Davince Tools Generated PDF File

Total Page:16

File Type:pdf, Size:1020Kb

Davince Tools Generated PDF File , ~~ -~ GOOD ~ ~:,., ~, :• .,-,H· E' ?r" . SIX CYL. VEL<'' .. ~'* ~.,c.·. ~\ S, ~ . VAUXHAUS NO·\ ·~ ic..ilt'~ 1 l '·.. DAILY NEWS AVAILAt. ,. ·; Terra Nova Mot, --'td. 4~~ Vol. 67. No. 186 THE DAILY NEWS, ST. JOHN'S, NFLD., MONDAY, AUGUST 22, 1960 lPrice. 7 Cents) Charles Hutton &So-ns • USSia • I raw a rom ------ .. ---- Orbiting Ani mals ¥ Refers To Can ada Return From Space ~IOSCOW Illculersl - The oc- flight h,v man. Howei'N, une · expJ·rs,ed disapprn1·al n! Ru~· cupunts of Russia's "cosmic said experiments w i I h mo1·e sia's having sent np animals in I As Belgian Ally ZPP" satellite haw been re·, hi~hly developed animals such its latest space venture.l turned safely from sJlace in' as monkeys would be needed Meanwhile, there were no de- -------·- ----- 1 ' t"\lTED :\.HIO:\S, :\. Y.-CP-Russia demanded ''good condition." first. tails in the press and radio her~ ag;,j,, Sunday that Canadian tronps be withdrawn From An announcement Snnday said. K Sederov. member of the So· on huw the space ship was rr­ the dogs "Sll·e!ka" and "Belka" det Academy of Science, praised turned to Earth. The reports Two Die In l':\ serl'it·c in the trnuhlcd Congo republic. and the mice. 1·ats. flies, plants the uchievement in the Sol'iet · merely said the return operatio,J Sol'ict reprcscnlatkc \'asily Kuzm·tso\' hit at the and other IiI' in:: organisms Communist party newspaper "ll'orked perfectly." Cnmulinns at m1 cmt'l'~t'ntv st·ssion of the t!:\ Sctnritl· aboard the satellite were all in Pravda. : AC'CUR:\TE I.A!\'DI!\'G Shooting Council. called hv r\ S~crt'lan·-Grnrral Da:;( Ham· good shaPe following the return. GAP WIDENS : The 41,·ton space <hip ancl it< mar~kiold. who ta;1~lccl with the 'cnnl!nll',t' rr.presenla- of their capsule from space Sat.' !ln Tokyo, scientist Yoshioki' capsule were brought down in C'.\LGAfl\' WP• _,, T·.rn C'nl­ lil'c at the nnhct nf the mct·tin~. urday, Nakata, a member ol Japan's; the planned landing nrea within ~arv mrn. out lor " ''.IIHio~· Knztwhll\' referred to Canada as an "alh· oF Brl­ 1'he salellite's "passengers,". radio wa1•e research institute,· se1·en miles of the calculated stroll were cut drr.1·n :w a f•I· ~ium"-Formcr rnlt'r fo the Con~o-and noted that Can­ i launched into space 200 miles: forecast that thP Russians would; point. announcements said. silad~ of rifle firr in 'I:Jr r.mm· aclian non-comhat troops, si~nalmcn. were manhandled ~IOSfO\\'-.\merlcan l'·2 pilot Francis G. l'owers (right) . above the earth Friday, became: attempt to recov~r a man from. SIJ·elka I Lit t 1 e Arrowl anrl town section of thr 1 ;,, Sunday. bv ( :on"o]c,c armv rifll'Jlll'll Thmsda1'. euminrs flight map shown to him during his e~plonag• the first animals ever recovered, space early next year. He sahl, Belka IS qui r r e 1\ ate Pa~erly A policeman was wonur'rd • b "' . walkin~ ;l!'P Oi~ht which opened here ,\ug. 17th. The map wa~ said from orbit. Strelka and Belka un. 1that despite recent American. shot·l!y Mte1· t!1cir cap<ule landed The mrn, not together. llr ·"nid Belgian troop=- to he the remains of a chart taken lrom the t:·2 SJlY plane derwent the rigors ot the return rocket sUcC1!sses, Russia's latest following ·it.~ 17 trips Mound the were killed h1· bullels fired from "t'llllllltitling ma;>acre:," in the rlraw;J!" nf l'anadi~n troop; from well. reports said, : achievement had widened the Earth, the Soviet news agency a .:JO:J-caliln·~· rifle in lhe h;U1d., • 'on~o allll there is Cl irlence oi alter It ll'as shot down hy the Reels O\'er So\·let tt'rritory. ti1~ Cnn:~o. USE RETRO ROC'KF.TS :"space gap'' between the two na· Tass said. of a man who lwd h·okrn into :m ·.. illlenwtion~J foreign lt•gion ( ·anmlii :-; IHJI rt member of Powers pleaded guilty at thP. outset of the tl'iul and then I A "retro device'' was user! to , lions. Later in ~loscow. Tas' said. a gun slwp on\;· mnmrPts eat·· from the \",\TO c·ori\Jtrir<. in- t1ll' ~l·c:trit~· ('ounn1. hut rana· ~a,·e A calm recital of his sp)' flight Into the So\·irt Union. bring the satellite boc!\ lo ~art h., 1Britain's indepcnd~nt Lonrlon i hem·t and hloorl pre,;sure checks !il'I'. 1'1\ldin~ f],'l;ium." \Jclng former! rltan .\mba:>,ador Ch.Jr!r, S .\. His wife. Barbara. and his parents, Mr. an1l llrs. Oliver it was announced here. Rctro 'I Sundav Times declared "Russia were made and showed both Dead are \\'all;;('e Hall. <Jhou• :·or 1\nltm:.:a. Ihf' t.'on~o pru\·int',' n.itchir wa:.; ~ittit~.~ in tiH' .~ ... ~_·:iPn i:-; Pnwrrs. sat In th~ rear of the courtroom in th~ Jlall of · rocket~ rire against lhr direction has o'nce a~ a in r!J·amaticatly do~s were in normal condition. nn. and Strl\'arl ~[ 1 r:n·::o1·. ~~- wi1o.")l' gud.'rJmlrnt :-.e('kin..: ;-~;..,,~1'\('d for cLploma:s. in which n space \'Chicle is mov·; leapt ahead of the U.S. 'in the Pra1·da published a "picture Char!r' :IJ;din :11. ILL' h><'ll :o;cpal'atiun lrom the u:n1rat ~m­ folnmn~.-l'PI Telephoto. 'ing, ~lowin~: it down and permit·' race lor the CDnquest or space.'' from space'' showin;: tclcrision ch~rgcd with Ihe mnrde1· of Hall. ('rnmcnt. \1;1Jl1Jil;or•hiult! e "··! i e r Ill· lin~ the earth's g1·ality to puil r'fwo British groups, the scenes of the do~s in orbit. It Con't. stanlcv Christrn,rn wn, 1>\Ff'EitE\'T n:rtSIIIX fn:·!lwd the cctunl'i! formill;y th~tt it back, l.ea~ue Against Ct·url Sports and claims th~ pictures wrre "n won- wounded whc~ ]1,, ran to thr Hammarskjold h~d dr<!\('I"Pd [H· mi~hl call !or · tcOll::idcra Soviet scientists haler! the feat: the Royal Society for the Pre- derful Prl~nnre in the ~ro11th of <erne of thr ,hoot in~ nne \·rr:;iOII of lllc iPcidt>nl hu 1 lion of the cnl i1·~ l '\ aid prn· , as opening the way to cosmic 1 l'ention or Cruelty to ·Animals. telel'isior" : XF.AR roLI!'E sT,\TIOX 1ilo ('on~o ~OIWllmcnt h;n! <1 '.::ra!l1 lll thr• l'ou~a 1t Premier Says U. S.. Has Down , . Police said a man .<ma.'h"rl !hr• dilft'rrnt nne. 'aid Kmnet,m. [\Jti·icr. l.untwnha co~ttinues hi-:­ window of a ~un s1JOry onh· twr, ~F\dill_:! t\Wt hiS ~I}\'•,::'!'~!11Cilt ''ill· ;." ;r·!;, on I'\ ;111ion' ""d offi· :-'i~t-~ on thf' :mmf'rlitlir wilh C'it~l.:: .StS TrO.O pS ~~o~;~n ~~~,the police ~iation. Graded Education Loyaii Halt II~ grabbed t~e rifle. loader! 11 : and h~gan 'hoot in~. WASHI:oiGTO:ol ICPJ - Vice· 1are smarter than we. They have· 1 Const. Christcn;(.n. walkin~ Admiral H. G. Rickover, in an I recognized the full value o( ''I' M h 0 t• .ncarbv with s~t. GCOI ~e \\'alkcr, article IHi:tcn for The Associ- I good education and they are hell· I arc ,. n v·I e n Ian e :ran to the .<ce;1r and W"'- wound S.enegal Cuts Its 11ted Press. says the United bent on giving il to as many of 1erl. States alone among all modern I their youngsters as they can ·11~ marlP his way rlown the democracies has devalued its' coax into taking it." 1 , - . strert to a hotel and 'told room tducational currency. Bt:sT COl\IPARISOS 1 ~l~NTiA~E. La~s !Reutersl- \'ance !~llowmg urgent 1alks. Sat·: s~_1zed th_e capital Aug. ~ 11;hi.le clNk .Tack Fosler 10 rail tliP pn· "\\'e hal·e down. graded the llickover says the best com·• Lo~ahst .hoops _sun.day halted ur~ay mght between Phot1m1 and; Kmg Sa1~ng ~:1thana, pto·\\_cst. lice. lhrn returned to the street high school diploma to a point parison between the Russian and, theJ~ maiCh on ~lenha~e as rev· P~mce Souvanna. , ~rn premier Punc_e Tao_ Somsan- until help arril'ed. Ties With Sudan II here it does not el·en promise IAmerican systems he c.an ma~e : ~luttonary Premier Prmce Son- fhe talks prev~ntcd .~ clash ' ~lh and m?st o.r ~Is caomct werr. t'on't. rhri~Jcn>cn '':a~ H·JHlrl· 11 '.K.\H. SL'Jll'gal 'R<·uleJ·s' - thl' fl'dl'' a! premier. competence in elementary sub- is almost half of Rus£m's chll· : I an.na Phouma .~oved ~o set lie i between the. loyalist fol ces and m ~Ic ro) al ell)' of Lloang Pra ed in satisfactory conrlition in The SJ:clanesc premier nf t !I!' Sudan. now rxrl'ded to tnrn jccts." Rickovcr says, dren, gJ·aduating at 17 after 10' amicably a crJSI~ W~l~h has I the revo_lnhonary armY ~n-, ban~. ho,pita\. .\tali ft>deration .,, '" reh'a.<crl tc11rarrl the (;uin•'a nonuh!Jc Snn­ "\\'itness the many college ars of schooling, do as well- threatened Laos w1th CIVll wnr. , tren~he~ m the evacuated capital Both Gen. Ouan and Capt. ------ from house <JJTc'l and >Pnt iloml' rlar ni~ht hc~(!ll ~1 ~erivs of freshmen who have to take rem· by !he recvrd--as many U.S., The forces, 1 e d by Gen.
Recommended publications
  • 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
    [Show full text]
  • Die “Liebenswerte” Hauptfigur Im Amerikanischen Animationsfilm Das Copyright Liegt Beim Autor Und Der Hochschule Für Film Und Fernsehen
    Die “liebenswerte” Hauptfigur im amerikanischen Animationsfilm Das Copyright liegt beim Autor und der Hochschule für Film und Fernsehen. Der Leser ist berechtigt, persönliche Kopien für wissenschaftliche oder nichtkommerzielle Zwecke zu erstellen. Jede weiterge- hende Nutzung bedarf der ausdrücklichen vorherigen schriftlichen Genehmigung des Autors und der HFF. Betreuerin: Prof. Kerstin Stutterheim weiterer Gutachter: Prof. Gil Alkabetz Stephan Sacher Hochschule für Film und Studiengang Animation Fernsehen „Konrad Wolf“ Matrikel Nummer 4148 2009 Annotation Diese Arbeit befasst sich mit der Hauptfigur im amerikanischen Animationsfilm. Dabei wird ihre Entwicklung durch nun knapp einhundert Jahre Animationsgeschichte beleuchtet. Ich versuche aufzuzeigen, welche konservativen und restaurativen Strömungen in der Filmgeschichte dazu geführt haben, dass wir heute im amerikanischen Animationsfilm einen, in seiner Morphologie, uniformen Typ Figur sehen. Als Filmbeispiele dienen ‘Pinocchio’, ‘Heavy Traffic’ und ‘Herkules’. Diese Filme werden unter anderem mit dem Modell der ‘Heldenreise’ von Joseph Campbell untersucht. Inhalt Vorwort 4 Einleitung 4 Erwartungen des Zuschauers im Amerikanischen Verständnis 5 I Vom Heros in tausend Gestalten zur Odyssee des Drehbuchschreibers 6 Der Heros in Tausend Gestalten 6 Die Odyssee des Drehbuchschreibers 9 Die Archetypen nach Vogler 11 Der Held nach Vogler 11 II Klassisches Hollywood-Kino 13 Die Hauptfigur im klassischen Hollywood-Kino 14 Beschreibung des Charakters 15 Innerer und äußerer Konflikt 15 Charakterbogen
    [Show full text]
  • Confia 2013 Proceedings.Pdf
    2 3 COMMITTES General chair Paula Tavares Organization chair Pedro Mota Teixeira Program chair Alan Male Organization Paula Tavares, Pedro Mota Teixeira, Marta Madureira, Jorge Marques, Manuel Gaspar Albino, Cláudio Ferreira Scientific Committee Adrian Holme - Camberwell Coll. Arts (UK) Alan Male - Univ. College Falmouth (UK) Alan Young - Auckland University of Technology (NZ) Álvaro Barbosa - Univ. Católica (PT) Ana Madeira Rodrigues - Univ. Lisboa (PT) André da Loba (PT) António Costa Valente - Univ. Aveiro (PT) António Quadros Ferreira - Univ. Porto (PT) Carlos Nogueira - Univ. Nova Lisbon (PT) Chelo Matesanz - Univ. Vigo (ES) Debora Harty - Loughborough Univ. (UK) Eduardo Corte Real - IADE Lisbon (PT) Fernando Galrito - Inst. Polit. Leiria (PT) Francisco Laranjo - Univ. Porto (PT) Helena Barbosa - Univ. Aveiro (PT) James Walker - UCA (UK) João Manuel Ribeiro - IPCA (PT) Jorge Campos - Inst. Politécnico Porto (PT) Jorge Marques - IPCA (PT) José Chavete Rodriguez - Univ. Vigo (ES) Edição IPCA José Manuel Saraiva - ESAD (PT) ISBN: 978-989-97567-6-2 José Antonio Castro - Univ. Vigo (ES) Design editorial · Cláudio Ferreira Juan Carlos Róman - Univ. Vigo (ES) 4 5 Júlio Dolbeth - Univ. Porto (PT) PREFACE Marcos Rizolli - Univ. Presbit. Mckenzie (BR) Maria Lorenzo - Hernández Polytechnic Univ. of Valencia (ES) Marina Estela Graça - Univ. Algarve (PT) “These three ields require a high degree of collaboration with Mário Moura - Univ. Porto (PT) artists, producers, story editors, directors, programmers, and Marta Madureira - IPCA (PT) any number of other people in both the executive and creative Martin Sallisbury - Anglia Ruskin Univ. (UK) ends of the business.This is most emphatically true for anima- Nelson Zagalo - University of Minho (PT) tion and games.
    [Show full text]
  • Interferências Estéticas: a Técnica Stop Motion Na Narrativa De Animação
    UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE LETRAS E ARTES ESCOLA DE BELAS ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES VISUAIS Eliane M. Gordeeff INTERFERÊNCIAS ESTÉTICAS: A TÉCNICA STOP MOTION NA NARRATIVA DE ANIMAÇÃO Rio de Janeiro 2011 Eliane M. Gordeeff INTERFERÊNCIAS ESTÉTICAS: A TÉCNICA STOP MOTION NA NARRATIVA DE ANIMAÇÃO Dissertação apresentada ao Programa de Pós- Graduação em Artes Visuais / Escola de Belas Artes, da Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção de título de Mestre em Artes Visuais. Orientador: Prof. Dr. Rogério Medeiros Rio de Janeiro Março / 2011 Gordeeff, Eliane M. G661 Interferências estéticas : a técnica stop motion na narrativa de animação / Eliane M. Gordeeff. 2011. 166 f. : il. ; 30 cm. Orientador: Rogério Medeiros. Dissertação (mestrado) – UFRJ/EBA, Programa de Pós-Graduação em Artes Visuais, 2011. 1. Animação. I. Medeiros, Rogério. II. Universidade Federal do Rio de Janeiro. Escola de Belas Artes. III. Título. IV. Título: a técnica stop motion na narrativa de animação. CDD 778.5 INTERFERÊNCIAS ESTÉTICAS: A TÉCNICA STOP MOTION NA NARRATIVA DE ANIMAÇÃO Dissertação de final de curso em Arte Visuais, Linha de Pesquisa em Imagem e Cultura, do Programa de Pós-Graduação em Artes Visuais / Escola de Belas Artes, da Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção de título de Mestre em Artes Visuais. Conceito:________________________________________ ____________________________________________ Prof. Dr. Rogério Medeiros Universidade Federal do Rio de Janeiro Conceito:________________________________________ ____________________________________________ Profa. Dra. Maria Cristina Volpi Universidade Federal do Rio de Janeiro Conceito:________________________________________ ____________________________________________ Prof. Dr. Jorge Luiz Cruz Universidade do Estado do Rio de Janeiro A imagem artística é sempre uma metonímia em que uma coisa é substituída por outra, o menor no lugar do maior.
    [Show full text]
  • FRANTIŠEK VYSTRČIL Režisér Kresleného Filmu
    UNIVERZITA PALACKÉHO V OLOMOUCI Filozofická fakulta Katedra divadelních a filmových studií FRANTIŠEK VYSTRČIL Režisér kresleného filmu FRANTISEK VYSTRCIL The director of cartoon films Bakalářská diplomová práce MARKÉTA POHŮNKOVÁ (Teorie a dějiny dramatických umění) Vedoucí Práce: Doc. PhDr. Vladimír Suchánek, Ph.D. Olomouc 2016 ABSTRAKT V Předložené bakalářské Práci se zabývám osobností Františka Vystrčila, animátora, výtvarníka, scenáristy a režiséra kreslených filmů. Práce bude vedle osobních dat nahlížet Především na profesní etapu čtyřicátých až devadesátých let 20. století. Součástí jsou i analýzy vybraných Vystrčilových kreslených filmů. Tyto filmy jsem vybírala na základě osobního Postoje, a také z hlediska prezentace jednotlivých dekád profesní éry autora. Cílem mé Práce je Představit osobnost a tvorbu Františka Vystrčila jako oPomíjeného významného tvůrce v Československu Klíčová slova: Kreslené filmy, animace, František Vystrčil, O místo na slunci, Kosmodrom r. 1999, Citáty, Jak Bzuk a Ťuk Putovali za sluníčkem ABSTRACT In the attached bachelor work I deal with the animator, artist, screenwriter and director of cartoon films, Frantisek Vystrcil. I deal with his Personal life and his Professional era from the 1940s to the 1990s of the 20th Century. The subject of this work is an analysis of four of Vystrcil’s films. I chose these films on the basis of my oPinion and also as a Presentation of individual decades of his work. The purpose of this work is to introduce personality and work of Frantisek Vystrcil as the forgotten author of cartoon films in Czechoslovakia. Keywords: Cartoons films, animation, Frantisek Vystrcil, A Place in the sun, Kosmodrome 1999, Quotations, How Bzuk and Tuk traveled in the sun Děkuji vedoucímu mé bakalářské Práce Doc.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ewriter face, while others may be from an y type of computer printer. The qnaliQr of this reproduction is dependent upon the quali^ of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and inproper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manusciipt and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the badt of the book. Photogr^hs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Z eeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 INFORMAL COMPUTER-ART EDUCATION: A FOCUS ON THE ART AND HISTORICAL IMPACT OF COMPUTER GENERATED SPECIAL VISUAL EFFECTS AND THE PEDAGOGY OF THE ARTISTS WHO CREATE THEM PROFESSIONALLY IN THE SAN FRANCISCO BAY AREA PRODUCTION COMPANIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Garth Anthony Gardner, B.A., M.A.
    [Show full text]
  • Black Representation in American Short Films, 1928-1954
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2002 Black representation in American short films, 1928-1954 Christopher P. Lehman University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Lehman, Christopher P., "Black representation in American short films, 1928-1954 " (2002). Doctoral Dissertations 1896 - February 2014. 914. https://scholarworks.umass.edu/dissertations_1/914 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. m UMASS. DATE DUE UNIVERSITY LIBRARY UNIVERSITY OF MASSACHUSETTS AMHERST BLACK REPRESENTATION IN AMERICAN ANIMATED SHORT FILMS, 1928-1954 A Dissertation Presented by CHRISTOPHER P. LEHMAN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2002 W. E. B. DuBois Department of Afro-American Studies © Copyright by Christopher P. Lehman 2002 All Rights Reserved BLACK REPRESENTATION IN AMERICAN ANIMATED SHORT FILMS, 1928-1954 A Dissertation Presented by CHRISTOPHER P. LEHMAN Approved as to style and content by: Ernest Allen, Chair Johnl|L Bracey, Jr., Member Robert P. Wolff, Member Lynda Morgan, Member Esther Terry, Department Head Afro-American Studies W. E. B. DuBois Department of ACKNOWLEDGMENTS Several archivists have enabled me to find sources for my research. I thank Tom Featherstone of Wayne State University's Walter Reuther Library for providing a copy of the film Brotherhood ofMan for me.
    [Show full text]
  • The Animated Man: a Life of Walt Disney, Even Though I Did Not Impose on Him Nearly As Much This Time Around
    the animated man [To view this image, refer to the print version of this title.] The Animated Man A LIFE OF WALT DISNEY michael barrier university of california press berkeley los angeles london Frontispiece. Disney draws Mickey Mouse at a reception at the Savoy Hotel in London in 1946. Quigley Photographic Collection, Walt Disney File, Georgetown University Library, Special Collections Division, Washington, D.C. University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by Michael Barrier Library of Congress Cataloging-in-Publication Data Barrier, J. Michael. The animated man : a life of Walt Disney / Michael Barrier. p. cm. Includes bibliographical references and index. isbn: 978-0-520-24117-6 (cloth : alk. paper) 1. Disney, Walt, 1901–1966. 2. Animators—United States—Biography. I. Title. nc1766.u52d53155 2007 791.43092—dc22 [b] 2006025506 Manufactured in the United States of America 16 15 14 13 12 11 10 09 08 07 10987654321 This book is printed on Natures Book, which contains 50% post-consumer waste and meets the minimum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper).
    [Show full text]
  • Man Alive! (1952): Cartoon Fun with Cancer, Cars and Companionate
    Man Alive! (1952) Cartoon Fun with Cancer, Cars and Companionate Marriage in Suburban America David Cantor, PhD Office of History, National Institutes of Health Bethesda: National Library of Medicine, 2014 Man Alive! (1952) Producer United Productions of America Presented by American Cancer Society (ACS) Story Bill Scott, William Roberts Design Art Heinemann, Sterling Sturtevant Music Benjamin Lees Voices Vic Perrin, Dorothy Scott, Bill Scott Animation Cecil Surry, Phil Monroe, Rudy Larriva Color Robert McIntosh, Boris Gorelick, Michi Kataoka, Jules Engel Medical Advisor Charles S. Cameron (Medical and Scientific Director, ACS) 1 Production manager Herbert Klynn Executive producer Stephen Bosustow Director William T. Hurtz Color Technicolor 1 film reel (417 ft.), sound, color, 16 mm. answer print. NLM Unique ID: 8800584A The release of Man Alive! in 1952 signaled a change in American anti-cancer campaigns.2 Since their emergence in the early twentieth century, such campaigns had focused most attention on recruiting women into programs of early detection and treatment.3 But from the 1940s on, they supplemented this approach with one that targeted men. In the film component of the ACS anti- cancer campaign, this began with Enemy X released in 1942, followed by You Are the Switchman (1946), The Traitor Within (1946) and You, Time and Cancer (1948).4 Man Alive! built upon this new appeal to men, but added much that was new.5 At one level, this novelty might not be obvious. Much of Man Alive’s message was not dissimilar to that of other educational movies about cancer circulating in the 1940s and early 1950s.6 Like those films it sought to persuade viewers to go to a regular physician at the earliest sign of what might be cancer.
    [Show full text]
  • Production Design (1951-1952)
    LAPS TITLES WIPES MONTAGES MINIATURES ANIMATIONS MATTE SHOTS O ec/fyscy 1611 COSMO ST. AND GENERAL SERVICE STUDIOS HUDSON 2-1247 PRODUCTIOn OCTOBER 1951 S«M#P*A#D VOLUME 1 NUMBER 10 Officers Robert Haas, Pres. Frank Durlauf, Vice-Pres. Duncan Cramer, Sec.-Tr. DESIGn John Meehan, Warden Norman Lowenstein, Ex.-Sec'y. Board of Directors IN THIS ISSUE Franz Bachelin "An American In Paris" Douglas Bacon By Preston Ames Page 6 Malcolm Bert "Kid Magic" Produced by Herman Blumenthal Harold Helvenston, SMPAD Page 10 "The Desert Fox" George Brooks By Herman Blumenthal Page 14 Hilyard Brown Three Point perpective Edward Carrere By Louis E. Korn Page 18 Addison Hehr Sketches by Gene Allen Page 22 Richard Irvine Walter Keller Leo E. Kuter Arthur Lonergan Seymour Klate EDITOR ART DIRECTOR Arthur Lonergan Herbert Phillips Editorial Staff Art Staff Charles Pyke N. Lowenstein, Bus. Mgr. Ernst Fegte Fred Ritter Barbara Dennison, Sec'y Arthur Loel Jack Martin Smith Malcolm Bert Ed llou Alfred Sweeney Max Ree James Sullivan Walter Tyler Production Design, a Magazine of the Society of Motion Picture Art Directors, is published monthly at 266 South Robertson Blvd., Beverly Hills, Calif. Entered as Third Class Matter January 10, 1951, at Los Angeles. Phone CRestview 18774. PRINTED BY KERR PRINTERS & STATIONERS 665 SO LA BREA, LOS ANGELES 36 PRESTON AMES ART DIRECTOR Th is is somewhat the way I re- member the Left Bank of Paris when I was a student at the Beaux Arts: An attic room with its twisted stair- way, a street with its shops and cafes, a flower stand hidden behind some old shoring, a cellar converted into a night club.
    [Show full text]
  • Stephen Bosustow Et L'upa
    Document généré le 2 oct. 2021 19:43 Séquences La revue de cinéma Petite histoire du cinéma d’animation Stephen Bosustow et l’U.P.A. Piero Zanotto Cinéma et liberté Numéro 44, février 1966 URI : https://id.erudit.org/iderudit/4538ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Zanotto, P. (1966). Petite histoire du cinéma d’animation : Stephen Bosustow et l’U.P.A. Séquences, (44), 43–50. Tous droits réservés © La revue Séquences Inc. et Rivista del cinematografo, Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des 1966 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ petite histoire du cinéma d'animation - Çtepken So M A teu> et i%P.A. Piero Zanotto Tout a commencé un jour de Quel serait son programme? 1941. Jusqu'alors, Disney, après Point d'interrogation auquel fut avoir surmonté les coups de bou­ apportée une réponse peut-être toir de ses rivaux obstinés, Dave et trop facile. A la fin des jours d'agi­ Max Fleischer, avair maintenu une tation syndicale, Bosustow lui-mê­ hégémonie enviable du haut de son me et Robert Cannon (le plus fan­ empire établi à Burbank.
    [Show full text]
  • UPA for in the Animated Cartoon
    THE MUSEUM OF MODERN ART tf WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 . £} ^/^ Ju*e 13, 195$ Dear Sir: You are cordially invited to come or send a representative to: The Press Preview of UPA: FORM IN THE ANIMATED CARTOON, an exhibition illustrating how the creators of such popular cartoon films as Gerald McBojng Boing. Little Boy with a Mg Horn, and Madelinej achieve their speMal and highly acclaimed results. Large "spinners" based on the 19th century zoetrope and phena- kistescope have been fitted with stills from UPA films so that visitors can demonstrate for themselves the way still pictures become animated, and to: The Press Preview Screening of the world premiere of five new UPA films:* Christopher Crumpetfs Playmate Magoo Express The Jaywalker Baby Boogie on Tuesday, June 21, 1955 at 10:30 a»m, in the Auditorium and adjacent gallery of the Museum of Modern Art, 11 West 53 Street. The exhibition will be on view from June 22 through August 21, A series of programs of new and old UPA films, including several which will be released commercially in the next few months, will be shown during that period in the Museum Auditorium, A press release is enclosed and stills and photographs are available. I hope very much that you will be able to join us. We expect that several people from the California and New York offices of UPA will be on hand to answer questions and discuss their films with the press* Sincerely, Elizabeth Shaw Publicity Director # The films will be shown Tuesday evening for an invited audience and then shown to the public as part of the UPA film program in the Museum Auditorium.
    [Show full text]