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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. -
FLEISCHER STUDIOS V. AVELA
FOR PUBLICATION UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT FLEISCHER STUDIOS, INC., Plaintiff-Appellant, v. No. 09-56317 A.V.E.L.A., INC., DBA Art & D.C. No. Vintage Entertainment Licensing 2:06-cv-06229- Agency; ART-NOSTALGIA.COM, INC.; FMC-MAN X ONE X MOVIE ARCHIVE, INC.; OPINION BEVERLY HILLS TEDDY BEAR CO.; LEO VALENCIA, Defendants-Appellees. Appeal from the United States District Court for the Central District of California Florence-Marie Cooper, District Judge, Presiding Argued and Submitted November 2, 2010—Pasadena, California Filed February 23, 2011 Before: J. Clifford Wallace and Susan P. Graber, Circuit Judges, and Richard Mills, Senior District Judge.* Opinion by Judge Wallace; Dissent by Judge Graber *The Honorable Richard Mills, Senior United States District Judge for the Central District of Illinois, sitting by designation. 2765 2768 FLEISCHER STUDIOS v. A.V.E.L.A., INC. COUNSEL Robert P. LoBue (argued), Gloria C. Phares, A. Leah Vickers, Patterson Belknap Webb & Tyler LLP, New York, New York, and Rex S. Heinke, Akin Gump Strauss Hauer & Feld LLP, Los Angeles, California, for appellant Fleischer Studios, Inc. Douglas D. Winter (argued), The Ball Law Firm, LLP, Los Angeles, California, for appellees A.V.E.L.A., Inc., DBA Art & Vintage Entertainment Licensing Agency, et al. OPINION WALLACE, Senior Circuit Judge: This appeal stems from the district court’s summary judg- ment dismissing Fleischer Studios, Inc.’s (Fleischer) copy- right and trademark infringement action. The district court ruled that Fleischer held neither a valid copyright nor a valid trademark in the Betty Boop cartoon character and thus lacked standing to sue. -
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. -
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. -
Resource Center New 2012
St. Mary of the Hill Resource Center Page 1 of 24 5-11-05 Inventory Bible Adult Book Beginning Biblical Studies Frigge, Marielle, OSB Card/label Bible Adult Book How Do Catholics Read the Bible? Harrington, Daniel J S.J. Card/label Bible Adult Book Introduction to Old Testament Wisdom Cresko, Anthony R. Card/label Bible Adult Book Making Sense of Paul Wiles, Virgina Card/label Bible Adult Book People of the Covenant- An Invitation to the Old Testament Bergant, Dianne CSA Card/label Bible Adult Book Psalms and Readings for Every Season Kraus S.T.D., James Card/label Bible Adult Book The Bible Blueprint- A Catholic's Guide to God's Word Paprocki, Joe Card/label * Bible Adult Book The Gospel of Matthew- Volume 2 Barclay, William Card/label Bible Adult BOok The Letters of Paul Roetzel, Calvin Card/label Bible Adult Book Who is Jesus? Why is He Important Harrington, Daniel J S.J. Card/label Church History Adult Book A History of Christian Tradition McGonigle, Thomas D. and Quigley, James F. Card/label Church History Adult Book Archbishop Timothy M. Dolan Lucero, Sam Card/label Church History Adult Book Shrine of Our Lady of Guadalupe- includes map Mueller Media, Inc. includes map Card/label Church History Adult Book Sisters Fialka, John J. Card/label Church History Adult Video St. Mary of the Hill 75th Anniversary St Mary of the Hill Card/label Church History Adult Book The Forgotten Desert Mothers Swan, Laura Card/label Church Teaching Adult Book Immaculate Conception:Panorama of the Marian Doctrine Piacentini, Ernesto, O.F.M. -
Frame by Frame
3 Pars Pro Toto Character Animation and the Work of the Anonymous Artist Everyone does his or her task on the conveyor belt, performing a partial function without grasping the totality. —Siegfried Kracauer1 The single frame is the basic unit of film just as bricks are the basic unit of brick houses. —Robert Breer2 DELIBERATE MISTAKES In late March 1937, in order to meet the booming demand for Popeye cartoons, the management at Fleischer Studios called for the production process to be sped up. In-betweeners, the animators tasked with drawing the stages of movement that come in between key poses, were expected to double their daily output, from twenty sketches per day to forty.3 But tensions between management and labor at the studio were running high, and the in-betweeners did not comply. Instead, they countered with a “slowdown” strike, which meant, effectively, continuing to produce drawings at the regular rate.4 In the month that followed, fifteen anima- tors were fired for participating in the slowdown, and on May 6 the Commercial Artists and Designers Union authorized a full walkout of the studio. The story of what happened next has already been told, as have the stories of other labor conflicts in the US animation industry—most notably, the 1941 strike at Walt Disney Studios.5 But I want to focus on what didn’t happen. By this I do not mean a counterfactual history, at least not in the traditional sense of the term. Rather, I wish to imagine what is left unsaid in these narratives, which tell us only what went on behind the scenes.