (sometimes collectively referred to as “Sony”). As such, this Statement covers all Sony Group companies operating in the United Kingdom, who are required by the Act to publish a statement, including but not limited to Sony Europe B.V., Sony Interactive Entertainment Europe Ltd., Sony Music Entertainment UK Ltd., Columbia Pictures Corporation Limited, Sony DADC Europe Limited and other subsidiaries of Sony Corporation. The list of Sony Group companies covered by this Statement as of March 31, 2019 is available in the Annex. Our Human Rights Commitment Slavery and human trafficking can occur in many forms, such as forced labor, child labor, domestic servitude, sex trafficking, and related forms of workplace abuse. In this Statement, we use the terms “slavery and human trafficking” to include all forms of slavery, servitude and forced or compulsory labor, and human trafficking. Sony is committed to maintaining and improving systems and processes to help ensure that there are no human rights violations related to our business operations or supply chains. -
Proceedings of the World Summit on Television for Children. Final Report.(2Nd, London, England, March 9-13, 1998)
DOCUMENT RESUME ED 433 083 PS 027 309 AUTHOR Clarke, Genevieve, Ed. TITLE Proceedings of the World Summit on Television for Children. Final Report.(2nd, London, England, March 9-13, 1998). INSTITUTION Children's Film and Television Foundation, Herts (England). PUB DATE 1998-00-00 NOTE 127p. AVAILABLE FROM Children's Film and Television Foundation, Elstree Studios, Borehamwood, Herts WD6 1JG, United Kingdom; Tel: 44(0)181-953-0844; e-mail: [email protected] PUB TYPE Collected Works - Proceedings (021) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS Children; *Childrens Television; Computer Uses in Education; Foreign Countries; Mass Media Role; *Mass Media Use; *Programming (Broadcast); *Television; *Television Viewing ABSTRACT This report summarizes the presentations and events of the Second World Summit on Television for Children, to which over 180 speakers from 50 countries contributed, with additional delegates speaking in conference sessions and social events. The report includes the following sections:(1) production, including presentations on the child audience, family programs, the preschool audience, children's television role in human rights education, teen programs, and television by kids;(2) politics, including sessions on the v-chip in the United States, the political context for children's television, news, schools television, the use of research, boundaries of children's television, and minority-language television; (3) finance, focusing on children's television as a business;(4) new media, including presentations on computers, interactivity, the Internet, globalization, and multimedia bedrooms; and (5) the future, focusing on anticipation of events by the time of the next World Summit in 2001 and summarizing impressions from the current summit. -
2012 Guide 56Pp+Cover
cc THE UK’S PREMIER MEETING PLACE FOR THE CHILDREN’S 4,5 &6 JULY 2012SHEFFIELD UK CONTENT INDUSTRIES CONFER- ENCE GUIDE 4_ 5_ & 6 JULY 2012 GUIDE SPONSOR Welcome Welcome to CMC and to Sheffield in the We are delighted to welcome you year of the Olympics both sporting and to Sheffield again for the ninth annual cultural. conference on children’s content. ‘By the industry, for the industry’ is our motto, Our theme this year is getting ‘ahead of which is amply demonstrated by the the game’ something which is essential number of people who join together in our ever faster moving industry. to make the conference happen. As always kids’ content makers are First of all we must thank each and every leading the way in utilising new one of our sponsors; we depend upon technology and seizing opportunities. them, year on year, to help us create an Things are moving so fast that we need, event which continues to benefit the kids’ more than ever, to share knowledge and content community. Without their support experiences – which is what CMC is all the conference would not exist. about – and all of this will be delivered in a record number of very wide-ranging Working with Anna, our Chair, and our sessions. Advisory Committee is a volunteer army of nearly 40 session producers. We are CMC aims to cover all aspects of the sure that over the next few days you will children's media world and this is appreciate as much as we do the work reflected in our broad range of speakers they put into creating the content from Lane Merrifield, the Founder of Club sessions to stretch your imagination Penguin and Patrick Ness winner of the and enhance your understanding. -
Máire Messenger Davies
A1 The Children’s Media Foundation The Children’s Media Foundation P.O. Box 56614 London W13 0XS [email protected] First published 2013 ©Lynn Whitaker for editorial material and selection © Individual authors and contributors for their contributions. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of The Children’s Media Foundation, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organisation. You must not circulate this book in any other binding or cover. ISBN 978-0-9575518-0-0 Paperback ISBN 978-0-9575518-1-7 E-Book Book design by Craig Taylor Cover illustration by Nick Mackie Opposite page illustration by Matthias Hoegg for Beakus The publisher wishes to acknowledge financial grant from The Writers’ Guild of Great Britain. CONTENTS INTRODUCTION 1 Editorial Lynn Whitaker 5 2 The Children’s Media Foundation Greg Childs 10 3 The Children’s Media Foundation: Year One Anna Home 14 INDUSTRY NEWS AND VIEWS 4 BBC Children’s Joe Godwin 19 5 Children’s Content on S4C Sioned Wyn Roberts 29 6 Turner Kids’ Entertainment Michael Carrington 35 7 Turner: A View from the Business End Peter Flamman 42 8 Kindle Entertainment Melanie Stokes 45 9 MA in Children’s Digital Media Production, University of Salford Beth Hewitt 52 10 Ukie: UK Interactive Entertainment Jo Twist 57 POLICY, REGULATION AND DEBATE 11 Representation and Rights: The Use of Children -
Developing a Strategy to Encourage the Animation Industry Life Cycle Evolution in Saudi Arabia
Developing A Strategy To Encourage The Animation Industry Life Cycle Evolution In Saudi Arabia By Ohud Alharbi Thesis submitted for the degree of Doctor of Philosophy Supervised by: Dr. Emily Baines Ms. Janet Choo Faculty of Art, Design and Humanities De Montfort University July 2017 I Abstract This thesis examines the Saudi animation industry and investigates the barriers that are preventing the development of its life cycle. Although there has been a demand for animation content since the establishment of the Saudi TV in 1965, the Saudi animation industry remains in its Introduction stage. Therefore, the study undertakes an analysis of the factors that could enable the industry to move to its Growth stage. To achieve this, the study attempts to establish an understanding of how different countries succeeded in developing their animation industry life cycle. Therefore, the study selects three countries as a qualitative multiple case study. These countries are the UK, which represents a Mature animation industry; Egypt, which represents an established Growth industry; while the United Arab of Emirates represents an emerging Growth industry. This has involved an in-depth analysis of the animation industries in Saudi Arabia and two other Arabian countries – UAE and Egypt – as well as of the UK. There has been very limited historiography for Arabian animation and almost none on the Saudi Arabian industry previously. A consideration of which factors should be investigated, as the most effective in influencing the evolution of the industry, was undertaken. Reviewing the available literature on the animation industry development showed that four factors have been found to play a considerable role in developing the local animation industry: Higher II Education institutions, Networks, Government and Location. -
Future of Childrens Television
An independent report on The Future of Children’s Television Programming Deliberative research summary Prepared by Opinion Leader Publication date: 2nd October 2007 1 Contents 1. Executive summary 2. Introduction 3. The role of children's television 4. Satisfaction with children’s television 5. Public Service Broadcasting 6. Availability of children's programmes and channels 7. Range of children’s programme genres 8. New programmes and repeats 9. Country of origin of children’s programmes 10. Ideal futures for the provision of children’s programmes 11. Appendices 2 Executive summary Background Ofcom initiated the review of children’s television programming in response to a number of consumer and market changes. These include an increase in the range of media available to many children and a growing number of dedicated children’s channels, as well as changes in the way children consume media. As a result, traditional commercial public service broadcasters are facing significant pressures on their ability to fund original programming for children. These changes are occurring in the context of a new framework for the regulation of children’s programming, set out in the Communications Act 2003. Since the Act, ITV1, which had historically played a role in delivering a strong alternative voice to the BBC in terms of children’s programmes, has significantly reduced its commitments to children’s programming. This development, together with the other consumer and market changes outlined above, has led many to ask how public service children’s programming can continue to be delivered in the future. The Communications Act requires Ofcom to report on the fulfilment of the public service broadcasters’ public service remit at least once every five years and to make recommendations with a view to maintaining and strengthening the quality of public service broadcasting in the future. -
Rebecca Stevens
Agent: Emily Hickman [email protected] +44 (0)20 7727 1346 Rebecca Stevens In addition to her television writing, Becky has written two children's novels for Chicken House - VALENTINE JOE and ROSE IN THE BLITZ, and a retelling of Jane Austen's EMMA for Oxford University Press. She is currently writing another retelling for OUP. Children’s Television: RHYME TIME TOWN Current DreamWorks/Netflix 2 x 11’ episodes LITTLE PRINCESS series 4/5 Current Illuminated Films 5 X 11’ episodes NODDY: TOYLAND DETECTIVE Current DreamWorks Animation / Gaumont 3 x 11’ episodes SHANE THE CHEF 2018 HoHo Productions Ltd / Milkshake 1 x 11’ episode MESSY GOES TO OKIDO series 2 2018 Doodle Productions Ltd / CBeebies 2 x 11’ episodes SCHOOL OF ROARS 2016/17 Monster Paw Productions / CBeebies 5 x 7’ episodes THE HIVE 2014/5 Lupus Films / CBBC 3 x 7’ episodes NODDY 2014/5 Gaumont Animation / France 5 2 x 11’ episodes ZIG AND ZAG 2014/5 CBBC / RTE 2 x 11’ episodes PRISONER ZERO 2013/4 Planet 55 / ABC 2 x 30' episodes MESSY GOES TO OKIDO 2014 Squint Opera 4 x 11' TOPSY AND TIM 2013 Darrall Macqueen / CBeebies 2 x 11' episode of live action series BING BUNNY 2012/3 Acamar Films 1 episode POSTMAN PAT 2012 Classic Media 6 episodes MIKE THE KNIGHT 2011 Hit Entertainment Limited 4 x 11' Episodes THE HIVE 2010 Lupus Films/GMTV/Disney Worldwide 15 x 7’ Episodes CASPER'S SCARE SCHOOL 2010 Series 2: 3 x 12' Episodes MoonSccop / Classic Media LASSIE 2010 Classic Media Storylining MUDDLE EARTH 2009-10 CBBC 4 x 10’ Episodes Based on the novel by Paul Stewart & Chris Riddell -
Gaikai - Wikipedia Case 3:19-Cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not Logged in Talk Contributions Create Account Log In
Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 1 of 8 EXHIBIT B Gaikai - Wikipedia Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history Gaikai From Wikipedia, the free encyclopedia Main page Gaikai (外海, lit. "open sea", i.e. an expansive outdoor space) is an American company which provides technology for the streaming of high- Contents Gaikai Featured content end video games.[1] Founded in 2008, it was acquired by Sony Interactive Entertainment in 2012. Its technology has multiple applications, Current events including in-home streaming over a local wired or wireless network (as in Remote Play between the PlayStation 4 and PlayStation Vita), as Random article well as cloud-based gaming where video games are rendered on remote servers and delivered to end users via internet streaming (such as Donate to Wikipedia the PlayStation Now game streaming service.[2]) As a startup, before its acquisition by Sony, the company announced many partners using Wikipedia store [3] the technology from 2010 through 2012 including game publishers, web portals, retailers and consumer electronics manufacturers. On July Founded November 2008 Interaction 2, 2012, Sony announced that a formal agreement had been reached to acquire the company for $380 million USD with plans of establishing Headquarters Aliso Viejo, California, U.S. [4] Help their own new cloud-based gaming service, as well as integrating streaming technology built by Gaikai into PlayStation products, resulting Owner Sony [5] [6] About Wikipedia in PlayStation Now and Remote Play. -
Andrew Viner
ANDREW VINER Emmy-nominated writer Andrew Viner has written for a range of children’s TV, radio comedy shows, and also writes adult comedy. He won one of six places offered on the BBC’s inaugural College of Comedy scheme, beating over 3,000 other applicants. The BBC optioned an original comedy idea of his as part of the scheme, and he has also had comedy ideas optioned by DLT Entertainment and Hat Trick. Andrew has been commissioned to write 2 x original radio plays for BBC Radio 4, WHEN I LIVED IN PERU (broadcast in May 2014), and SPEECHLESS (broadcast June 2015). He has also written sketches for of THAT MITCHELL & WEBB SOUND for BBC Radio 4. Most recently he has completed a comedy feature film commission for Econ Films. Andrew has written for several comedy drama series for CBBC, including MY ALMOST FAMOUS FAMILY. He has written extensively for pre-school with credits including Aardman’s TIMMY TIME, which won a Pre-School Animation BAFTA, NUMTUMS for CBeebies, episodes for HiT Entertainment’s MIKE THE KNIGHT and FIREMAN SAM, and the popular pre-school shows BIG AND SMALL, EVERYTHING’S ROSIE, TIMMY TIME and KNIGHT RUSTY. He also recently worked with Collingwood O’Hare on RUFF RUFF, TWEET & DAVE, for CBeebies. Andrew recently wrote and script edited on a new pre-school series, BOOKABOO, for Happy Films and Amazon, for which he was nominated for an Daytime Emmy. He has recently written on the second series of PJ MASKS for eOne and Disney, OLOBOB TOP for Beakus/CBeebies, NODDY TOYLAND DETECTIVE for Dreamwork/Gaumont Animation and SUPERBUILDERS for Something Big SAS. -
The Thin Line Between Market and Quality
RESEARCH 22/2009/E 53 Jeanette Steemers The thin line between market and quality Balancing quality and commerce in preschool television1 This article raises the question builder, Thomas and friends, Barney are of course not new. Disney recog about the compatibility of qual- and friends), Entertainment Rights nised as early as the 1930s that more ity programming with commercial (Postman Pat, Rupert Bear)2, Cho money could be made with all the considerations linked to licensed rion (Noddy, Mister Men, Olivia) and products connected with content rath merchandising, and whether shows the BBC’s commercial subsidiary, er than the content itself (see Gomery, that are less well-suited to licensed BBC Worldwide, which represents 1994). Even BBC programmes like merchandise can actually survive in a number of independently produced Muffin the mule in the 1940s proved an economic climate where broad- properties, including those produced very profitable for its creators (but cast license fees do not cover the by Ragdoll Productions (Teletubbies, not the BBC) (Oswell, 2002: p. 59) costs of production. In the night garden). Rather than sim because children wanted to have the ply functioning as programmemak characters they saw on screen. The ers, these companies have established difference then was that consumer t the root of children’s tele businesses based on the ownership products were usually considered as vision there is often a very and exploitation of all rights in endur an additional source of income af basic conflict of interest. As ing characterbased preschool prop ter a programme had been made and A erties across territories and different screened.