FLEISCHER STUDIOS V. AVELA
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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 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
Pocket Edition!
Matthew Brannon matthew brannon As the literary form of the new bourgeoisie, the biography is a sign of escape, or, to be more precise, of evasion. In order not to expose themselves through insights that question the very existence of the bourgeoisie, writers of biographies remain, as if up against a wall, at the threshold to which they have been pushed by world events. - SIGFRIED KRACAUER, The Biography as an Art Form of the New Bourgeoisie, 1930 in The Mass Ornament: Weimar Essays, Oxford University Press, 2002 Call yourself an actor? You’re not even a bad actor. You can’t act at all, you fucking stupid hopeless sniveling little cunt-faced cunty fucking shit-faced arse-hole… - LAURENCE OLIVIER to Laurence Havery from Robert Stephen’s Knight Errant: Memoirs of a Vagabond Actor, Hodder and Stoughton, 1995 In show business, it’s folly to talk about what the future holds. Things change so fast. Today’s project so easily becomes tomorrow’s disappointment… The world of the film star is an obstacle race against time. The pitfalls and wrong turnings you can make are devastating. Often I fear for the sanity of some of my friends… The dice are loaded against you. There’s so much bitchery around, you really have to fight hard to survive. Everybody is against you… you have to fight for… success, sell your soul for it even. And when one finally achieved success, it was resented. Not by the great stars like Frank Sinatra, but by the little, frustrated people. They’re the ones to look out for, because brother, they’re gunning for you. -
French Animation History Ebook
FRENCH ANIMATION HISTORY PDF, EPUB, EBOOK Richard Neupert | 224 pages | 03 Mar 2014 | John Wiley & Sons Inc | 9781118798768 | English | New York, United States French Animation History PDF Book Messmer directed and animated more than Felix cartoons in the years through This article needs additional citations for verification. The Betty Boop cartoons were stripped of sexual innuendo and her skimpy dresses, and she became more family-friendly. A French-language version was released in Mittens the railway cat blissfully wanders around a model train set. Mat marked it as to-read Sep 05, Just a moment while we sign you in to your Goodreads account. In , Max Fleischer invented the rotoscope patented in to streamline the frame-by-frame copying process - it was a device used to overlay drawings on live-action film. First Animated Feature: The little-known but pioneering, oldest-surviving feature-length animated film that can be verified with puppet, paper cut-out silhouette animation techniques and color tinting was released by German film-maker and avante-garde artist Lotte Reiniger, The Adventures of Prince Achmed aka Die Abenteuer des Prinzen Achmed , Germ. Books 10 Acclaimed French-Canadian Writers. Rating details. Dave and Max Fleischer, in an agreement with Paramount and DC Comics, also produced a series of seventeen expensive Superman cartoons in the early s. Box Office Mojo. The songs in the series ranged from contemporary tunes to old-time favorites. He goes with his fox terrier Milou to the waterfront to look for a story, and finds an old merchant ship named the Karaboudjan. The Fleischers launched a new series from to called Talkartoons that featured their smart-talking, singing dog-like character named Bimbo. -
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation. -
Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms. -
Commercials Issueissue
May 1997 • MAGAZINE • Vol. 2 No. 2 CommercialsCommercials IssueIssue Profiles of: Acme Filmworks Blue Sky Studios PGA Karl Cohen on (Colossal)Õs Life After Chapter 11 Gunnar Str¿mÕs Fumes From The Fjords An Interview With AardmanÕs Peter Lord Table of Contents 3 Words From the Publisher A few changes 'round here. 5 Editor’s Notebook 6 Letters to the Editor QAS responds to the ASIFA Canada/Ottawa Festival discussion. 9 Acme Filmworks:The Independent's Commercial Studio Marcy Gardner explores the vision and diverse talents of this unique collective production company. 13 (Colossal) Pictures Proves There is Life After Chapter 11 Karl Cohen chronicles the saga of San Francisco's (Colossal) Pictures. 18 Ray Tracing With Blue Sky Studios Susan Ohmer profiles one of the leading edge computer animation studios working in the U.S. 21 Fumes From the Fjords Gunnar Strøm investigates the history behind pre-WWII Norwegian animated cigarette commercials. 25 The PGA Connection Gene Walz offers a look back at Canadian commercial studio Phillips, Gutkin and Associates. 28 Making the Cel:Women in Commercials Bonita Versh profiles some of the commercial industry's leading female animation directors. 31 An Interview With Peter Lord Wendy Jackson talks with co-founder and award winning director of Aardman Animation Studio. Festivals, Events: 1997 37 Cartoons on the Bay Giannalberto Bendazzi reports on the second annual gathering in Amalfi. 40 The World Animation Celebration The return of Los Angeles' only animation festival was bigger than ever. 43 The Hong Kong Film Festival Gigi Hu screens animation in Hong Kong on the dawn of a new era. -
Miptv 2020 Producers to Watch Contents
MIPTV 2020 PRODUCERS TO WATCH CONTENTS DOC & FACTUAL 3 DRAMA / FICTION 36 FORMATS 112 KIDS & TEENS 149 DOC & FACTUAL DOC & FACTUAL PRODUCERS LISTED BY COUNTRY AUSTRIA FINLAND HUNGARY SOUTH AFRICA COLLABORATE: IDEAS & IMAGES GS FILM FILM-& FERNSEHPRODUKTION AITO MEDIA SPEAKEASY PROJECT HOMEBREW FILMS Lauren Anders Brown E.U. Erna AAlto László Józsa Jaco Loubser EMPORIUM PRODUCTIONS Gernot Stadler GIMMEYAWALLET PRODUCTIONS OKUHLE MEDIA Emma Read Phuong Chu Suominen IRELAND Pulane Boesak IMPOSSIBLE DOC & FACTUAL BELGIUM RAGGARI FILMS FELINE FILMS Adam Luria CLIN D’ŒIL Minna Dufton Jessie Fisk SPAIN WOODCUT MEDIA Hanne Phlypo BRUTAL MEDIA Matthew Gordon FRANCE JAPAN Raimon Masllorens BELGIUM COLLABORATION INC 4TH DOC & FACTUAL TAMBOURA FILMS UNITED STATES EKLEKTIK PRODUCTION Bettina Hatami Toshikazu Suzuki Xaime Barreiro CREATIVE HEIGHTS ENTERTAINMENT Tatjana Kozar Jaswant Dev Shrestha BLEU KOBALT KOREA ZONA MIXTA CANADA Florence Sala GINA DREAMS PRODUCTION Robert Fonollosa GALAXIE Sunah Kim DBCOM MEDIA SWITZERLAND Nicolas Boucher Thierry Caillibot GEDEON PROGRAMMES PERU SLASH PRODUCTION TORTUGA Jean-Christophe Liechti Adam Pajot Gendron Maya Lussier Seguin PACHA FILMS URBANIA MÉDIAS HAUTEVILLE PRODUCTIONS Luis Del Valle UNITED KINGDOM Philippe Lamarre Karina Si Ahmed POLAND ALLEYCATS ILLEGITIME DEFENSE Desmond Henderson CHINA Arnaud Xainte KIJORA FILM Anna Gawlita BIG DEAL FILMS - UNSCRIPTED DA NENG CULTURE MEDIA YUZU PRODUCTIONS Thomas Stogdon Hengyi Zhi Christian Popp PORTUGAL CHALKBOARD TV ENCOUNTER MEDIA Simon Cooper Qi Zhao PANAVIDEO Diana Nunes SHUTTER BUG STUIO(BEIJING) Hongmiao Yu GS FILM FILM-& FERNSEHPRODUKTION E.U. AUSTRIA My previous works & partners : We have produced over 70 documentaries/docu-dramas and documentary series on various topics such as human interest, history, culture and nature. -
Leo Robin Music's Second Open Letter to Ms. Kristin Chenoweth Re
Leo Robin Music's Second Open Letter to Ms. Kristin Chenoweth Re: Moral Wrong for Failure to Install the Star, "#Leosloststar," Awarded to the "Thanks For The Memory" Oscar-Winning Lyricist More Than 30 Years Ago SHERMAN OAKS, CA / ACCESSWIRE / May 25, 2021 / Dear Ms. Chenoweth, I, Leo Robin's grandson, sent you an open letter on March 2, 2021 via FedEx, nearly two months ago, but assume that you never received it since I haven't heard back from you. I am enclosing it once more so you will better understand the unprecedented circumstances surrounding the long-standing mistake made by the Hollywood Walk of Fame more than 30 years ago. The 1990 Walk of Fame Committee awarded a star to lyricist Leo Robin but the Hollywood Chamber of Commerce never installed it. The Hollywood Chamber as well as the Walk of Fame Committee continue to be morally adrift in regard to this unprecedented situation with the star awarded to Robin but not installed. And they must recognize that they bear responsibility for this on-going moral injustice and take the steps to address it. Ms. Chenoweth, you are known for your distinctive speaking voice, one which has been compared to that of Betty Boop. In an interview reported by Walter Scott in Parade magazine on April 5, 2014, "Kristin Chenoweth Takes a Wicked Vocal Turn in Rio 2." He posed this question, "You have such a distinctive voice - both singing and speaking. Some people would say, Are you related to Betty Boop? Are you sucking helium?" Ms. Chenoweth, you responded, "I have a sort of nineteen-thirties cartoon voice that's well-suited for animation. -
Regionalism in Disney Animation: Pink Elephants and Dumbo
Film History,Volume 4, pp. 305-321, 1990 0892-2160/90 $3.00 + 0 Printed in the USA. All rights reserved Copyright © 1990 Taylor & Francis Regionalismin Disney Animation Pink Elephants and Dumbo by Mark Langer Abstract Walt Disney's DUMBO (RKO, 1941) Kingdom in the 1930s, such outre magic was progressively is shown to contain two disparate animation tradi- excluded from the premises."4 tions operating simultaneously within the Disney By the mid-1930s, modernity in American animation studio. Sequences alternate between those presented became synonymous with the West Coast style-a style in Disney's West Coast style, an expression of the that was assumed to be the inscription of Walt Disney. classic Hollywood tradition, and an imported East This modern Disney style was described by a contempo- Coast style, which emphasized artifice, nonlinear rary observer as narrative, and "rubbery" graphics. Associated with that same delicate balance between fantasy and fact, such New York studios as Fleischer and Van Beuren, poetry and comic reality, which is the nature of all the East Coast Style in DUMBO is traced to the folklore. In Disney's studio a twentieth-century mira- contributions of specific New York-trained anima- cle is achieved: by a system as truly of the machine tors, who were able to due to operate relatively freely as Ford's at true art is own lack of involvement. The "Pink Ele- age Henry plant Dearborn, Disney's It it to is as a of produced.... gives pleasure; appeals your phants" sequence analyzed major example whereas most other films cater to the East Coast influence in the film. -
Nationalism, the History of Animation Movies, and World War II Propaganda in the United States of America
University of Akureyri Faculty of Humanities and Social Science Modern Studies 2011 Intersections of Modernity: Nationalism, The History of Animation Movies, and World War II propaganda in the United States of America Kristján Birnir Ívansson Final BA Thesis in the Faculty of Humanities and Social Sciences University of Akureyri Faculty of Humanities and Social Science Modern studies 2011 Intersections of Modernity: Nationalism, The History of Animation Movies, and World War II propaganda in the United States of America Kristján Birnir Ívansson A final BA Thesis for 180 ECTS unit in the Faculty of Humanities and Social Sciences Instructor: Dr. Giorgio Baruchello Statements I hereby declare that I am the only author of this project and that is the result of own research Ég lýsi hér með yfir að ég einn er höfundur þessa verkefnis og að það er ágóði eigin rannsókna ______________________________ Kristján Birnir Ívansson It is hereby confirmed that this thesis fulfil, according to my judgement, requirements for a BA -degree in the Faculty of Hummanities and Social Science Það staðfestist hér með að lokaverkefni þetta fullnægir að mínum dómi kröfum til BA prófs í Hug- og félagsvísindadeild. __________________________ Giorgio Baruchello Abstract Today, animations are generally considered to be a rather innocuous form of entertainment for children. However, this has not always been the case. For example, during World War II, animations were also produced as instruments for political propaganda as well as educational material for adult audiences. In this thesis, the history of the production of animations in the United States of America will be reviewed, especially as the years of World War II are concerned.