Glenn Close Honored at Prin
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In March, 2002 the Dreamworks
TM The animated feature and the making of by Kate McCallum n March, 2002 the DreamWorks ani- freed from the stress of New York life. mated films as Space Jam and Cool World. mated feature Shrek broke ground by When those plotting penguins sabotage His television work includes directing on I receiving the first official Oscar® for the ship, Alex, Marty, Melman and Gloria The Ren & Stimpy Show, as well as other the newly created Best Animated Feature find themselves washed ashore on the exotic projects for Nickelodeon. Adding their tal- Film category. Now, from DreamWorks island of Madagascar. Now these native New ents to the film were writers Mark Burton Animation SKG comes the new, com- Yorkers have to figure out how to survive in and Billy Frolick. Burton is a U.K.-based puter-animated comedy Madagascar. the wild and discover the true meaning of comedy writer with a varied TV and film Alex the Lion (voiced by Ben Stiller) is the phrase “It’s a jungle out there.” career on both sides of the Atlantic. He has the king of the urban jungle as the main Madagascar was directed by Eric Darnell written extensively for many British comedy attraction at New York’s Central Park Zoo. and Tom McGrath, who are also two of shows, including Clive Anderson Talks Back, He and his best friends Marty the Zebra the writers on this film. Darnell joined Jack Dee’s Happy Hour, Never Mind The (Chris Rock), Melman the Giraffe (David PDI’s (now PDI/DreamWorks Animation) Buzzcocks, 2DTV, Have I Got News For You Schwimmer) and Gloria the Hippo (Jada Character Animation Group in 1991 and and Spitting Image. -
El Cine De Animación Estadounidense
El cine de animación estadounidense Jaume Duran Director de la colección: Lluís Pastor Diseño de la colección: Editorial UOC Diseño del libro y de la cubierta: Natàlia Serrano Primera edición en lengua castellana: marzo 2016 Primera edición en formato digital: marzo 2016 © Jaume Duran, del texto © Editorial UOC (Oberta UOC Publishing, SL) de esta edición, 2016 Rambla del Poblenou, 156, 08018 Barcelona http://www.editorialuoc.com Realización editorial: Oberta UOC Publishing, SL ISBN: 978-84-9116-131-8 Ninguna parte de esta publicación, incluido el diseño general y la cubierta, puede ser copiada, reproducida, almacenada o transmitida de ninguna forma, ni por ningún medio, sea éste eléctrico, químico, mecánico, óptico, grabación, fotocopia, o cualquier otro, sin la previa autorización escrita de los titulares del copyright. Autor Jaume Duran Profesor de Análisis y Crítica de Films y de Narrativa Audiovi- sual en la Universitat de Barcelona y profesor de Historia del cine de Animación en la Escuela Superior de Cine y Audiovi- suales de Cataluña. QUÉ QUIERO SABER Lectora, lector, este libro le interesará si usted quiere saber: • Cómo fueron los orígenes del cine de animación en los Estados Unidos. • Cuáles fueron los principales pioneros. • Cómo se desarrollaron los dibujos animados. • Cuáles han sido los principales estudios, autores y obras de este tipo de cine. • Qué otras propuestas de animación se han llevado a cabo en los Estados Unidos. • Qué relación ha habido entre el cine de animación y la tira cómica o los cuentos populares. Índice -
Formación a Los Jóvenes Animadores. I Edición Del Máster En
Formación A los jóvenes animadores. I edición del Máster en Animación UPV: una experiencia compartida Adriana Navarro Este artículo está dirigido a quienes quieran continuar aprendiendo animación, compartiendo con quien tenga curiosidad mi experiencia personal al haber cursado este Máster. Espero que esta lectura les resulte útil. Pero, antes de comenzar, permítanme que me presente: me llamo Adriana Navarro, y soy de Barakaldo. Cursé mis dos primeros años de carrera en Salamanca para luego aterrizar en la única Facultad de España donde se impartía animación, la Facultad de Bellas Artes en la Universidad Politécnica de Valencia. Allí me especialicé en Animación. Durante el último curso trabajé como asistente en prácticas para un corto de la animadora Mª Carmen Poveda. Sentía que me faltaba algo por hacer, por lo que decidí acometer estudios superiores que me permitiesen profundizar en el conocimiento de la Animación, asentar bien las bases de lo aprendido y adquirir más nivel, de mano de grandes profesionales. Esa es la experiencia que me dispongo a compartir con ustedes. ¿Cómo empezar? Una panorámica sobre el Máster El Máster es un continuum que comienza con el estudio de la preproducción; continúa abordando los diferentes aspectos de la producción, profundiza en aspectos propios del proceso de animar, y se cierra con la técnica del 3D. Se trata, pues, de un largo proceso de aprendizaje y asimilación. La docencia se da en forma de módulos o cursos intensivos. Estos cursos se dan en forma de asignaturas y “Workshops” o talleres. Especialmente en los Con A de animación. Formación “Workshops” se fomentó el trabajo en equipo –tengamos presente que la animación es, mayormente, un trabajo compartido: con nuestros iguales, los tutores…– y se ofrecieron modelos para la creación de obras animadas en corto plazo de tiempo. -
Domestication in Contemporary Polish Dubbing Urszula Leszczyńska, University of Warsaw, and Agnieszka Szarkowska, University of Warsaw/University College London
The Journal of Specialised Translation Issue 30 – July 2018 “I don't understand, but it makes me laugh.” Domestication in contemporary Polish dubbing Urszula Leszczyńska, University of Warsaw, and Agnieszka Szarkowska, University of Warsaw/University College London ABSTRACT Despite being (in)famous for its use of voice-over in fiction films, Poland also has a long- standing dubbing tradition. Contemporary Polish dubbing is largely domesticated: culture- bound items from the original are often replaced with elements of Polish culture, which is supposed to increase viewers’ enjoyment of the film. In this study, we examined whether Polish viewers can identify references to Polish culture in the contemporary Polish dubbing of foreign animated films and whether they enjoy them. With this goal in mind, we conducted an online survey and tested 201 participants. Given that many references relate to items from the near or distant past, we predicted that viewers may not fully understand them. The results show that, paradoxically, although viewers do not fully recognise references to Polish culture in contemporary Polish dubbing, they welcome such allusions, declaring that they make films more accessible. The most difficult category of cultural references to identify in our study turned out to be allusions to the canon of Polish literature, whereas the best scores were achieved in the case of references to social campaigns and films. Younger participants had more difficulties in recognising cultural allusions dating from before the 1990s compared to older participants. The vast majority of participants declared they enjoy domestication in contemporary Polish dubbing. KEYWORDS Dubbing, domestication, invisibility, ageing of translation, animated films, audiovisual translation, cultural references. -
Chapter Template
Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade. -
9781474410571 Contemporary
CONTEMPORARY HOLLYWOOD ANIMATION 66543_Brown.indd543_Brown.indd i 330/09/200/09/20 66:43:43 PPMM Traditions in American Cinema Series Editors Linda Badley and R. Barton Palmer Titles in the series include: The ‘War on Terror’ and American Film: 9/11 Frames Per Second Terence McSweeney American Postfeminist Cinema: Women, Romance and Contemporary Culture Michele Schreiber In Secrecy’s Shadow: The OSS and CIA in Hollywood Cinema 1941–1979 Simon Willmetts Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema Linda Badley, Claire Perkins and Michele Schreiber (eds) Vampires, Race and Transnational Hollywoods Dale Hudson Who’s in the Money? The Great Depression Musicals and Hollywood’s New Deal Harvey G. Cohen Engaging Dialogue: Cinematic Verbalism in American Independent Cinema Jennifer O’Meara Cold War Film Genres Homer B. Pettey (ed.) The Style of Sleaze: The American Exploitation Film, 1959–1977 Calum Waddell The Franchise Era: Managing Media in the Digital Economy James Fleury, Bryan Hikari Hartzheim, and Stephen Mamber (eds) The Stillness of Solitude: Romanticism and Contemporary American Independent Film Michelle Devereaux The Other Hollywood Renaissance Dominic Lennard, R. Barton Palmer and Murray Pomerance (eds) Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown www.edinburghuniversitypress.com/series/tiac 66543_Brown.indd543_Brown.indd iiii 330/09/200/09/20 66:43:43 PPMM CONTEMPORARY HOLLYWOOD ANIMATION Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown 66543_Brown.indd543_Brown.indd iiiiii 330/09/200/09/20 66:43:43 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. -
VIEW Press Release September 2012
VIEW 2012 ITALY’S PREMIERE DIGITAL TECHNOLOGY CONFERENCE CONVENES OCTOBER 16 TO 19 • Directors Genndy Tartakovsky - Hotel Transylvania, Sony Pictures Animation • Eric Darnell - Madagascar 3, Dreamworks Animation • Director Mark Walsh - Partysaurus Rex, Disney •Pixar • Directors Guild of America Winner Daniel Attias (The Wire, Sopranos, Deadwood, Lost) • Seven-time Academy Award winning sound designer and Oscar-nominated short film director Gary Rydstrom And Introducing: The Creative Bootcamp , a lively, interactive, multi-day workshop that propels participants into new worlds of the future. Turin, Italy (September 10) – Dedicated to bringing together experts from around the world to inspire, engage, teach, and astound, VIEW, Italy’s leading computer graphics symposium, proudly announces highlights from its upcoming 13th annual confab. “This is shaping up to be one of the most exciting VIEW conferences ever,” says conference director Maria Elena Gutierrez. “We are privileged to bring two feature film directors to Torino this year, Genndy Tartakovsky and Eric Darnell. Also, the European premiere of the Pixar Animation Studios latest short, Partysaurus Rex presented by its director Mark Walsh and also the amazing Gary Rydstrom from Skywalker Sound, and director Dan Attias who shares his award-winning expertise in broadcast television. Plus, we have highly-honored speakers from the top visual effects and game development studios. And, we are offering our first Creative Bootcamp. I couldn’t be more thrilled with the program this year.” Presenting the Italian premier of footage from Sony Pictures Animation’s feature film Hotel Transylvania, Genndy Tartakovsky shares his experience directing this CG feature, his first. Tartakovsky has received 12 Emmy nominations and won three Emmys for his work in broadcast television, and in 2007, he received the Annie Awards’ Winsor McCay Award. -
Directing for Cinematic Virtual Reality : How the Traditional Film Director’S Craft Applies to Immersive Environments and Notions of Presence
This is a repository copy of Directing for Cinematic Virtual Reality : how the traditional film director’s craft applies to immersive environments and notions of presence. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/116714/ Version: Accepted Version Article: Mateer, John William orcid.org/0000-0001-5088-0868 (2017) Directing for Cinematic Virtual Reality : how the traditional film director’s craft applies to immersive environments and notions of presence. Journal of Media Practice. pp. 14-25. ISSN 1468-2753 https://doi.org/10.1080/14682753.2017.1305838 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ John Mateer, University of York – accepted 24/1/17, Journal of Media Practice. Directing for Cinematic Virtual Reality: how traditional film director’s craft applies to immersive environments and notions of presence Virtual Reality has been an area of research for over 40 years yet only recently has it begun to achieve public acceptance. -
DOLE Goes Bananas with Nationwide Program
- Advertisement - DOLE goes bananas with nationwide program June 8, 2012 As part of its ongoing goal to make bananas an even bigger part of America's everyday routine and to help support the launch of Madagascar 3: Europe's Most Wanted, which features a banana-and- monkey-powered airplane, DOLE is joining forces with the studio on a number of marketing initiatives, including the placement of 100 million special movie-branded stickers on "DOLE" bananas sold throughout the country in June. "DreamWorks Animation and DOLE bananas are universally beloved brands with unique appeal across many different age groups, so a summer alliance makes a lot of sense," David Bright, vice president of marketing for Dole Fresh Fruit in Westlake 1 / 3 2 / 3 Village, CA, said in a press release. "We are delighted to join together with the studio and the whole Madagascar family - including the Zoosters and the ever-enthusiastic Penguins - to demonstrate high-energy new uses for America's most popular fruit." DOLE's alliance with DreamWorks and Madagascar 3 is part of Go Bananas Every Day, a year-long initiative to introduce compelling new ways to enjoy the fruit for breakfast, lunch and dinner, and as a healthier, natural alternative to processed energy bars and drinks loaded with sodium and sugar. A national Go Bananas Every Day tour will make stops in Portland, OR, Seattle, Baltimore and Charlotte, NC. Four versions of the character stickers feature Alex, Marty, the Madagascar penguins and monkeys. Dole is also creating a series of in-store Madagascar 3 promotional materials that, like the banana stickers, features a QR code directing consumers to a co-branded mobile page (www.dole.com/madagascar) offering DOLE bananas recipes and energy-related information, and the official Madagascar mobile app: Madagascar Join the Circus! Free to download, Madagascar: Join the Circus! features a special Dole banana cart that players can place in their own custom-designed Madagascar-style circus filled with acts and games featuring Madagascar characters. -
Hollywood Online: Movie Marketing Practices in the Dial Up and Broadband Eras of the Internet
1 Hollywood Online: Movie Marketing Practices in the Dial-Up and Broadband-Eras of the Internet 1994-2009 Ian London A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film Studies in the Department of Media Arts of Royal Holloway, University of London June 2012 2 Statement of Original Authorship This thesis is a presentation of my original research work. To the best of my knowledge the thesis contains no material previously published or written by another person, except where due reference to literature and acknowledgement of private discussions with industry members is made. This work was produced with the supervision of Dr. Barry Langford at the Royal Holloway University of London. The thesis has not been submitted for another degree at this institution or elsewhere. Signed: ………………………………………………………………… Date:……………………………………………………………………. 3 Acknowledgements I wish to thank my supervisor Barry Langford for his tremendous support and guidance over the years. I have at times relied on his extensive knowledge of the Hollywood film industry to give me focus and to keep moving the project forwards – without his patience, compassion and motivation I could not have finished the thesis. I thank John Ellis for his direction in his role of supporting supervisor. I also offer appreciation for the feedback and assistance of Finola Kerrigan and Paul Grainge. In particular, I would like to thank Paul McDonald for his kind words of advice which have stayed with me in recent years. Naturally, I also owe a debt of gratitude to a range of artists and executive personnel across the film, internet and design industries. -
The Animated Movie Guide
THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues. -
Animation-Insiders-Ebook-Web.Pdf
ANIMATION INSIDERS W orkflow e dition ACKNOWLEDGEMENT/ 5 INTRODUCTION/ 7 MIKE NGUYEN 8 EMILE GHORAYEB 12 PABLO NAVARRO 16 JASON RYAN 40 JASON MORTINSEN 46 ANA MARIA ALVARADO 50 RENO ARMANET 54 JASON SCHLEIFER 70 PEDRO BLUMENBAUM 76 ANTHEA KEROU 88 GABRIELE PENNACCHIOLI 92 MATT STRANGIO 94 VICTOR NAVONE 102 CONCLUSION/ 107 LIST OF CONTENT SPECIAL THANKS/ 109 ACKNOWLEDGEMENT/ 5 INTRODUCTION/ 7 MIKE NGUYEN 8 EMILE GHORAYEB 12 PABLO NAVARRO 16 JASON RYAN 40 JASON MORTINSEN 46 ANA MARIA ALVARADO 50 RENO ARMANET 54 JASON SCHLEIFER 70 PEDRO BLUMENBAUM 76 ANTHEA KEROU 88 GABRIELE PENNACCHIOLI 92 MATT STRANGIO 94 VICTOR NAVONE 102 CONCLUSION/ 107 LIST OF CONTENT SPECIAL THANKS/ 109 I would like to extend our most sincere thanks to the extraordinary ani- mators who were involved with this book. You generously shared with us your knowledge and vision about animation. Your passion for what you do easily shows, and without you, Animation Insiders would never have seen the light of day. Thank you PATRICK BEAULIEU ACKNOWLEDGEMENTS ANIMATION INSIDERS / ANIMATION LEDGEMENTS ACKNOW- 4 5 I would like to extend our most sincere thanks to the extraordinary ani- mators who were involved with this book. You generously shared with us your knowledge and vision about animation. Your passion for what you do easily shows, and without you, Animation Insiders would never have seen the light of day. Thank you ACKNOWLEDGEMENTS PATRICK BEAULIEU ACKNOWLEDGEMENTS ANIMATION INSIDERS / ANIMATION LEDGEMENTS ACKNOW- LEDGEMENTS 4 5 When I was in school, it was very difficult to get valuable learning mate- It is still incumbent on you to formulate good ideas for your shots.