The Cameraman's Revenge
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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Ladislaw Starewicz: Ein filmo-Bibliographisches Verzeichnis 2012
Repositorium für die Medienwissenschaft Katja Bruns Ladislaw Starewicz: Ein filmo-bibliographisches Verzeichnis 2012 https://doi.org/10.25969/mediarep/12767 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Bruns, Katja: Ladislaw Starewicz: Ein filmo-bibliographisches Verzeichnis. Hamburg: Universität Hamburg, Institut für Germanistik 2012 (Medienwissenschaft: Berichte und Papiere 135). DOI: https://doi.org/10.25969/mediarep/12767. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0135_12.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 135, 2012: Ladislaw Starewicz. Redaktion und Copyright dieser Ausgabe: Katja Bruns. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0135_12.pdf Letzte redaktionelle Änderung: 9.3.2012. Ladislaw Starewicz: Ein filmo-bibliographisches Verzeichnis Zusammengestellt von Katja Bruns Inhalt: Starewicz war Kind polnischer Eltern, die aus Litau- 1. Biographie en stammten. Seine Mutter starb 1886. Er wuchs bei 2. Filmographie seinen Großeltern -
RAFA 2015.Pdf
www.mkrf.ru RAFA is Russian animated film association. RAFA represents the interests of the Russian animation industry and helps to create favorable conditions for the effective development of anima tion in Russia and worldwide. RAFA represents the interests of animation studios of all sizes, as well as individual flmmakers working in animation, including indep endent directors, production designers, animators etc. The association also includes organizations which are involved in animation: TV networks with an interest in animation,distribution companies and Internet companies, that is, all organizations whose business is related to the field of animation and who are interested in joining forces. • If you need to communicate with any Russian studio, organization or animator, • If you need assistance in participation in festivals and film markets in Russia, • If you need to organize the presentation of your services to Russian partners, • If you need talents and studios for co-production JUST CONTACT RAFA! RAFA is proud to present opportunity of Russian animation to you. Today RAFA is 40 best Russian studios that able for cooperation with you and 200 animators, composers, producers etc that would like to join your team. 4 5 CONTENTS RAFA 3 OPENING WORD 7 RUSSIAN ANIMATION TODAY 8 STUDIOS 10 SHORTS 180 ALPHABETICAL LIST 200 ON THE CATALOG WORKED 203 6 7 Dear friends, Russian Animated Film Association offers you the fourth edition of a catalogue of current animated films. In the new release, you will find information on all latest releases in the Russian animated film industry in 2014 and early in 2015. The new catalogue fundamentally differs from its predecessors. -
On the Topics and Style of Soviet Animated Films
BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE Article On the Topics and Style of Soviet Animated Films ÜLO PIKKOV, Estonian Academy of Arts; email: [email protected] 16 DOI: 10.1515/bsmr-2017-0002 BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE ABSTRACT This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its develop- ment. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian ani- mation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s para- digm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow. -
Results of the Russian Arctic Animated 2013
Results of the Russian Arctic animated 2013. April 22, 2014 Vladimir Putin held an expanded meeting of the Security Council "On the implementation of the state policy of the Russian Federation in the Arctic in the interests of national security." This region has traditionally been and remains in the sphere of Russian special interests. Here are concentrated almost all aspects of national security: military-political, economic, technological, and environmental and resource. At the same time Russia is actively expanding its information, scientific, humanitarian presence in the Arctic. "An important role was played by passing the initiative of Russia International Forum "The Arctic - Territory of Dialogue", - emphasized in his speech the President of the country. "Popularization of the Arctic and its heroes , its unique environment - a special direction in the Russian Geographical Society ," - said the Minister of Defense and the President of the RGS Sergei Shoigu during the latter third of the International Forum "The Arctic - Territory of Dialogue", which was held in Salekhard (September 2013 year). Shortly after the historic meeting of the Security Council on the Arctic, the Russian Government approved the State program "Socio-economic development of the Arctic zone of the Russian Federation for the period till 2020", prepared by the Ministry of Regional Development and the Introduction to the Cabinet at the end of 2013. According to the adopted state program in the border of the Arctic zone of the Russian Federation (Russian Arctic) completely into the Murmansk region, Nenets Autonomous District, Yamal-Nenets Autonomous District, Chukotka Autonomous District, and partly - Republic of Sakha (Yakutia), Krasnoyarsk region, Arkhangelsk Region and the city of Vorkuta (Komi Republic). -
Commemorative Coins of Russia
ПАМЯТНЫЕ МОНЕТЫ РОССИИ 2017 ЕЖЕГОДНЫЙ COMMEMORATIVE КАТАЛОГ ПАМЯТНЫХ И COINS OF ИНВЕСТИЦИОННЫХ МОНЕТ БАНКА РОССИИ RUSSIA Уважаемые читатели! Dear Readers! Представляем Вашему вниманию We present the 26th edition of the annual 26-й выпуск ежегодного каталога памятных catalogue of commemorative and investment и инвестиционных монет, выпущенных в coins issued by the Bank of Russia. обращение Банком России. In 2017 in addition to the regular В 2017 году наряду с монетами series (“Outstanding Personalities of Russia”, регулярных серий («Выдающиеся личности “Architectural Monuments of Russia”, “Ancient России», «Памятники архитектуры Towns of Russia”, etc.) we issued two new России», «Древние города России» и др.) series, which can attract the interest not only были выпущены две новые серии, которые of numismatists but also of those who aren’t могут быть интересны как нумизматам, seriously involved in coin collecting: “Russian так и людям, серьезно не занимающимся (Soviet) Animation” and “Legends and коллекционированием, – «Российская Folktales of Russia”. (советская) мультипликация» и «Легенды и The sports section of the catalogue сказки народов России». features the commemorative coin “Practical Спортивный раздел каталога Rifle Shooting World Championship”, as well представлен памятной монетой «Чемпионат as the continuation of the coin programme мира по практической стрельбе из dedicated to the 2018 FIFA World Cup Russia. карабина», а также продолжением The XIX World Festival of Youth and Students, программы, посвященной Чемпионату мира which took place in Sochi in 2017, also was по футболу FIFA 2018 в России. Выпуском marked with a coin. монеты отмечен и ХIХ Всемирный Information about commemorative фестиваль молодежи и студентов, который and investment coins of the Bank of Russia прошел в 2017 году в Сочи. -
Spring 1997 Course Guide TABLE of CONTENTS
WOMEN, GENDER, SEXUALITY STUDIES PROGRAM UNIVERSITY OF MASSACHUSETTS AMHERST Spring 1997 Course Guide TABLE OF CONTENTS This catalog contains descriptions of all Women’s Studies courses for which information was available in our office by the publication deadline for pre-registration. Please note that some changes may have been made in time, and/or syllabus since our print deadline. Exact information on all courses may be obtained by calling the appropriate department or college. Please contact the Five-College Exchange Office (545-5352) for registration for the other schools listed. Listings are arranged in the following order: Women, Gender, Sexuality Studies Core Courses Courses offered through the Women, Gender, Sexuality Studies program Women of Color Courses Courses that count towards the Woman of Color requirement for UMass Amherst Women, Gender, Sexuality Studies undergraduate majors and minors. Departmental Courses Courses offered in other UMass departments and programs. All courses listed except 100-level automatically count towards the the major. Component Courses Courses offered in other University Departments and Programs. In order to have these courses count towards the major or minor students must focus their paper(s) or project(s) on gender. Continuing Education Courses at UMass Graduate Level Five-College Options: Amherst College Hampshire College Mount Holyoke College Smith College Please note that updates to this guide are available on the website. www.umass.edu/wost/courseinfo.htm Women’s Studies University Of Massachusetts at Amherst Course Description Guide SPRING 1997 ADDENDA - 1/27/97 WOST Course - Day Correction: WOST 391H Women & Human Rights: International Jan Raymond Issues and Instruments (4 credits, Honors) Tuesday only 4:00-6:30 p.m. -
Spring 1997 Supplement
1 I, I , SPRING 1997 SUPPLEMENT TO THE HAMPSHIRE COLLEGE 1996/1997 CATALOG AND COURSE GUIDE NOVEMBER 1, 1996 BLANK SCHEDULE PLANNER TIME W HAMPSHIRE COLLEGE COURSE GUIDE SUPPLEMENT R,OO ADDENDUM SPRING 1997 (1/20/97) New Course R·1n CCS 229 FROM OPERA TO SOAP OPERA: THE VISUAL AND NARRATIVE PLEASURES OF MELODRAMA Dianne Brooks This course is a critical examination of the history, aesthetics and reception of contemporary 9,00 television soap opera. How does this form shape our understanding of culture? How does this form shape our understanding of culture? How does it construct race, class and gender? How does it construct a vision of society? We will attempt to deepen our understanding of how it is that soap opera simultaneously exercises enormous appeal and elicits scornful dismissal. To this end, we will delve 10,00 into theories of melodtama and will examine the precursors of soap opera, such as the nineteenth century novel, the grand opera, and Hollywood fIlm melodrama. Throughout we will be making comparisons to the specifics of soap opera, from 1930s radio serials to contemporary daytime and 10,30 nighttime television soap operas. Students should come to this course prepared to take soap operas seriously and with a willingness to distance themselves critically from visual texts. Class will meet once a week on Thursday 1230-320 in ASH 111. Enrollment is limited to 25. 11 . on Dianne Brooks, assistant professor of Legal Studies at the University of Massachusetts, graduated from New York University and Harvard Law School. Professor Brooks specializes in courses on media studies and is a member of the Interdepartmental Program in Film. -
Russian Performing Arts
HUMANITIES INSTITUTE Ayse Dietrich, Ph.D. RUSSIAN PERFORMING ARTS Contents Dance Music Theatre Cinema DANCE Overview Like other nations the Russians see dance, an art form that uses the body as its instrument, as a reflection of their lives, culture and history. Ancient Russian dance was religious in nature, a part of organized pagan rituals where dances were performed in honor of the gods. Although dance later lost its religious character, it remained a part of social events such as births, marriages, religious and national holidays, festivals, etc. As one of the Western European art forms being introduced into Russia in the late 17th – early 18th centuries the new dance form, ballet, carved a niche for itself among the existing forms of dance practiced and performed in the country. Russian folk dances vary from region to region, each displaying its own unique characteristics. ANCIENT PERIOD Khorovod (Karagod, tanok, krug, ulitsa): This ancient folk dance originated as part of pagan rituals performed both to honor the sun god, Yaril, and to show repentance. The songs and the dances were slow with participants holding hands, generally in the middle of a circle created by three women. Plyaska: Performed by one dancer, pairs, or numerous dancers, this folk dance is characterized by passionate movements, emphasizing the dancer’s individuality. The music for this dance is a traditional instrumental form of music whose origins pre-date Kievan Rus. Pereplyas: Performed in pairs, this dance takes the form of a competition with each dancer attempting to outdo the other through a display of skill, power and talent. -
Soviet Animation and Russian Folktales Cartoons Are
Anatoliy Klots Advisor: Professor Galya Diment Depicting the Trickster: Soviet Animation and Russian Folktales Cartoons are the first introduction to folklore for many children. That is certainly true for Russian folktales that were often adapted for animated films. From the 1930s to the 1980s the Soviet animation industry produced over thirty cartoons based on Russian folktales and byliny and many more based on folklore of non-Russian peoples of the Soviet Union. This process involved the significant creative efforts of writers and directors to edit original stories, sometimes conjoining several plots into one film, making them more suitable for visual adaptation and often incorporating a Soviet treatment of folklore. The characters went through several stages, from comparatively straightforward transformations in some early films, to didactic Socialist Realist versions in the late Stalin era to artistic, to masterpieces of the stagnation decades, when folklore-based cartoons fused modernity and tradition or obtained “doublespeak” allusions typical for the art of the time. From the 1950s to the 1970 the world of the Soviet people changed, and this change was reflected in cinema and animation. The witty trickster-fool made a comeback as one of the main characters of the folklore-inspired animated films. In the Stalin era this character was often artificially limited to cheating social antagonists and defeating foreign enemies. In late Soviet animation, with its continuing modernization, the fool returned to his individuality in his quest towards personal happiness. This approach restored the origins of the trickster and returned to the ideals of private life, and the phenomenon of inner emigration that replaced the enthusiasm of the Thaw. -
James Ogden Scott Dunlap
Directed by James Ogden Scenic and Costume Design by Scott Dunlap THE HEFFALUMP CAST THE WOOZLES CAST PUBLIC PERFORMANCE DATES: PUBLIC PERFORMANCE DATES: Feb. 16 & 24 at 7pm; Feb. 17 & 25 at 2:30pm Feb. 17 & 23 at 7pm; Feb. 18 & 24 at 2:30pm SCHOOL SHOWS: SCHOOL SHOWS: Feb. 20 & 22 at 10 & 11:30am Feb. 21 & 23 at 10 & 11:30am (Alphabetical by last name) (alphabetical by last name) BREE BRANTLEY JOHNATHAN ROSS ADAMS as Early Rabbit as Christopher Robin AIDEN DICHIACCHIO ELLA KATE ANTANAITIS as Christopher Robin as Late Rabbit ANNABELLE HILL SAVVY BETRO-GROSS as Rabbit as Tigger LYRIC HOUSTON HANNAH CARTER as Winnie the Pooh as Kanga KRISTIN LOWERY CHARLIE CLEVENGER as Owl as Roo IAN PARTEN RACHEL LOWE as Tigger as Piglet SARAH RAD IRIE OLSSON as Piglet as Rabbit NATALIE SHELBURNE MAYA SCRIBNER as Late Rabbit as Owl SYDNEY TERFLOTH MADELINE WARREN as Kanga as Winnie the Pooh EMMA WESOLOWSKI KYNNEDY WATSON as Eeyore as Early Rabbit JULIANA WILLIAMS CORA GRACE WILLIAMS as Roo as Eeyore Stage Manager Stage Manager OLIVIA KELLY WILL TUTOR About the Director James Ogden has been working in the Chattanooga theater community for as long as he can remember, having started as a Weasel in The Wind in the Willows at The Colonnade in 2003. He went on to graduate from Center for Creative Arts in 2014 as a theater major, having appeared in shows such as Our Town and Shrek, the Musical. In the last few years, he has directed several productions including Pippin, Peter Pan, and Godspell at The Colonnade, but he is very excited to make his directorial debut with the Theatre Centre.