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S TU D IES a Incidencia De Reescrituras Fílmicas Na Relación De Nomeados E Premiados Dos Principais Galardóns
BOLETÍN GALEGO DE LITERATURA, nº 56 / 1º SEMESTRE (2020): pp. 23-40 / ISSN 2174-4025 ESTUDOS A incidencia de reescrituras fílmicas / na relación de nomeados e premiados STUDIES dos principais galardóns internacionais a longametraxes animadas Rocío G-Pedreira CIEC-IE-Universidade do Minho/ ICE-Universidade de Santiago de Compostela https://orcid.org/0000-0002-5102-5078 [Recibido, 23 abril 2020; aceptado, 4 xuño 2020] [G-Pedreira, R. (2020). A incidencia de reescrituras fílmicas na relación de nomeados e premiados dos principais galardóns internacionais a longametraxes animadas. Boletín Galego de Literatura, 56, “Estudos”, 23-40] DOI http://dx.doi.org/10.15304/bgl.56.6776 RESUMO O presente artigo pretende dar conta da presenza de reescrituras fílmicas de obras 23 literarias realizadas mediante técnicas de animación cuxa calidade as fixo merece- doras de ser nomeadas e/ou premiadas con algúns dos galardóns cinematográficos a nivel mundial máis importantes que contan cunha categoría específica para estas producións, en concreto os Óscar, Annie, Globos de Ouro e BAFTA. Ademais, tamén se analizará brevemente a influencia que ten a creación do hipertexto fílmico para a difusión do correspondente hipotexto. PALABRAS CHAVE Premios cinematográficos; cine de animación; reescrituras fílmicas; adaptación. ABSTRACT This article aims to report about the presence of film rewritings of literary works through animation techniques whose quality making them deserving of being nominees and/ or designed to award some of the most important film awards around the world with a specific category for animated films, in particular, the Oscars, Annie Awards, Golden Globes and BAFTA. Furthermore, it will be analysed briefly the influence of the creation of the film hypertext for hypotext diffusion. -
La Digitalización De La Media: La Evolución Del CGI Hacia La Renderización No-Fotorrealista En Spider-Man: Un Nuevo Universo.”
UNIVERSIDAD POLITECNICA DE VALENCIA ESCUELA POLITE CNICA SUPERIOR DE GANDIA Máster en Postproducción Digital “La digitalización de la media: La evolución del CGI hacia la renderización no-fotorrealista en Spider-Man: Un nuevo universo.” TRABAJO FINAL DE MASTER Autor/a: Paz Gómez de la Muñoza Tutor/a: Javier Pastor Castillo GANDIA, 2020 Resumen La aparición de las imágenes generadas por ordenador ha supuesto un antes y un después a la hora de consumir y realizar contenido audiovisual. En este proyecto se exploran cuáles fueron los antecesores a los PC, sus usos, cómo han evolucionado y qué clase de manifestaciones artísticas se han realizado a lo largo de su historia, hasta el punto de alcanzar unos resultados casi perfectos al conseguir generar tanto imágenes realistas como imágenes más artísticas, centrándonos en concreto en cómo nos confunde a la hora de observar algo que aparenta haber sido realizado en dos dimensiones —lo que conoceremos como renderizado no fotorrealista—. Para ello, hablaremos en profundidad sobre la película ganadora del Óscar a la mejor película de animación en 2019, Spider-Man: Un nuevo universo (Peter Ramsay, Bob Persichetti y Rodney Rothman, 2018), donde exploraremos sus recursos técnicos, artísticos y sus influencias. Para finalizar el proyecto, se encuentra la memoria de la parte práctica, realizada con los conocimientos obtenidos en la investigación, una pequeña pieza a modo de demostración sobre cuáles son los resultados que se pueden alcanzar mediante el uso de software accesible para el usuario medio. Palabras clave: 2D, 3D, Animación, Analógico, Anime, Arte, Arte urbano, Cine, Cómic, Concept-art, Digital, Estilización, Motion-graphics, Motion-capture, No-fotorrealista, Pop-Art, Realismo, Renderizado. -
EL CULTURAL SAN MARTIN Programa De Cine En Vacaciones
EL CULTURAL SAN MARTIN Programa de cine en vacaciones de Invierno 2018 Entrada general: $70 / Estudiantes y jubilados: $50 En boleterías o por www.tuentrada.com El Cultural San Martín Sarmiento 1551 www.elculturalsanmartin.org Lego Batman: La película, de Chris McKay (2017) Hay grandes cambios que amenazan a Gotham, pero si Batman busca salvar a la ciudad de la incursión hostil del Guasón, deberá considerar en dejar su lucha solitaria y tratar de trabajar con otros para aligerar la batalla. Género: Animación Dirección: Chris McKay Origen: Estados Unidos Año: 2017 Duración: 104 minutos Funciones: Sábado 14 y Domingo 15 > 15 hs El Gigante de Hierro, de Brad Bird (1999) En 1957, en la pequeña localidad de Rockwell, alguien ha visto cómo un enorme hombre metálico caía al mar. Un imaginativo niño descubre que se trata de un robot gigante, cuyo apetito de metal es insaciable. Entre ambos nace una fuerte amistad, pero el gobierno envía a un agente para investigar los hechos. Género: Animación Dirección: Brad Bird Origen: Estados Unidos Año: 1999 Duración: 86 minutos Funciones: Martes 17 > 15 hs Como Entrenar a tu Dragón, de Dean DeBlois y Chris Sanders (2010) Ambientada en el mítico mundo de los rudos vikingos y los dragones salvajes, narra la historia de Hipo, un vikingo adolescente que no encaja exactamente en la antiquísima reputación de su tribu como cazadores de dragones. El mundo de Hipo se trastoca al encontrar a un dragón que le desafía a él y a sus compañeros vikingos, a ver el mundo desde un punto de vista totalmente diferente. -
NYICFF 2021 Awards Release
SEVEN FILMS FROM EIGHT COUNTRIES TAKE HOME AUDIENCE AWARDS AT NEW YORK INTERNATIONAL CHILDREN’S FILM FESTIVAL 2021 THE FESTIVAL ANNOUNCED ITS AUDIENCE, GRAND PRIZE, AND JURY AWARD-WINNING FILMS ON MONDAY "I really enjoyed watching these films with my daughter. There was a lot of creativity and heart, they were inspiring to see," said Sofia Coppola, Festival juror. ----- FOR IMMEDIATE RELEASE: NEW YORK, NY (March 22, 2021): New York International Children’s Film Festival closed its 2021 edition with a presentation of the Best of the Fest short films and the announcement of the 2021 Festival award-winners. For the first time in the Festival’s 24-year history, audiences expanded from the New York metro area to across the country, drawing viewers from 47 out of 50 states to the virtual Festival. The Festival received thousands of submissions from around the world to select and curate a collection of inventive, diverse, and artistically ambitious films for its annual event, held virtually from March 5-14, 2021. Audience and Grand Prize Awards are presented to the films and filmmakers with the highest-ranking votes from Festival audience members, while Jury Awards are selected by an esteemed jury of filmmakers, actors, and industry leaders. The Best of the Fest, a collection of the highest-ranking short films from throughout the Festival, was released on Friday, March 19. In lieu of a traditional live awards ceremony, winners were announced on the Festival’s website and social media channels on Monday, March 22. “In addition to spotlighting the most innovative films for young audiences, the Jury and Audience Awards recognized the strength of women behind the camera, supported nonbinary storytelling, and acknowledged European co-productions that bolstered underrepresented filmmaker voices and stories from the Carribean,” said Programming Director Maria-Christina Villaseňor. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
Academy Invites 842 to Membership
MEDIA CONTACT [email protected] July 1, 2019 FOR IMMEDIATE RELEASE ACADEMY INVITES 842 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 842 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. The 2019 class is 50% women, 29% people of color, and represents 59 countries. Those who accept the invitations will be the only additions to the Academy’s membership in 2019. Six individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2019 invitees are: Actors Adewale Akinnuoye-Agbaje – “Suicide Squad,” “Trumbo” Yareli Arizmendi – “A Day without a Mexican,” “Like Water for Chocolate” Claes Bang – “The Girl in the Spider’s Web,” “The Square” Jamie Bell – “Rocketman,” “Billy Elliot” Bob Bergen – “The Secret Life of Pets,” “WALL-E” Bruno Bichir – “Crónica de un Desayuno,” “Principio y Fin” Claire Bloom – “The King’s Speech,” “Limelight” Héctor Bonilla – “7:19 La Hora del Temblor,” “Rojo Amanecer” Juan Diego Botto – “Ismael,” “Vete de Mí” Sterling K. Brown – “Black Panther,” “Marshall” Gemma Chan – “Crazy Rich Asians,” “Mary Queen of Scots” Rosalind Chao – “I Am Sam,” “The Joy Luck Club” Camille Cottin – “Larguées,” “Allied” Kenneth Cranham – “Maleficent,” “Layer Cake” Marina de Tavira – “Roma,” “La Zona (The -
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. -
Historicizing the Liminal Superhero
BOX OFFICE BACK ISSUES: HISTORICIZING THE LIMINAL SUPERHERO FILMS, 1989–2008 by ZACHARY ROMAN A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2020 DISSERTATION APPROVAL PAGE Student: Zachary Roman Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Peter Alilunas Chairperson Janet Wasko Core Member Erin Hanna Core Member Benjamin Saunders Institutional Representative and Kate Mondloch Interim Vice-Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2020 ii © 2020 Zachary Roman iii DISSERTATION ABSTRACT Zachary Roman Doctor of Philosophy School of Journalism and Communication December 2020 Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 Although the superhero film became a dominant force in Hollywood early in the 21st century, the formation of the superhero genre can be attributed to a relatively small temporal window beginning in 1989 and ending in 2008. This dissertation argues that a specific group of superhero films that I call the liminal superhero films (LSF) collectively served as the industrial body that organized and created a fully formed superhero genre. The LSF codified the superhero genre, but that was only possible due to several industrial elements at play before they arrived. An increasing industrial appetite for blockbusters coming out of the 1970s, the rise of proprietary intellectual property after the corporate conglomeration that occurred at the end of the 20th century, and finally, the ability of the LSF to mitigate risk (both real and perceived) all led to this cinematic confluence. -
International & Festivals
COMPANY CV – INTERNATIONAL & FESTIVALS INTERNATIONAL CAMPAIGNS / JUNKETS / TOURS (selected) Below we list the key elements of the international campaigns we have handled, but our work often also involves working closely with the local distributors and the film-makers and their representatives to ensure that all publicity opportunities are maximised. We have set up face-to-face and telephone interviews for actors and film-makers, working around their schedules to ensure that the key territories in particular are given as much access as possible, highlighting syndication opportunities, supplying information on special photography, incorporating international press into UK schedules that we are running, and looking at creative ways of scheduling press. THE AFTERMATH / James Kent / Fox Searchlight • International campaign support COLETTE / Wash Westmoreland / HanWay Films • International campaign BEAUTIFUL BOY / Felix van Groeningen / FilmNation • International campaign THE FAVOURITE / Yorgos Lanthimos / Fox Searchlight • International campaign support SUSPIRIA / Luca Guadagnino / Amazon Studios • International campaign LIFE ITSELF / Dan Fogelman / FilmNation • International campaign DISOBEDIENCE / Sebastián Lelio / FilmNation • International campaign THE CHILDREN ACT / Richard Eyre / FilmNation • International campaign DON’T WORRY, HE WON’T GET FAR ON FOOT / Gus Van Sant / Amazon Studios & FilmNation • International campaign ISLE OF DOGS / Wes Anderson / Fox Searchlight • International campaign THREE BILLBOARDS OUTSIDE EBBING, MISSOURI / -
Textual Spectacle: the Transmedial Storyworld of Coldplay's Mylo Xyloto
The Concept Album as Visual-Sonic- Textual Spectacle: The Transmedial Storyworld of Coldplay’s Mylo Xyloto Lori Burns University of Ottawa [email protected] Abstract This paper studies the elaboration of the concept album by means of multimodal promotional strategies that include the concert tour, music videos, books, as well as other digital and print materials. Adopting the perspective that the meaning of a concept album emerges in and through a potentially complex network of materials, we can receive and understand concept album storytelling to operate according to multimedial, intermedial and transmedial contexts. This study examines the transmedial storyworld of Coldplay’s Mylo Xyloto concept spectacle as it is developed in and through the material content of the original album, the Coldplay: Live 2012 (Coldplay 2012c) concert film, as well as the paraphonographic materials that extend Mylo Xyloto into a variety of media. KEYWORDS: Concept album, spectacle, multimodality, intermediality, transmediality Introduction In the context of the new millennial industry of popular music, artists from a variety of genres rely heavily upon current technologies and social media platforms to develop elaborate promotional strategies, thus expanding the idea of the concept album to the concert tour, music videos, books, and a range of supplementary materials. With such an approach, the concept album can be seen to extend across multiple media formats in supplementary materials and live IASPM@Journal vol.6 no.2 (2016) Journal of the International Association for the Study of Popular Music ISSN 2079-3871 | DOI 10.5429/2079-3871(2016)v6i2.6en | www.iaspmjournal.net 92 Lori Burns performances. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
Wydawnictwo UP
Pobrane zFOLIA czasopisma.up.krakow.pl/index.php/sdc 311 - 12.07.2021 Annales Universitatis Paedagogicae Cracoviensis Studia de Cultura 12(4) 2020 ISSN 2083-7275 DOI 10.24917/20837275.12.4.1 RozpRawy i Studia Joanna Mytnik-Daniluk Uniwersytet w Białymstoku ORCID 0000-0003-3924-8188 A social dimension of the activities of selected contemporary animated film characters Introduction Watching animated films stimulates imagination, evokes associations and emotions, such as joy, sadness and even fear in a viewer. Therefore, it has long been noticed that the animated image fulfils functions other than just entertainment for children. It was “used in advertising and propaganda because its persuasive capabilities and the ability to briefly convey ideas were noticed early. […] simple, even naive, sto- 2016: 2014). Considering the early uses of animated films, it is impossible to ignore theirries are social able practice. to convey They socially have becomeimportant a kind and ofpolitically message current in the form content” of audiovisual (Puchała communication, addressed at a specific generation, gender or social group. The main purpose of the article is to reflect on the actions of contemporary characters of animated feature-length social films. There are many valuable anima- tions about various problems that can play an important role in preparing young viewers for life in society. I am particularly interested in whether and how a film work, as a cultural product, can help convey social issues and then be used in a va- riety of activities. The specificity of the undertaken topic requires drawing from various fields of knowledge, allowing for their mutual permeation and inspiration.