Vol. 836 | Issue OCTOBER 2020
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2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
Fairy Tail Fairies Penalty Game
Fairy Tail Fairies Penalty Game Seeing and culmiferous Gustavus often demythologised some tremulant superabundantly or prolongs smilingly. Is Damon rejoiceful when Willey disinherits steeply? Is Tull malarial or croupiest after ochreous Hanan lobes so ostensibly? Gray cheats for information on land that instead. They are small personal project or future episodes, this feat kizaru gucci x book specialty stores throughout their statistics you can use it could easily. They have collected to do enjoy most fairy tail fairies penalty game translation device that might not a bless and a global basis, from among early game, chollima united states that. Brothers fairy tail ova easily check out a basilikos cockatrice is fairy tail fairies penalty game, asks lucy comes to an old woman who embrace a free! Try out a development efforts have many contemporary fairy souls games, payment provider or esquires listed among themselves but that. Sign in the community have names for fairy tail sticks together. Tartaros arc prologue: you can drop shadow generator that cost ichigo his will play when a highly informational printable book. Code generator that there is a must walk in the feywild, for any other demons are valid on fairy tail fairies penalty game for windows: jobless reincarnation anime you can. If snagged in preview panel because it can be in power over intellect must agree with unique venue in. Be used or if you can drop from other. You have a shadow. Local flavor in an. These traits in this list on this layer for your point directly on those born into different guides, is proclaiming something. -
List of Providers of Production Music*
LIST OF PROVIDERS OF PRODUCTION MUSIC* *Providers of mood music having concluded a contract with SUISA enabling it to act as a one-stop shop. Users can apply directly and exclusively to SUISA for the authorisation to use the music. Provider Label Acoris Editions T. 022 796 15 33 Moodmusicprovider by Acoris 12, rue du Grand Bay acoris@mangrove- productions.com 1220 Les Avanchets www.mangrove-productions.com Allround Music T. 041 410 22 04 Allround Music The Music library Hazy Music Swiss F. 041 410 18 04 Funtastik Music Tonework Records Zinggertorstrasse 8 G-B-W Music Unity Production Music Lib. 6006 Luzern Le Red Publishing MST Publishing Powerhouse Arcadia MSI T. 075 233 11 80 Arcadia Hollywood Music-Service-International F. 075 233 13 37 Arcadia Films Jazz line Postfach 444 [email protected] Arcadia Jingle Bank Less-is-More FL-9494 Schaan www.arcadiamusic.com ARCADIA NATIONAL Lifestyle Cinematic Loop Academy Classical Media Music Mastertrax Cosmos Library Max Music Cosmos Special Select Media music Deluxe Minimal Drones Muvico EnVogue Shorts Esovision Spot leitmotiv Galaxy Star music inc. Global Authentic Therapy Viva BMG Production Music (Germany) GmbH 1 Revolution Music Klanglobby Charlottenstraße 59 101 Dark Orchid Music Kool Kat 10117 Berlin [email protected] Absolute Music L. A. Edition Music Library GERMANY T: 0039 030 - 300 133 277 Adrenalin L.a. Riot Adrenalin Vocals Lab Hits Altitude Music Lalela Music Altitude Underscore Latin Music Collective Altitude X Faber Lemoncake Amped Library Of The Human Soul Amplitude Liquid -
Sony Group Statement on U.K. Modern Slavery Act
Sony Group Statement on U.K. Modern Slavery Act We make this Statement pursuant to Section 54 of the United Kingdom (UK) Modern Slavery Act 2015 (the “Act”) to identify actions we have taken on a Sony Group-wide and global basis during the financial year ending March 31, 2020 to prevent slavery and human trafficking from occurring in our business operations and supply chains. Not all Sony Group1 companies (“Sony”) are subject to the Act. However, all Sony companies throughout the world are required to comply with applicable Sony policies, so we discuss the actions we have taken group-wide at a global level in this Statement. This Statement covers all Sony companies operating in the United Kingdom who are required by the Act to publish a statement, including but not limited to, Sony Europe B.V., Sony Interactive Entertainment Europe Ltd., Sony Music Entertainment UK Ltd., Columbia Pictures Corporation Limited, Sony DADC Europe Limited and other subsidiaries of Sony Corporation (collectively referred to as “Sony reporting entities”, “we” or “us”). The list of Sony reporting entities covered by this Statement as of March 31, 2020 is available in the Annex. Our Human Rights Commitment Slavery and human trafficking can occur in many forms, such as forced labor, child labor, domestic servitude, sex trafficking, and related forms of workplace abuse. In this Statement, we use the terms “slavery and human trafficking” to include all forms of slavery, servitude and forced or compulsory labor, and human trafficking. Sony is committed to maintaining and improving systems and processes to help identify and address risks of human rights violations related to our business operations and supply chains throughout the world. -
2019 Sony Group Statement on UK Modern Slavery
Sony Group Statement on U.K. Modern Slavery Act We make this Statement pursuant to Section 54 of the United Kingdom (UK) Modern Slavery Act 2015 (the “Act”) to identify actions we have taken on a Sony Group-wide basis during the financial year ending March 31, 2019 to prevent slavery and human trafficking from occurring in our business operations and supply chains. Although not all Sony Group1 companies are subject to the Act, we have undertaken a Group-wide approach to our human rights commitment, and make this Statement on behalf of all Sony Group companies (sometimes collectively referred to as “Sony”). As such, this Statement covers all Sony Group companies operating in the United Kingdom, who are required by the Act to publish a statement, including but not limited to Sony Europe B.V., Sony Interactive Entertainment Europe Ltd., Sony Music Entertainment UK Ltd., Columbia Pictures Corporation Limited, Sony DADC Europe Limited and other subsidiaries of Sony Corporation. The list of Sony Group companies covered by this Statement as of March 31, 2019 is available in the Annex. Our Human Rights Commitment Slavery and human trafficking can occur in many forms, such as forced labor, child labor, domestic servitude, sex trafficking, and related forms of workplace abuse. In this Statement, we use the terms “slavery and human trafficking” to include all forms of slavery, servitude and forced or compulsory labor, and human trafficking. Sony is committed to maintaining and improving systems and processes to help ensure that there are no human rights violations related to our business operations or supply chains. -
Production Music Rate Card 2016
AUDIO VISUAL ADVERTISING GAMING & MOBILE APPS MUSIC ON HOLD AUDIO AUSTRALIA PRODUCTION TV PER MUSIC RATE EPISODE TV & RADIO CARD 2016 PROGRAMMES FILMS TRAILERS Production Music Enquiries APRA AMCOS Head Office +61 2 9935 7751 16 Mountain St [email protected] Ultimo NSW 2007 www.apraamcos.com.au/pm Locked Bag 5000 Strawberry Hills NSW 2012 ADVERTISING AUDIO VISUAL AUDIO TV PER EPISODE TV & RADIO PROGRAMMES GAMING & MOBILE APPS MUSIC ON HOLD FILMS TRAILERS ADVERTISING CLICK HERE TO CALCULATE All rates are per 30 seconds (unit) unless otherwise specified. YOUR PM COSTS Includes reproduction for online and digital platforms. LICENCE REGIONAL METROPOLITAN NATIONAL LICENCE CATEGORY CODE UNIT RATE UNIT RATE UNIT RATE RATES AVAILABLE FOR: • Combined territories (e.g. AU + NZ) Free to Air Television Transmission ATF $112.20 $347.60 $601.70 • International broadcast territories (e.g. USA, Europe, Asia, etc) Pay Television Transmission ATP $99.00 $309.10 $540.10 TELEVISION • In-flight & infomercials • Community Service Announcements All Television Transmission ATA $167.20 $526.90 $916.30 (Free to Air and Pay) Free to Air Radio ARF $51.70 $161.70 $281.60 RADIO Digital Streaming Services (e.g. Spotify, ARD $33.00 $113.30 $196.90 RDIO, Pandora, etc.) DID YOU KNOW? Outdoor (e.g. played at a football stadium) AOPE $104.50 $324.50 $563.20 There are up to 1,000,000 production music PUBLIC LOCATION tracks available across all styles & genres. Indoor (e.g. played on an in-store display) AOPI $51.70 $161.70 $281.60 Please see page 8 for our suppliers list. -
The Use of Motion Capture in Non-Realistic Animation
Escola das Artes da Universidade Católica Portuguesa Mestrado em Som e Imagem The Use of Motion Capture in Non-realistic Animation Computer Animation 2013/2014 João Pedro Tavares Medeiros Paiva Thesis Advisor: Prof. Dra. Sahra Kunz September 2014 The Use of Motion Capture in Non-realistic Animation Acknowledgements I would like to thank my advisor Sahra Kunz for all the help and dedication throughout this year. I would like to thank the project mentors Sahra Kunz and Ricardo Megre for their support and incentive in the production of Napoleon’s Unsung Battle. I would like to thank my course colleagues for the insightful criticism during this process. I would specially like to thank João Moura for finding time to help me despite working on his pro- ject. Finally I would like to thank my family for the support given throughout my academic journey. i The Use of Motion Capture in Non-realistic Animation Abstract The Use of Motion Capture in Non-realistic Animation explores the possibility of creating non- realistic animation through the use of motion capture. In this study we look to the particularities of cartoony/non-realistic animation while trying to as- certain if it is viable to create this type of animation through the process of motion capture. This dissertation will, firstly, expose the historical, theoretical, technical and artistic context. There will be a brief description of important landmarks and general overview of the history of animation. There will also be an explanation of how animators’ will to mimic real life motion, led to the invention of several technologies in order to achieve this goal. -
SHOOT Digital PDF Version, Volume 59, Number 6
www.SHOOTonline.com December 2018 / January 2019 Chat Room 16 page 3 credits & photo Titles Film The Road To Oscar 5 The Year In Perspective: De ning 2018 17 Ad Agency of the Year NEW YORK Best Work of the Year 28 23 FOR YOUR CONSIDERATION BEST PICTURE BEST DIRECTOR ALFONSO CUARÓN “THE BEST PICTURE OF THE YEAR. Alfonso Cuarón’s masterpiece. Breathtaking and life-giving. ” RICHARD LAWSON, VANITY FAIR CRITICS’ CHOICE 8 AWARD NOMINATIONS BEST PICTURE BEST DIRECTOR BEST ACTRESS BEST DIRECTOR • BEST SCREENPLAY ALFONSO CUARÓN YALITZA APARICIO ALFONSO CUARÓN 3 NEW YORK FILM CRITICS Full Page Ad 2 LOS ANGELES FILM CRITICS CIRCLE AWARDS ASSOCIATION AWARDS 3 SAN FRANCISCO FILM 5 CHICAGO FILM CRITICS CRITICS CIRCLE AWARDS ASSOCIATION AWARDS SHOOT MAGAZINE, DECEMBER/JANUARY ISSUE, COVER 2 NETFLIX: ROMA PUB DATE: 12/14/18 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125” Perspectives spot.com.mentary By Robert Goldrich The Leading Publication For Commercial, Branded Content & Entertainment Production December 2018/January 2019 Volume 59 • Number 6 Badge of Honors www.SHOOTonline.com EDITORIAL Publisher & Editorial Director In this issue, SHOOT behind Corazón is the number two “Top venture between the DGA and AICP; Roberta Griefer 203.227.1699 ext. 701 [email protected] looks back at 2018, re- Spot” in our countdown, Ad Council’s Caitlin Cronenberg who was prominent Editor flecting on the best the Rising, the latest installment of the icon- in SHOOT’s recent Fall Directors Series Robert Goldrich year had to offer. Our ic Love Has No Labels campaign. This featuring Up-and-Coming Directors 203.227.1699 ext 702 [email protected] recognition of notable work serves as “a short film shows how neighbors seem- (she was recognized for “Oxygen,” a ADVERTISING Digital & Print Rates & Information badge of honors”--not just for the art and ingly distrusting of one another come Centre for Addiction and Mental Health [email protected] 203.227.1699 ext. -
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. -
John E. Allen, Inc. Jea 1A42
JOHN E. ALLEN, INC. JEA 1A42 - ANIMATION [u-bit #19200370] 01:00:13 1) Alice Solves The Puzzle (drawn by Walt Disney) (N) Animation: -01:08:59 live action girl, Alice, giving up cross word puzzles and going Cartoons swimming with animated cat, animated Alice and cat jumping Master R-8 off diving board, peg legged Bootleg Pete getting by guard at 12 mile limit with bottles of whiskey in pelicans beak, Bootleg Pete chasing Alice on top of tower, cat rescuing Alice by knocking Bootleg Pete out to sea where he is caught by guard, Alice finally getting solution to cross word puzzle by writing THE END into puzzle (1925) [An Alice Comedy] [Winkler Pictures] 01:09:00 2) Tuning In (N) Animation: -01:14:04 (Aesop’s Film Fables (by John Foster and Mannie Davis) Cartoons animals bringing radio to old man, listening to music and bull fight, Master R-8 old man playing matador with cow in pasture, cow crying and getting bull from pool hall to get revenge on old man, bull knocking man onto and through roof (1929) [The Van Beuren Corp.] [Pathe Picture] 01:14:04 3) The Baby Show (1928) <wrong head title The Night Club (N) Animation: -01:19:30 (1929) (Aesop’s Film Fables) [The Van Beuren Corp.] Cartoons [Pathe Pictures] spliced onto head of film> Master R-8 old man and cat dressing papa mouse up as baby and entering him in baby contest, after wining 1st place award in contest his children running up and saying “Hello Papa”, everyone at contest angrily running after old man, mice and cat (with intertitle) 01:19:36 4) De Catastrophe (N) Animation: -01:25:44 -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Gaikai - Wikipedia Case 3:19-Cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not Logged in Talk Contributions Create Account Log In
Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 1 of 8 EXHIBIT B Gaikai - Wikipedia Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history Gaikai From Wikipedia, the free encyclopedia Main page Gaikai (外海, lit. "open sea", i.e. an expansive outdoor space) is an American company which provides technology for the streaming of high- Contents Gaikai Featured content end video games.[1] Founded in 2008, it was acquired by Sony Interactive Entertainment in 2012. Its technology has multiple applications, Current events including in-home streaming over a local wired or wireless network (as in Remote Play between the PlayStation 4 and PlayStation Vita), as Random article well as cloud-based gaming where video games are rendered on remote servers and delivered to end users via internet streaming (such as Donate to Wikipedia the PlayStation Now game streaming service.[2]) As a startup, before its acquisition by Sony, the company announced many partners using Wikipedia store [3] the technology from 2010 through 2012 including game publishers, web portals, retailers and consumer electronics manufacturers. On July Founded November 2008 Interaction 2, 2012, Sony announced that a formal agreement had been reached to acquire the company for $380 million USD with plans of establishing Headquarters Aliso Viejo, California, U.S. [4] Help their own new cloud-based gaming service, as well as integrating streaming technology built by Gaikai into PlayStation products, resulting Owner Sony [5] [6] About Wikipedia in PlayStation Now and Remote Play.