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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 -
Cartoon Digital
cartoon digital 6-8 December 2016 Munich (Germany) Creating Entertainment for Connected Screens Top speakers • Market trends • Case studies • Networking www.cartoon-media.eu pitching event for animated transmedia projects cRtOn 3 29 31 May 2017 www.cartoon-media.eu PARTNERS CARTOON DIGITAL IS ORGANISED BY WITH THE SUPPORT OF IN COLLABORATION WITH CARTOON IS SPONSORED BY 3 Ilse Aigner Bavarian State Minister of Economic Affairs and Media, Energy and Technology Deputy Minister-President of Bavaria Dear Cartoon Digital Seminar Attendants, n behalf of the Bavarian Government I warmly welcome you to Cartoon Digital in Munich, Bavaria’s cosmopolitan capital. O It has been a long-standing tradition to host a cartoon program event here in Munich. Munich is just the right venue: the local television stations and producers, special service providers for VFX and animation, the renowned University of Television and Film Munich (HFF) as well as other elite universities and, last but not least, an active and innovative games industry make Munich a first class location for animation film and television productions in Germany. The State of Bavaria with its film funding program run by the FilmFernsehFonds Bayern (FFF Bayern) contributes highly towards maintaining this leading position. The FFF Bayern disburses funding totaling 33 million — 4.7 million € of this funding is specifically allocated to the technically highly demanding and staff-intensive VFX and animation services and to international co-productions. In addition, there is a program that is dedicated to the games industry in Bavaria. This program will be further extended in the following years, and other media innovations will also be funded in future. -
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. -
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. -
Anglophonic Influence in the Use of Sound Symbolism in Italian Disney Comics: a Corpus-Based Analysis
Open Linguistics 2017; 3: 591–612 Research Article Pier Simone Pischedda* Anglophonic Influence in the Use of Sound Symbolism in Italian Disney Comics: A Corpus-based Analysis https://doi.org/10.1515/opli-2017-0030 Received August 11, 2017; accepted November 20, 2017 Abstract: This article will explore the linguistic implications of employing and creating sound symbolism (ideophones, onomatopoeia and interjections) in Italian Disney comics. It will endeavour to investigate the way sound symbolic forms in both imported Disney US comics and original Italian stories have profoundly influenced the development of Italian sound symbolism in the last century. The diachronic analysis is carried out thanks to the creation of a corpus of ideophones and interjections from 210 Disney stories published between 1932 and 2013. The corpus will allow the author to investigate how these forms have changed diachronically throughout the eighty years under investigation with the final aim of highlighting changes and patterns in both original and translated Italian stories. The unique status of ideophones, confirmed by language, sociological and neurological studies, has led to interesting experimentations but also to complicated dynamics. Certain linguistic settings seem to foster a better affinity towards the device— particularly if compared to Romance languages, such as Italian and Spanish, that often have to rely on Anglophone renditions. Anglicisation has indeed overshadowed previous original attempts. Nevertheless, recent creations, particularly from -
British Library Conference Centre
The Fifth International Graphic Novel and Comics Conference 18 – 20 July 2014 British Library Conference Centre In partnership with Studies in Comics and the Journal of Graphic Novels and Comics Production and Institution (Friday 18 July 2014) Opening address from British Library exhibition curator Paul Gravett (Escape, Comica) Keynote talk from Pascal Lefèvre (LUCA School of Arts, Belgium): The Gatekeeping at Two Main Belgian Comics Publishers, Dupuis and Lombard, at a Time of Transition Evening event with Posy Simmonds (Tamara Drewe, Gemma Bovary) and Steve Bell (Maggie’s Farm, Lord God Almighty) Sedition and Anarchy (Saturday 19 July 2014) Keynote talk from Scott Bukatman (Stanford University, USA): The Problem of Appearance in Goya’s Los Capichos, and Mignola’s Hellboy Guest speakers Mike Carey (Lucifer, The Unwritten, The Girl With All The Gifts), David Baillie (2000AD, Judge Dredd, Portal666) and Mike Perkins (Captain America, The Stand) Comics, Culture and Education (Sunday 20 July 2014) Talk from Ariel Kahn (Roehampton University, London): Sex, Death and Surrealism: A Lacanian Reading of the Short Fiction of Koren Shadmi and Rutu Modan Roundtable discussion on the future of comics scholarship and institutional support 2 SCHEDULE 3 FRIDAY 18 JULY 2014 PRODUCTION AND INSTITUTION 09.00-09.30 Registration 09.30-10.00 Welcome (Auditorium) Kristian Jensen and Adrian Edwards, British Library 10.00-10.30 Opening Speech (Auditorium) Paul Gravett, Comica 10.30-11.30 Keynote Address (Auditorium) Pascal Lefèvre – The Gatekeeping at -
8. December 2019 Ljubljana
16. Mednarodni festival animiranega filma International Animated Film Festival Kinodvor, Slovenska kinoteka, december 2019 Stara mestna elektrarna – 2 .– 8 . ljubljana Elektro Ljubljana 16. Mednarodni festival animiranega filma Animateka 2019 KOLOFON 16th International Animated Film Festival Animateka 2019 CREDITS Urednica / Editor: Alenka Ropret Uredniški odbor / Editorial Board: Igor Prassel, Alenka Ropret, Maja Ropret Teksti / Texts: Waltraud Grausgruber, Vassilis Kroustallis, Igor Prassel, Chris Robinson, Gerben Schermer Oblikovanje / Design: Zoran Pungerčar Naslovnica / Front cover: Edmunds Jansons Prevod / Translation: Maja Ropret Lektoriranje / Proofreading: Mojca Hudolin Tisk / Print: Schwarz Print Naklada / Print Run: 500 Društvo za oživljanje zgodbe 2 koluta Ljubljana, 2019 CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 791.228.079"2019" MEDNARODNI festival animiranega filma (16 ; 2019 ; Ljubljana) Animateka / [16. mednarodni festival animiranega filma Animateka 2019 = 16th International Animated Film Festival Animateka 2019 ; teksti Waltraud Gra- usgruber ... [et al.] ; urednica Alenka Ropret ; prevod Maja Ropret]. - Ljubljana : Društvo za oživljanje zgodbe 2 koluta, 2019 ISBN 978-961-94129-3-0 1. Gl. stv. nasl. 2. Grausgruber, Waltraud 3. Ropret, Alenka COBISS.SI-ID 302757632 Festival posvečamo spominu na umetnika in prijatelja Rosta. The festival is dedicated to the memory of artist and friend Rosto. VSEBINA 6 UVOD / INTRO 131 Najboljše evropske šole / Best European Schools CONTENTS 11 ŽIRIJA -
Chapter 3 Heroines in a Time of War: Nelvana of the Northern Lights And
Chapter 3 Heroines in a Time of War: Nelvana of the Northern Lights and Wonder Woman as Symbols of the United States and Canada Scores of superheroes emerged in comic books just in time to defend the United States and Canada from the evil machinations of super-villains, Hitler, Mussolini, and other World War II era enemies. By 1941, War Nurse Pat Parker, Miss America, Pat Patriot, and Miss Victory were but a few of the patriotic female characters who had appeared in comics to fight villains and promote the war effort. These characters had all but disappeared by 1946, a testament to their limited wartime relevance. Though Nelvana of the Northern Lights (hereafter “Nelvana”) and Wonder Woman first appeared alongside the others in 1941, they have proven to be more enduring superheroes than their crime-fighting colleagues. In particular, Nelvana was one of five comic book characters depicted in the 1995 Canada Post Comic Book Stamp Collection, and Wonder Woman was one of ten DC Comics superheroes featured in the 2006 United States Postal Service (USPS) Commemorative Stamp Series. The uniquely enduring iconic statuses of Nelvana and Wonder Woman result from their adventures and character development in the context of World War II and the political, social, and cultural climates in their respective English-speaking areas of North America. Through a comparative analysis of Wonder Woman and Nelvana, two of their 1942 adventures, and their subsequent deployment through government-issued postage stamps, I will demonstrate how the two characters embody and reinforce what Michael Billig terms “banal nationalism” in their respective national contexts. -
Olympusat Lands Content Partnership Agreement with Cookie Jar Entertainment
For Immediate Release: Olympusat Lands Content Partnership Agreement with Cookie Jar Entertainment Business Expansion and new Programming to ¡Sorpresa! - Their 24/7 Spanish-language Children’s Network April 19, 2012 –West Palm Beach, FL – Olympusat, Inc., the country’s market leader in the development and distribution of independent Hispanic, Specialty, and Faith & Family television networks, announced today that they have signed a partnership with Cookie Jar Entertainment, a global leader in children and family entertainment, for both expanded business in the US and in Latin America as well as to carry their Spanish-language content on ¡Sorpresa!, Olympusat’s 24/7 Spanish-language children’s network. This partnership will add a portfolio of new series to ¡Sorpresa!’s existing and future lineups. Through this agreement, Olympusat will also have access to Cookie Jar’s library of over 6,000 titles, including current favorites and the classic hit series The Busy World of Richard Scarry and Mary Kate and Ashley: In Action. These leading titles among others are dubbed in Spanish. “Our partnership with Olympusat is a powerful reminder that the strength of Cookie Jar's library serves as the backbone to channels like Olympusat's ¡Sorpresa!,” said Toper Taylor, President & COO of Cookie Jar Entertainment. “We have hit series that have aired over thirty years in 160 countries. With this Olympusat deal, ¡Sorpresa! now enjoys access to the rocket fuel necessary to support the channel’s existing audience and growing distribution.” “We are very pleased -
Cartoons & Counterculture
Cartoons & Counterculture Azure Star Glover Introduction Entertainment media is one of the United States’ most lucrative and influential exports, and Hollywood, in Los Angeles County, California, has historically been the locus of such media’s production. While much study has been done on the subject of film and the connection between Hollywood and Los Angeles as a whole, there exists less scholarship on the topic of animated Hollywood productions, even less on the topic of changing rhetoric in animated features, and a dearth of information regarding the rise and influence of independent, so-called “indie” animation. This paper aims to synthesize scholarship on and close reading of the rhetoric of early Disney animated films such as Snow White and more modern cartoon television series such as The Simpsons with that of recently popular independently-created cartoon features such as “Narwhals,” with the goal of tracing the evolution of the rhetoric of cartoons created and produced in Hollywood and their corresponding reflection of Los Angeles culture. Hollywood and Animation In a 2012 report commissioned by the Hollywood Chamber of Commerce, The Los Angeles County Economic Development Corporation acknowledged that “[f]or many people, the words Los Angeles and Hollywood are synonymous with entertainment” (“The Entertainment Industry” 1), and with good reason: Los Angeles’s year-round fair weather first attracted live-action filmmakers in the early 1900s, and filming-friendly Hollywood slowly grew into a Mecca of entertainment media production. In 2011, the entertainment industry accounted for “nearly 5% of the 3.3 million private sector wage and salary professionals and other independent contract workers,” generating over $120 billion in annual revenue (8.4% of Los Angeles County’s 2011 estimated annual Gross County Product), making this “one of the largest industries in the country” (“The 76 Azure Star Glover Entertainment Industry” 2). -
Free-Digital-Preview.Pdf
THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop. -
The Translation of American Comics During Italian Fascism
Between Censorship and Innovation: The Translation of American Comics during Italian Fascism Caterina Sinibaldi (University of Warwick) Abstract This article outlines the main issues surrounding the process of import, trans- lation and cultural adaptation of American comics in Italy from 1908 to 1942. During this time, the first comics were translated from Europe and the United States, leading to a revolution in Italian children’s literature. These were also the years in which comics began to be perceived as a political, as well as pedagogical problem, which prompted the Fascist regime to issue censorship measures aimed at limiting their circulation. The aesthetic and ideological dimension of comics will be investigated alongside the different strategies of translation and adaptation used by Italian editors and cartoonists. The reasons behind the disapproval of comics by Italian pedagogues, and the ambivalent attitude of the Fascist regime, will also be explored. In conclusion, my anal- ysis aims to offer insights into the cultural function of children’s literature during Fascism and the specific role of comics as a site for innovation. Comics and Translation The history of Italian comics is a history of translation. Foreign comics, mostly from the United Kingdom, France and the United States, entered the Italian mar- ket at the beginning of the twentieth century, adding movement and colour to the pages of the first children’s magazines. Being labelled as a product for children, comics had to comply with specific translation norms and pedagogical (as well as aesthetic) requirements. Such requirements acquired political connotations during the years of Fascism (1922–43), when books for children became powerful tools for propaganda in the service of Mussolini’s regime.