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Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel -
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. -
Revue De Presse Novembre 2017
Revue de Presse Novembre 2017 LE FIGARO ETUDIANT – Vendredi 3 novembre 2017 Le classement 2017 des meilleures écoles de jeux vidéo CLASSEMENT ‐ Supinfogame‐Rubika et Isart Digital occupent les deux premières places du palmarès réalisé par le Figaro Étudiant. L’IIM, qui vient de remporter le Ping Award, supplante de justesse l’Enjmin‐Cnam. La Paris Games Week a ouvert ce mercredi 1er novembre à la porte de Versailles de Paris et court jusqu’au dimanche 5 novembre. L’occasion pour le Figaro Étudiant de faire son point annuel sur les meilleures formations pour intégrer les studios de production de jeux vidéo. Pour établir ce classement 2017, nous avons de nouveau interrogé des producteurs de jeux vidéo (BigBen Interactive, Cyanide Studio, Focus Home Interactive et Amplitude Studios) pour connaître leurs écoles préférées et celles où ils recrutent le plus. Nous avons également tenu compte d’autres critères, comme les campus à l’étranger, la possibilité d’étudier en alternance ou la reconnaissance des diplômes par le Syndicat national du jeu vidéo (SNJV) notamment. Nouveauté du classement 2017: nous ajoutons le critère des prix et récompenses reçues par les écoles depuis 2013. Trois distinctions sont prises en compte: Unity Award, Ping Award et Imagine Cup France. » LIRE AUSSI ‐ Les écoles de jeux vidéo en direct de la Paris Games Week Du changement à la troisième place Pour la troisième année consécutive, Supinfogame‐Rubika truste la tête de notre classement. «Son principal atout est sa formation transversale, assure Benoît Clerc, directeur de l’édition chez BigBen Interactive. Les étudiants portent un regard à la fois technique et artistique sur la création de jeux vidéo. -
Alfonso Sánchez Diego Galán Versión Española
ACADEMIA Revista del Cine Español nº 169 JULIO / AGOSTO 2010 4 € Primer Premio de Comunicación Alfonso Sánchez Diego Galán Versión española A CADEMIA DE LAS A RTES Y LAS C IENCIAS C INEMATOGRÁ FICAS DE E SPAÑA ACADEMIA REVISTA DEL CINE ESPAÑOL DIRECTOR: ARTURO GIRÓN [email protected] PRODUCCIÓN: ANA ROS [email protected] EDICIÓN: ELOÍSA VILLAR [email protected] REDACCIÓN ([email protected]): ELOÍSA VILLAR, ANA ROS, CHUSA L. MONJAS [email protected] DOCUMENTACIÓN: MARÍA PASTOR [email protected] DISEÑO: ALBERTO LABARGA [email protected] IMPRIME: Gráficas 82 D.L. BU–217/95. ISSN 1136–8144 ACADEMIA, REVISTA DEL CINE ESPAÑOL, NO SE SOLIDARIZA NECESARIAMENTE CON LAS OPINIONES EXPUESTAS EN LOS ARTÍCULOS QUE PUBLICA, CUYA RESPONSABILIDAD CORRESPONDE EXCLUSIVAMENTE A LOS AUTORES. EDITA: Carmen Martín maquilla a Estrellita Castro durante el rodaje de Los misterios de Tánger C/ Zurbano, 3. 28010 Madrid Tel. 91 5934648 y 91 4482321. Fax: 91 5931492 Grandes en la sombra Internet: www.academiadecine.com Cinco profesionales que han dedicado toda su vida al mundo del cine. Un reconocimiento a muchos años de E-mail: [email protected] trabajo, a largas carreras al servicio de la industria cinematográfica. Un homenaje que abre las puertas de la PRESIDENTE: ÁLEX DE LA IGLESIA 14 Academia a los rostros menos conocidos del celuloide. VICEPRESIDENTES: ICÍAR BOLLAÍN, EMILIO A. PINA, TERESA ENRICH González Sinde. La Casa de la India consigue el premio en su decimosegunda edición por la JUNTA DIRECTIVA: PEDRO EUGENIO DELGADO, MANUEL organización del Festival de Cine Español de la India. Un esfuerzo por la difusión en el país asiático de nuestra CRISTÓBAL RODRÍGUEZ (ANIMACIÓN), ENRIQUE URBIZU, cinematografía más reciente. -
28Th Leeds International Film Festival Presents Leeds Free Cinema Week Experience Cinema in New Ways for Free at Liff 28 from 7 - 13 November
LIFF28th 28 Leeds International Film Festival CONGRATULATIONS TO THE LEEDS INTERNATIONAL FILM FESTIVAL IN YOUR 28TH YEAR The BFI is proud to partner with Screen Yorkshire in a fantastic year for filmmaking in the region INCLUDING ‘71 GET SANTA SCREENING AT LIFF28 X + Y CATCH ME DADDY & LIFF28 OPENING NIGHT FILM TESTAMENT OF YOUTH Image: (2014) Testament of Youth James Kent Dir. bfi.org.uk/FilmFund Film Fund Ad LIFF 210x260 2014-10_FINAL 3.indd 1 27/10/2014 11:06 WELCOME From its beginnings at the wonderful, century-old Hyde Park Leeds International Film Festival is a celebration of both Picture House to its status now as a major national film event, film culture and Leeds itself, with this year more than 250 CONGRATULATIONS Leeds International Film Festival has always aimed to bring screenings, events and exhibitions hosted in 16 unique a unique and outstanding selection of global film culture locations across the city. Our venues for LIFF28 include the TO THE LEEDS INTERNATIONAL to the city for everyone to experience. This achievement main hub of Leeds Town Hall, the historic cinemas Hyde is not possible without collaborations and this year we’ve Park Picture House and Cottage Road, other city landmarks FILM FESTIVAL IN YOUR 28TH YEAR assembled our largest ever line-up of partners. From our like City Varieties, The Tetley, Left Bank, and Royal Armouries, long-term major funders the European Union and the British Vue Cinemas at The Light and the Everyman Leeds, in their Film Institute to exciting new additions among our supporting recently-completed Screen 4, and Chapel FM, the new arts The BFI is proud to partner with Screen Yorkshire organisations, including Game Republic, Infiniti, and Trinity centre for East Leeds. -
Animation Ken A
The Advanced Art of © 2011 Course Technology, a part of Cengage Learning. Stop-Motion Animation Ken A. Priebe ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to Publisher and General Manager, photocopying, recording, scanning, digitizing, taping, Web distribution, Course Technology PTR: information networks, or information storage and retrieval systems, except Stacy L. Hiquet as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the publisher. Associate Director of Marketing: Sarah Panella For product information and technology assistance, contact us at Cengage Learning Customer & Sales Support, 1-800-354-9706. Manager of Editorial Services: For permission to use material from this text or product, submit all Heather Talbot requests online at cengage.com/permissions. Further permissions questions can be e-mailed to Marketing Manager: [email protected]. Jordan Castellani Acquisitions Editor: Heather Hurley All trademarks are the property of their respective owners. Cover image from Coraline courtesy of and © Focus Features/The Kobal Project Editor: Dan Foster, Collection. Additional cover images courtesy of and © Lucas Wareing, Scribe Tribe Ron Cole, and Justin and Shel Rasch. Technical Reviewer: Back cover images © Brett Foxwell, Ryan McCulloch, and Ken Priebe. Lionel I. Orozco Author photo by Jeff -
Cartoon Digital
cartoon digital 21-23 May 2019, Cagliari (Italy) Creating Entertainment for Connected Screens TOP SPEAKERS ı MARKET TRENDS ı CASE STUD ı ES ı NETWORK ı NG www.cartoon-media.eu ASSOCIATION OF THE ITALIAN ANIMATION PRODUCERS lille • hauts-de-france 2-42-4 DECEMBER 2019 Illustration partiallyIllustration - Studio Redfrog Haye designed with Freepik Nicolas by pitching event for animated transmedia projects www.cartoon-media.eu Partners CARTOON DIGITAL IS ORGANISED BY WITH THE SUPPORT OF ASSOCIATION OF THE ITALIAN ANIMATION PRODUCERS IN COLLABORATION WITH CARTOON IS SPONSORED BY 1 2 Nevina Satta CEO of Sardegna Film Commission “Sardinia is out of time and history. This land resembles no other place. Sardinia is something else. Enchanting spaces and distances to travel nothing finished, nothing definitive. It is like freedom itself.” D.H. Lawrence, Sea and Sardinia (1921) elcome to our special island, here at the very center of the Mediterranean Sea. If you arrive by boat you float in on an Emerald color, if you fly in below you are looking at stunning majestic canyons and the geometries of the Nuragic civilization. WYou enter a variety of untouched natural sites and an incredible human patrimony, one of the planet’s five blue zones, a place where longevity, quality of life and a strong community generate a powerful source of inspiration and well-being. Clean air, precious water, a love for the mother-land that makes you feel in some ancestral world, magically projected out of time, entered even when you taste our Cannonau wine or you discover how our crunchy thin Carasau bread is gently cooked. -
Njkdqeq2q0nvibuevamct.Pdf
42º FESTIVAL INTERNACIONAL DE CINEMA DE ANIMAÇÃO 42ND INTERNATIONAL ANIMATED FILM FESTIVAL ESPINHO - PORTUGAL 12 | 18 NOV. 2018 Nascente - Cooperativa de Ação Cultural Nascente - Cooperative Society with Cultural Purposes - Rua 62, 251, 4500-366 Espinho / Portugal T: +351 227 331 350 / 1 [email protected] www.cinanima.pt Câmara Municipal de Espinho Espinho City Hall - Praça Dr. José Salvador, 4500 Espinho / Portugal T: +351 227 335 800 www.cm-espinho.pt CINANIMA 2018 EDITORIAL COMISSÃO ORGANISING ORGANIZADORA COMMITTEE Há 42 anos iniciou-se em Espinho uma sendo que alguns deles terão mesmo neste We’ve arrived at CINANIMA’s 42nd Edition, magnífica aventura que perdura até aos Festival a sua estreia pública absoluta. whose organisation proved to be even trickier dias de hoje; a realização de um festival A todos os que submeteram obras ao than expected because of financial reasons. de cinema de animação numa pequena CINANIMA, e são cada vez em maior This is an Edition with a very diverse cidade, fora de um grande centro urbano, número, aos que aceitaram integrar programme, whether in terms of film dando assim expressão a uma atividade de os nossos júris, à Regina Pessoa, bem screenings - which include works from the descentralização cultural. como aos festivais parceiros e a outras four corners of the world and encompass O CINANIMA foi-se afirmando ao longo dos entidades que comissariaram programas various themes and aesthetics - and anos no panorama nacional e internacional, que integram esta Edição, aos orientadores educational activities, from which we’d like sendo significativo o seu papel na dos workshops e das masterclasses, aos to highlight the workshops and masterclasses. -
Quand Vous N'êtes Pas En Festival
PROGRAMME QUAND VOUS ÉDITO La Ville de Roanne avec le festival international du court métrage d'animation, Ciné court animé, a fait le N’ÊTES PAS pari depuis plus de dix ans de mettre en avant toute la richesse et la créativité d'un cinéma en perpétuel renouvellement. Cette 11ème édition permettra d’en découvrir une nouvelle fois toutes les facettes sous différentes formes et vous fera vivre une semaine des plus animées. Projections, rencontres, expositions, EN FESTIVAL conférences, ateliers et autres spectacles seront programmés dans de nombreuses structures culturelles de la Ville et de l'Agglomération roannaise. DÉCOUVREZ NOTRE SÉLECTION Le festival, grâce à sa programmation exigeante notamment, a su s'imposer au fil des éditions comme un évènement majeur dédié au court animé au niveau national et européen. Véritable espace de découverte de la création internationale et de promotion des nouveaux talents du cinéma d'animation Ciné court animé s’impose sur la scène nationale et internationale. Il offre aussi un panorama complet avec des films provenant de tous horizons chaque année. Des créations de plus de 40 pays vous feront voyager dans des univers inexplorés et de multiples esthétiques. Ciné court animé est devenu LE rendez-vous incontournable pour les Roannais et les spectateurs venus de toute la France afin de découvrir toutes les pépites du 7ème art. Il participe ainsi à faire rayonner la ville de Roanne bien au-delà de ses frontières. Nous vous attendons encore nombreux cette année alors n'hésitez pas, venez profiter de cette vitrine roannaise ouverte sur le film d'animation ! TV REPLAY NETFLIX YOUTUBE Le Maire de Roanne TÉLÉCHARGEZ GRATUITEMENT NOTRE APPLICATION irandole arclet - M ison M vier 2007 Lia ture jan Ouver LES LIEUX PARTENAIRES Rue Marx Dormoy 2 Avenue Gambetta Avenue Carnot Rue Émile Noirot INFOS PRATIQUES 4 Rue Eucher Girardin Ciné court animé : 04 77 23 47 70 6 rue Picaud rue [email protected] Noëlas Aqueducs cinecourtanime.com Rue rue Jean Puy Rue des R. -
The Exiled King of Tibet
November 2008 StudentFilmmakers.com The #1 Educational Resource for Film and Video Makers US$5.95 Dirk Simon on His Documentary about The Exiled King of Tibet DP Tackles Fire: Shooting Flames for Fireproof Technique & Precautions for Laying Dolly Track Capture the Great Dialogue Moments 3 Ways Networks Acquire Programming Acting/Direction: Get Those Peak Performances Makeup for Award-Winning Hit Series, Mad Men VIDEO PRODUCTION Table of Contents November 2008 Cinematography 6 A Cinematographer Tackles Fire Shooting Low Budget Flames on the Set of “Fireproof” Julia Camenisch • WEB & INTERACTIVE MEDIA • GRAPHIC DESIGN • INTERIOR DESIGN • FASHION DESIGN 14 Technique and Precautions for Laying Dolly Track by Jack Anderson Commentary 18 The Audacity of Imagery by Ira Tiffen Documentary 6 20 The Exiled King of Tibet by David Kaminski Directing 36 Get that Peak Performance while the Camera is Actually Rolling by Steve Carlson Wardrobe & Costume Design 38 Dressing the Hordes in a Moment’s Notice by Richard La Motte Music & Sound 40 Capture the Great Dialogue Moments by Bryant Falk Film Business 41 What Are 3 Ways Networks Acquire Programming? 20 by Stacey Parks Props & FX Makeup 42 Makeup for Award-Winning, Cable Hit Series, Mad Men by Scott Essman Pre-Production 44 Create Concept Drawings that Illuminate and Intensify the Script Narrative by John Hart On Campus 48 Five Towns College Prepares Students for Professional Work 48 50 School of Visual Arts Fills a Void in NYC with New MFA Social Documentary Film Program Filmmakers Networking 54 55 This Month’s Featured Networkers On the Cover Director Dirk Simon and Sound Recordist Andrew Ahlstrom (San Francisco, April 2008). -
Diapositiva 1
LIBRO BLANCO LA INDUSTRIA ESPAÑOLA DE LA ANIMACIÓN Y DE LOS EFECTOS VISUALES Junio 2018 1 RESUMEN EJECUTIVO - LA INDUSTRIA ESPAÑOLA DE LA ANIMACIÓN Y DE LOS EFECTOS VISUALES ....................................................4 TRIBUNA: LA ANIMACIÓN ESPAÑOLA, UNA APUESTA DE FUTURO ............................................................................................9 TRIBUNA: LA IMPORTANCIA DE LA ANIMACIÓN ESPAÑOLA PARA EL DESARROLLO AUDIOVISUAL .................................................10 METODOLOGÍA .........................................................................................................................................................12 LA ANIMACIÓN, UNA INDUSTRIA GLOBAL ........................................................................................................................13 UNA INDUSTRIA GLOBAL DE 244 MIL MILLONES DE DÓLARES ...............................................................................................................................14 LA ANIMACIÓN, UNA INDUSTRIA EN EVOLUCIÓN ...............................................................................................................................................18 EL POTENCIAL DE LA ANIMACIÓN: CASOS DE ÉXITO GLOBALES ..............................................................................................................................23 LA INDUSTRIA ESPAÑOLA DE LA ANIMACIÓN Y DE LOS EFECTOS VISUALES ................................................................................27 UNA INDUSTRIA SÓLIDA .............................................................................................................................................................................27 -
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.