Les Aventures De Tom Pouce (Tom Thumb)
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George Pal Papers, 1937-1986
http://oac.cdlib.org/findaid/ark:/13030/tf2s2004v6 No online items Finding Aid for the George Pal Papers, 1937-1986 Processed by Arts Library-Special Collections staff; machine-readable finding aid created by D.MacGill; Arts Library-Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 1998 The Regents of the University of California. All rights reserved. Finding Aid for the George Pal 102 1 Papers, 1937-1986 Finding Aid for the George Pal Papers, 1937-1986 Collection number: 102 UCLA Arts Library-Special Collections Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: Art Library-Special Collections staff Date Completed: Unknown Encoded by: D.MacGill © 1998 The Regents of the University of California. All rights reserved. Descriptive Summary Title: George Pal Papers, Date (inclusive): 1937-1986 Collection number: 102 Origination: Pal, George Extent: 36 boxes (16.0 linear ft.) Repository: University of California, Los Angeles. Library. Arts Special Collections Los Angeles, California 90095-1575 Shelf location: Held at SRLF. Please contact the Performing Arts Special Collections for paging information. Language: English. Restrictions on Access Advance notice required for access. -
Eviren: Ass. Feridun AKYUREK Butun Dunyadaki Izleyicilerinl Cogu Kez
SiNEMADA 'KUKLA(*) <;eviren: L. Bruce HOLMAN Ass. Feridun AKYUREK Butun dunyadaki Izleyicilerinl cogu kez egitmek, eglendirmek ve sevindirmek tum kukla tarihinin yerine getirdigi bir gorevdir. Arkeologlar tarafmdan bulunan hayvan ve insan Ilgurlerinl birles tiren ilkel sanat yapitlari, olasidir ki, dinsel ve toplumsal yonden anlamh oykulerin anlatimmda kullamlmisti. (1) Canlandirma fil mi olarak kukla, ardmdan uzunca bir gelenege sahip, bash basma bir kaynaktlr. Daha once varolan kuklalar, sinemadaki kuklalarm atalaridir. Filmcerceveleri arasmdaki devinime bagli olan canlan dirma kuklalan, sinema filminin baslamasmdan sonra varolmus, uygulayimmi hileli filmden (trick-film) ogrenerek canlandirmada kullamlmistir. Sinemanm tarihi, XIX. yuzyil ortalarmda phenakistiscope, zo etrope, praxinoscope gibi optikle ilgili araclara uzanir. Oncelikle bu aygitlar, ag tabaka izleniminin imge ureten devinimlerinin go- (*) 1. Bruce Holman, «The History of Puppet Animatlon-. Puppet Animation in the Cinema, History and Technique, The Tantivy Press, London, England, 1975, ss. 19-48. (t) Bil Baird, «The Art of the Puppet», (New York: Macmillian Co, 1965). 263 rungusunde belirlenmis bir devinimin evrelerini tanimlayan resim lerin bir aynmmm sunumunda kullanildi. Bir resim verilip geri ~e kildiginde, goz imge sonrasiru kisaca alikoyar. Bir devinimin aynm icinde hizlica sunulan son adimlari betimlendiginde, gelecek gO runtu ile temel devinimin izlenimi karisarak, birincisinin imge son rasi algilandmlir. (2) Baslangicta, optik aygrtlar bu etkide, oncelikle -
Animação Stop-Motion X Animação Digital 3D
UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO ANA BEATRIZ MUGGIATI SUASSUNA OS INCRÍVEIS: Animação stop-motion x animação digital 3D Rio de Janeiro 2004 Ana Beatriz Muggiati Suassuna OS INCRÍVEIS: animação stop-motion x animação digital 3D Trabalho de conclusão de curso submetido ao corpo docente da Escola de Comunicação, Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do título de Bacharel em Comunicação Social, habilitação Radialismo. Orientador: Professor Luciano Saramago Rio de Janeiro 2004 S. Suassuna, Ana Beatriz Muggiati S. Os Incríveis: animação stop-Motion x animação digital 3D / Ana Beatriz Muggiati Suassuna. Rio de Janeiro, 2004. 125 f.: il. Trabalho de conclusão de curso (Graduação em Comunicação Social) – Universidade Federal do Rio de Janeiro Escola de Comunicação, 2004. Orientador: Luciano Saramago 1. Animação. 2. Debate entre técnicas 3. Comunicação Social (Trabalho de conclusão de curso) I. Saramago, Luciano (orient.). II. Universidade Federal de Comunicação. III. Título. CDD ANA BEATRIZ MUGGIATI SUASSUNA OS INCRÍVEIS: animação stop-Motion x animação digital 3D Trabalho de conclusão de curso submetido ao corpo docente da Escola de Comunicação, Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do título de Bacharel em Comunicação Social, habilitação Radialismo. Rio de Janeiro, 16 de dezembro de 2004 ________________________________________________________________ Prof. Luciano Saramago, MSc Comunicação, ECO / UFRJ. _______________________________________________________________ Profª. Fátima Sobral Fernandes, DSc, ECO / UFRJ. _______________________________________________________________ Prof. José Henrique Ferreira Barbosa Moreira, Mestre em Comunicação Social, ECO / UFRJ. _______________________________________________________________ Prof. Mauricio Lissovsky, Doutor em Comunicação Social, ECO / UFRJ. À minha família. Obrigada aos meus amigos que me ajudaram com suas sugestões e críticas. -
Tesis Doctoral ARQUETIPOS IMAGINARIOS. LAS
Tesis Doctoral ARQUETIPOS IMAGINARIOS. LAS CLAVES DEL CINE FANTÁSTICO DE AVENTURAS DE RAY HARRYHAUSEN Departamento de Dibujo Programa: El personaje en la animación Presentada por: Manuel Ferri Gandía Dirigida por: Dra. Dña. Sara Álvarez Sarrat Valencia, 2015 A mis padres, a mis hermanos, a mi sobrino Noah y a Pedro. A los que todavía disfrutan de la lectura en papel y del cine en las filmotecas. A los que conservan viejas cintas de vídeo y decoran sus estanterías con videojuegos de ocho bits. A los que no toleran el maltrato a ningún tipo de criatura. A los que aprecian el sonido del silencio. A los que se alegran cuando el día está gris. AGRADECIMIENTOS A Sara Álvarez por la dedicación, interés, paciencia y generosidad mostrada antes y durante el proceso de dirección de esta tesis doctoral. Al equipo del departamento de dibujo por llevar veinte años apoyando el arte de la animación y haberme permitido, con esta investigación, aportar mi grano de arena al proyecto. A mi familia por haber servido de apoyo constante, sobre todo en la última fase de la redacción, y por apreciar lo que significa algo tan complejo como una tesis doctoral. A Maria José Álvarez, del festival de cine de Gijón, por su envío de material. A mi hermano Miguel Ángel, por haberme conseguido unos maravillosos libros sobre Harryhausen que se han revelado como fundamentales para este trabajo. A la anónima funcionaria de la biblioteca municipal de Valencia, que me permitió tener libros por un tiempo extra al conocer que eran para hacer una tesis. -
Könyvtári Hírmondó—Library Herald MARCZINCSÁK GYULA GYÖRGY – GEORGE PAL (Cegléd, 1908
Könyvtári hírmondó—Library herald MARCZINCSÁK GYULA GYÖRGY – GEORGE PAL (Cegléd, 1908. február 1. – Los Angeles, 1980.május 2.) animátor, producer, filmrendező Ceglédi Városi Könyvtár III. évfolyam 3. szám Cegléd – Budapest Berlin – Németország vé tették, hogy a magyar Marczincsák 1930-ban európai vetélytársaként emle- Marczincsák Gyula filmgyártás felszálló ágá- Berlinbe ment, bár nem getett két rajzfilmfigurát, György 1908. február 1- ban lévő Hunnia Filmstú- tudott németül, de néhány Habakukot, illetve Kollégát. jén született Cegléden. dió alkalmazza, amely héten belül biztos helye A stúdió sikeresen működött Édesapja Marczincsák animációs, betű- és főcím- lett egy reklámügynökség- az irányítása alatt, számos Gyula, édesanyja Fikó rajzoló, plakát- és reklám- nél. Rövid időre visszatért díjat kapott. A gyártási folya- Mária. Budapesten, a film-készítő munkatársa- Budapestre, feleségül mat minden fázisában részt nagyszüleinél nőtt fel, kat keresett. Itt kezdett el vette Elizabeth-et, majd vett. Hogy végre önállóan akik egykor a Nemzeti rajzfilmek készítésével Berlinbe telepedtek le. dolgozhasson, 1932-től saját Színház alkalmazásában kísérletezni. Az ő irányítá- Hamarosan csatlakozott a stúdiót alapított.1933-ban álltak. Az Országos Ma- sa alatt sajátította el a tekintélyes U F A (Hitler hatalomra kerülése- gyar Királyi Iparművésze- műfaj alapjait Halász (Universum Film Aktien- kor) elhagyta Németországot. ti Iskola bútortervezés János (a későbbi John gesellschaft) filmvállalat- A pár egy rövid időre Magyar- szakán, Kaesz Gyula osz- Halas). Ebben az időben hoz. Néhány hónap múlva országra ment, aztán Prága tályában tanult 1924-28 találkozott jövendőbelijé- az újonnan létesített és Párizs következett. Egy között. Hamarosan kéz- vel, Zsókával.(Elizabeth trükkrajzoló műterem hotelszobában kialakított ügyessége, rajztudása, Garndjean). vezetője, ún. „Chef- műteremben (a „Palstudio”- anatómiai ismereti lehető- Trickzeichner” lett. -
Racial Stereotyping and Selective Positioning in Contemporary British Animation
Racial Stereotyping and Selective Positioning in Contemporary British Animation Charles C. H. daCosta A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy March 2007 The University of Brighton in collaboration with University College for the Creative Arts at Canterbury, Epsom, Farnham, Maidstone and Rochester Racial Stereotyping and Selective Positioning in Contemporary British Animation Charles Christian Henry daCosta A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy March 2007 The University of Brighton in collaboration with the University College for the Creative Arts at Canterbury, Epsom, Farnham, Maidstone and Rochester Abstract This thesis examines the characterization of blacks in contemporary British- made animated films exploring racial stereotyping and locating significant absences. Recent work produced within Britain has largely been destined for television. This thesis argues that Britain’s multiculturality has not been adequately represented in popular modes of television animation. This is particularly evident in the work of Aardman, Britain’s premier animation studio. The research involves two components: theory and practice. The first seeks to investigate issues relating to representation, stereotyping, ‘race’ and British multiculturalism. Through selected case studies I show how these concepts operate. I begin by sampling televised popular children’s animation, whose characterization and storylines are subjected to scrutiny. Next I focus on a selection of work from the Aardman studio - whose productions are not specifically aimed at children – to extend my analysis. The second component involves the production of a Claymation film designed specifically to demonstrate how it is possible to counter some of the gaps and problems embedded in black representation. -
Black Representation in American Short Films, 1928-1954
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2002 Black representation in American short films, 1928-1954 Christopher P. Lehman University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Lehman, Christopher P., "Black representation in American short films, 1928-1954 " (2002). Doctoral Dissertations 1896 - February 2014. 914. https://scholarworks.umass.edu/dissertations_1/914 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. m UMASS. DATE DUE UNIVERSITY LIBRARY UNIVERSITY OF MASSACHUSETTS AMHERST BLACK REPRESENTATION IN AMERICAN ANIMATED SHORT FILMS, 1928-1954 A Dissertation Presented by CHRISTOPHER P. LEHMAN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2002 W. E. B. DuBois Department of Afro-American Studies © Copyright by Christopher P. Lehman 2002 All Rights Reserved BLACK REPRESENTATION IN AMERICAN ANIMATED SHORT FILMS, 1928-1954 A Dissertation Presented by CHRISTOPHER P. LEHMAN Approved as to style and content by: Ernest Allen, Chair Johnl|L Bracey, Jr., Member Robert P. Wolff, Member Lynda Morgan, Member Esther Terry, Department Head Afro-American Studies W. E. B. DuBois Department of ACKNOWLEDGMENTS Several archivists have enabled me to find sources for my research. I thank Tom Featherstone of Wayne State University's Walter Reuther Library for providing a copy of the film Brotherhood ofMan for me. -
O'brien and Harryhausen Contemporaries – 1930-1970
pp144-175 Chapter 5 18/7/08 12:13 Page 144 CHAPTER FIVE O’BRIEN AND HARRYHAUSEN CONTEMPORARIES – 1930-1970 pp144-175 Chapter 5 18/7/08 12:13 Page 146 During the 1930s, when Obie was working on Konstantinovich Konstantinov whose only film BELOW LEFT ‘The Ptushko Collective’. Between 1936 and 1938, film’s release in 1972, Ptushko died. Like O’Brien, his greatest creation and Ray was only just begin- this was) who falls asleep during a commune out- A scene from The New Gulliver (1935) showing the live- the unit would produce fourteen animated short his near contemporary, Ptushko will always be ning his fascination with the art, there were few ing and dreams that he is a new Gulliver, washed action actor’s legs and feet bestriding the marching and films, usually based on Russian folktales, that remembered in film history for one film, The New other individuals taking any interest in model ani- ashore on Lilliput. He finds that he has been tied Lilliputian revolutionaries. This one shot shows just how included Repka (The Little Turnip) (1936), VolkI i Gulliver, and though its message has somewhat mation, and those that were saw it only as one of a up on the beach but is eventually released and many tiny models Ptushko had to animate. Zhuravl (The Wolf and the Crane ) (1936), Lisa i Vino- dated, the film is undoubtedly a classic and a mile- variety of visual effects. Slowly, however, with the becomes the guest of honour at a feast held by grad (The Fox and the Grapes) (1936), Rodina Zovet stone in the history of model animation. -
TCPDF Example
Beat: Entertainment George Pal, the father of Puppetoons He was close friends with Walt Disney Miami, 04.02.2017, 14:32 Time USPA NEWS - The Hungarian Hollywood Council ““ a widely accepted Hungarian civil organization keeping the memories of very famous Hollywood filmmakers born in Hungary - held its next event in the Eastern Hungarian town of Cegléd. Cegléd, a town of 40 thousands is the hometown of George Pal, a Hungarian born animator owner of a star on the Hollywood Walk of Fame, several times Oscar-winner, father of Puppetoons and the creator of the “Pal-methods“: stop motion and replacement animation.February 1st, the birthday of George Pal witnessed a great event in the Town Filmtheatre where the Mayor of the town, Mr László Takáts opened the memorial day of George Pal. He underlined that Cegléd, Pal`s birthplace is very proud of having this extraordinary great filmmaker as its “žson“. Ambassador Balázs Bokor, former Hungarian Consul General in Los Angeles, the President of the Hungarian Hollywood Council in his speech praised the father of Puppetoons and underlined that Pal until his death was very proud of his Hungarian roots. Bokor delivered a lecture on the life and achievements of George Pal presenting some films made by the important filmmaker. Born György Pál Marczincsak in Hungary in the town of Cegléd in 1908, George Pal was one of the most respected names in science fiction and fantasy.He studied in Budapest and graduated at the Academy of Arts with a degree in Architecture when he was 20 years old in 1928. -
VIDEOS Title Creator Summary Format Call Number in This Cirtically-Acclaimed, Stop Motion Annimated Feature
VIDEOS Title Creator Summary Format Call Number In this cirtically-acclaimed, stop motion annimated feature. Dave Peck, an unemployed 28-year-old with no goals or aspirations, finds an ad for a book promising the meaning of life for only $9.99 Rosenthal, Tatia (1971 - ) DVD PN1997.2 .N55 DVD 2010 $9.99. Wishing to share his discovery, his path crosses with those of his unusual neighbors, who in their own bizarre ways, are all on their own search for hope and redemption. 11 Alive at Five Interviews with 11 Alive at Five VHS 1991 CPA PRES 11 ALIV Kerry McCarthy and Peter Hart 11 Alive Neighborhood 11 Alive Neighborhood Weather, Weather, November 12, 1996, 11 Alive November 12, 1996, Center for VHS 1996/1997 CPA PRES NEIG Center for Puppetry Arts Puppetry Arts 11 Alive News Story on Power of 11 Alive News Story on Power 11 Alive Wonder and Pinocchio, on September VHS 1995/1996 CPA PRES 11 POW of Wonder and Pinocchio 29, 1995. Czechoslovak-American 12 Sandals 99 VHS 12 SAND 99 Marionette Theatre 1980 Wayland and Madame WAYL MADA INTE DICK DVD Interview by Dick Maurice MAUR Footage from the 1992 Southeast 1992 Southeast Regional Regional Festival held in Charleston, VHS 1992 SE REGI FEST Festival South Carolina from July 30-August 1, 1992. Footage from the 1992 Southeast 1992 Southeast Regional Regional Festival held in Charleston, VHS 1992 SE REGI FEST 1 Festival Tape 1 South Carolina from July 30-August 1, 1992. Footage from the 1992 Southeast 1992 Southeast Regional Regional Festival held in Charleston, VHS 1992 SE REGI FEST 2 Festival Tape 2 South Carolina from July 30-August 1, 1992. -
UCLA FESTIVAL of PRESERVATION
UCLA FESTIVAL of PRESERVATION 2019 FROM THE DIRECTOR This year for the first time, we decided to organize our UCLA Festival of Preservation We begin Friday morning with a delightful early 1930s musical comedy, My Lips as a weekend event, instead of one spread out over a whole month, as in previous Betray (John G. Blystone, 1933), starring Germany’s most popular actress, Lilian iterations. We believe this will give the biennial event more of a festival character, but of Harvey, who was one of the few non-Jewish German actors to turn her back on course this is a grand experiment. We welcome your feedback on the new format. the Third Reich and immigrate to America. Harvey plays a commoner in a mythical As a result of this format change, our festival is slightly smaller than in past years, European kingdom who is in love with a prince; an old story, but Harvey is absolutely but still representative of the broad and deep efforts of UCLA Film & Television charming. Another comedy highlight will be Sunday's Laurel and Hardy program, Archive to preserve and restore our moving image heritage. We have tried to put featuring Perfect Day (1929), the restoration of which was funded by our incredibly together a mix of main stream classic Hollywood, independent features, successful UCLA Spark crowdfunding campaign last year. documentaries, and television work, reflecting the Archive’s many stellar collections of film and video material. Continuing our efforts, begun in 2017 to preserve classic Spanish-language films for our retrospective “Recuerdos de un cine en español: Latin American Cinema We officially open the UCLA Festival of Preservation 2019 on Friday evening in Los Angeles, 1930-1960,” we have finally finished the restoration of Enamorada with Frank Borzage’s The Mortal Storm (1940), one of the few Hollywood anti- (Emilio Fernández, 1946), a version of The Taming of the Shrew that may be the Nazi melodramas made before America’s entrance into World War II. -
Thinking Animation: Bridging the Gap Between 2D and CG the Magic of Animation
TEAM LinG ©2007 Angie Jones and Jamie Oliff. All rights reserved. No part of Publisher and General Manager, this book may be reproduced or transmitted in any form or by any Thomson Course Technology PTR: means, electronic or mechanical, including photocopying, recording, Stacy L. Hiquet or by any information storage or retrieval system without written Associate Director of Marketing: permission from Thomson Course Technology PTR, except for the Sarah O’Donnell inclusion of brief quotations in a review. Manager of Editorial Services: The Thomson Course Technology PTR logo and related trade dress are Heather Talbot trademarks of Thomson Course Technology, a division of Thomson Learning Inc., and may not be used without written permission. Marketing Manager: Heather Hurley “OSCAR®,” “OSCARS®,” “ACADEMY AWARD®,” “ACADEMY AWARDS®,” Executive Editor: “OSCAR NIGHT®,” “A.M.P.A.S.®” and the “Oscar” design mark are trade- Kevin Harreld marks and service marks of the Academy of Motion Picture Arts and Marketing Coordinator: Sciences. All other trademarks are the property of their respective owners. Meg Dunkerly Important: Thomson Course Technology PTR cannot provide software Project Editor/Copy Editor: support. Please contact the appropriate software manufacturer’s Cathleen D. Snyder technical support line or Web site for assistance. Technical Reviewer: Thomson Course Technology PTR and the authors have attempted Scott Holmes throughout this book to distinguish proprietary trademarks from PTR Editorial Services Coordinator: descriptive terms by following the capitalization style used by the Elizabeth Furbish manufacturer. Interior Layout Tech: Information contained in this book has been obtained by Thomson Bill Hartman Course Technology PTR from sources believed to be reliable.