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The Anime Galaxy Japanese Animation As New Media
i i i i i i i i i i i i i i i i i i i i Herlander Elias The Anime Galaxy Japanese Animation As New Media LabCom Books 2012 i i i i i i i i Livros LabCom www.livroslabcom.ubi.pt Série: Estudos em Comunicação Direcção: António Fidalgo Design da Capa: Herlander Elias Paginação: Filomena Matos Covilhã, UBI, LabCom, Livros LabCom 2012 ISBN: 978-989-654-090-6 Título: The Anime Galaxy Autor: Herlander Elias Ano: 2012 i i i i i i i i Índice ABSTRACT & KEYWORDS3 INTRODUCTION5 Objectives............................... 15 Research Methodologies....................... 17 Materials............................... 18 Most Relevant Artworks....................... 19 Research Hypothesis......................... 26 Expected Results........................... 26 Theoretical Background........................ 27 Authors and Concepts...................... 27 Topics.............................. 39 Common Approaches...................... 41 1 FROM LITERARY TO CINEMATIC 45 1.1 MANGA COMICS....................... 52 1.1.1 Origin.......................... 52 1.1.2 Visual Style....................... 57 1.1.3 The Manga Reader................... 61 1.2 ANIME FILM.......................... 65 1.2.1 The History of Anime................. 65 1.2.2 Technique and Aesthetic................ 69 1.2.3 Anime Viewers..................... 75 1.3 DIGITAL MANGA....................... 82 1.3.1 Participation, Subjectivity And Transport....... 82 i i i i i i i i i 1.3.2 Digital Graphic Novel: The Manga And Anime Con- vergence........................ 86 1.4 ANIME VIDEOGAMES.................... 90 1.4.1 Prolongament...................... 90 1.4.2 An Audience of Control................ 104 1.4.3 The Videogame-Film Symbiosis............ 106 1.5 COMMERCIALS AND VIDEOCLIPS............ 111 1.5.1 Advertisements Reconfigured............. 111 1.5.2 Anime Music Video And MTV Asia......... -
Available Papers and Transcripts from the Society for Animation Studies (SAS) Annual Conferences
SAS Conference papers Pagina 1 NIAf - Available papers and transcripts from the Society for Animation Studies (SAS) annual conferences 1st SAS conference 1989, University of California, Los Angeles, USA Author (Origin) Title Forum Pages Copies Summary Notes Allan, Robin (InterTheatre, European Influences on Disney: The Formative Disney 20 N.A. See: Allan, 1991. Published as part of A Reader in Animation United Kingdom) Years Before Snow White Studies (1997), edited by Jayne Pilling, titled: "European Influences on Early Disney Feature Films". Kaufman, J.B. (Wichita) Norm Ferguson and the Latin American Films of Disney 8 N.A. In the years 1941-43, Walt Disney and his animation team made three Published as part of A Reader in Animation Walt Disney trips through South America, to get inspiration for their next films. Studies (1997), edited by Jayne Pilling. Norm Ferguson, the unit producer for the films, made hundreds of photo's and several people made home video's, thanks to which Kaufman can reconstruct the journey and its complications. The feature films that were made as a result of the trip are Saludos Amigos (1942) and The Three Caballero's (1944). Moritz, William (California Walter Ruttmann, Viking Eggeling: Restoring the Aspects of 7 N.A. Hans Richter always claimed he was the first to make absolute Published as part of A Reader in Animation Institute of the Arts) Esthetics of Early Experimental Animation independent and animations, but he neglected Walther Ruttmann's Opus no. 1 (1921). Studies (1997), edited by Jayne Pilling, titled institutional filmmaking Viking Eggeling had made some attempts as well, that culminated in "Restoring the Aesthetics of Early Abstract the crude Diagonal Symphony in 1923 . -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
HART1023 Introduction to Experimental Animation (1 Credit)
2021-22 Fall HART1023 Introduction to Experimental Animation (1 Credit) Course Instructor: Mr Jamsen Law ([email protected] ) Program Officer: Ms Vickie Wong ([email protected]) Time: Mondays; 10:30am – 12:20 pm Venue: E-Learning classroom A (LG1) Office Hours: By appointment Course Description This introductory course aims at guiding students to explore the art of animation through producing drawing, cut-ups, roto-scoping, photographic and object animation with both digital and traditional tools. By introducing non-mainstream techniques and mediums for creating time-based imagery, students will learn both practical skills and theories of animation as a visual art form for artistic expression and communication. Through brief lecturing, students will acquaint themselves with the history and development of experimental animation and its influences to moving image arts in general. The hands-on activities will allow students to explore freely the principles of animation starting from pencil and paper to digital software and tools. Intended Learning Outcomes Upon completion of this course, students are expected to be able to: 1. Describe and appreciate the history and development of experimental animation 2. Identify and explain the stylistic and narrative elements of experimental animation 3. Develop abstract ideas into experimental animation works 1 Course Syllabus and Schedule Lesson Date Topic ILO(s) Part 1 : Pre-cinema visual media 1 6 Sep Topic: Introduction 1,2 • What is experimental and mainstream animation • What are the tools and materials -
Havc-Izvjestaj-O-Radu-2013.Pdf
Izvjeπtaj o radu 20131 2 Izvjeπtaj 2013 o radu 1 Sadržaj 0. Uvodnik 5 2.3. Distribucija i prikazivanje kratkometražnog filma 20 2.4. Ostale vijesti vezane uz distribuciju 21 1. Filmska proizvodnja u 2013. godini 6 2.5. Međunarodna distribucija 21 A) Dugometražni igrani film 8 1.1. Prikazani filmovi 8 3. Hrvatski filmovi na svjetskim festivalima 22 1.2. Prikazane manjinske koprodukcije 8 3.1. Hrvatski filmovi na festivalima prve kategorije 24 1.3. Filmovi u postprodukciji 9 3.2. Hrvatski filmovi na ostalim festivalima 25 1.4. Snima se / snimat će se... 9 B) Dugometražni dokumentarni film 10 4. Međunarodna promocija 26 1.5. Završeni naslovi i manjinske koprodukcije 10 4.1. Promocija i plasman na međunarodnim 28 1.6. Filmovi u produkciji i postprodukciji 10 filmskim sajmovima i festivalima C) Kratkometražni animirani, dokumentarni, 11 4.2. Programi hrvatskog filma u inozemstvu 29 eksperimentalni i igrani film 4.3. Programi stručnog usavršavanja hrvatskih filmskih 30 1.7. Završeni i prikazani filmovi 11 profesionalaca 1.8. Filmovi u produkciji i postprodukciji 11 4.4. Javni poziv za međunarodnu suradnju 33 1.9. Dugometražni animirani i eksperimentalni film 11 4.5. Promocija hrvatskih kandidata za nagradu Oscar 35 D) Potpore u 2013. godini 12 i Europsku filmsku nagradu E) Jedna slika iz Domovinskog rata 15 5. Digitalizacija nezavisnih kinoprikazivača 36 2. Distribucija i gledanost 16 5.1. Javna nabava 39 2.1. Razdoblje 2012. /2013. 18 5.2. Ugovorne obveze i potpisivanje ugovora 40 2.2. Druga polovica 2013. godine 18 5.3. Digitalno opremanje dvorana i otvaranje kina 40 5.4. -
Book ABADZIC Selection.Pdf
ABADŽ Ć I SELECTION 160/PB Stanko Abadžić SELECTION Nemam poruku, ne propitujem ništa, samo fotografiram. Stanko Abadžić I don´t have a message, I don´t question anything, I just take photographs. Stanko Abadžić Sinu Srdjanu. For my son Srdjan. Stanko Abadžić 2/2 selection № /300 IMPRESSUM Nakladnik | Publisher Kadar36 www.kadar36.hr Za nakladnika | Official Representative Max Juhasz Urednik | Editor Stanko Abadžić Predgovor | Introduction by Branka Hlevnjak Stanko Abadžić Prijevod na engleski | English Translation 4/4 Damjan Lalović selection Grafičko-likovno oblikovanje i prijelom | Design & Layout Zoran Jelača Tisak | Printed by Printera d.o.o Godina izdanja | Year of Publication 2017. Copyright: Stanko Abadžić and Kadar36 sabadzic.net.amis.hr [email protected] ISBN 978-953-57655-9-2 CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000947755. Stanko Abadžić – samo fotograf ledam fotografije Stanka Abadžića i sve Fotografije Stanka Abadžića doista su Sjene hvata u uskim hodnicima, pro- fotografsku karijeru. Ako pod praškom smanjeni na najmanju mjeru, pretvara- vintage fotografije Stanko Abadžić, pono- Gmi se čine nekako bliskim i poznatim. izvanvremenske, duboko uronjene u pro- lazima, iza rešetaka, na stubištima. Izdu- školom razumijevamo neku vrstu roman- ju u oblike koji asociraju na sitne notne san na činjenicu da je staru školu izučio Kao svjetski putnikfotograf donosi on store, ljude i situacije kojima je poveznica žene niskim svjetlom kojim su objekti tike i nadrealističnu aranžiranost, svoj- bilješke u obilju duhovnosti sugerirane proučavajući vrhunska fotografska djela fotografije iz Pariza, Berlina, Istanbula, moćan osjećaj za svjetlo i tamu. Iz svje- obasjani, deformirane su u projekciji kat- stvenu Josefu Sudeku, najutjecajnijem bjelinom. -
QUEER FILM Anniversary FESTIVAL #BQFF2019
THE BANGALORE 10th QUEER FILM Anniversary FESTIVAL #BQFF2019 I'm crying cuz I love you We’ve turned ten! And we didn’t make it so far on our own. One of the several perks of being a volunteer-run, community- funded event has been that friends from the community and of the community have come in, rolled up their sleeves, hitched up their hemlines and taken charge over the many years. From the first public film festival called ‘Bangalored’, held with our signature spread of mattresses at the Attakkalari Studios and helmed by the good folks of Pedestrian Pictures, Swabhava’s Vinay Chandran (who remains the longest- running festival director), Sangama, and the funding prowess of Bangalore’s former party starter Abhishek Agarwal, to the smaller festivals organised at a screening room in the Sona Towers, to its present avatar as the Bangalore Queer Film Festival – this festival has become its own beauty, its own beast. Over this decade-long journey, we’ve been held and nurtured by support groups like Good As You, We’re Here And Queer and All Sorts of Queers; individuals like Karthik Vaidyanathan, Nanju Reddy and Siddharth Narrain (who were part of the organising team in the early editions) and organisations like the Alliance Française de Bangalore and Goethe Institut/Max Mueller Bhavan. A question that everyone involved with the festival asks at its end: How did we make this happen again? And while we’ve come up with lots of lies to drive out these doubts, in truth: we have no real idea. -
Special Effects, Cgi and Uncanny Affect: Envisioning the Post-Cinematic Uncanny
SPECIAL EFFECTS, CGI AND UNCANNY AFFECT: ENVISIONING THE POST-CINEMATIC UNCANNY W E CARD MRES 2016 1 SPECIAL EFFECTS, CGI AND UNCANNY AFFECT: ENVISIONING THE POST-CINEMATIC UNCANNY WILLIAM EDWARD CARD A thesis submitted in fulfilment of the requirements of the Manchester Metropolitan University for the degree of Master of Arts by research MIRIAD 2016 2 CONTENTS Keywords 3 Abstract 3 CHAPTER ONE: LITERATURE & PRACTICE REVIEW 5 Introduction 5 Research Aims 6 Methodologies 6 Special effects and spectacular CGI 8 Visual effects and CGI in 21st century cinema 10 The post-cinematic 13 Animated imagery and the illusion of life 15 The uncanny 20 Affect 27 Artistic Context 31 CHAPTER TWO: THE PRACTICE 57 CGI for beginners 57 I feel myself looked at by the things 73 CHAPTER THREE: CONCLUSIONS 88 APPENDIX ONE Overview of the production process 91 APPENDIX TWO I feel myself looked at by the things (production) 95 REFERENCE LIST 109 3 Keywords: post-cinematic, uncanny, visual effects, visual arts, animation, affect, computer-generated imagery Abstract This thesis presents and discusses the author’s practice-based artistic research. It situates the work, an investigation into the post-cinematic uncanny and the affective potential of visual effects technologies in art practice, within a theoretical context and aims to illuminate aspects of our relationship to certain types of digitally augmented contemporary moving imagery. The practice explores the post-cinematic uncanny as an intersection of visual arts, moving image, animation, cinema, television and visual effects, linking it to theories of psychoanalysis, affect and post-cinema. It questions the nature and qualities of moving image in the 21st century, especially the pervasive and ubiquitous nature of computer-generated imagery (CGI) that supplements and augments digitally captured footage. -
Concordia University Presents
ConcordiaConcordia UniversityUniversity presentspresents THE 30th ANNUAL SOCIETY FOR ANIMATION STUDIES CONFERENCE | MONTREAL 2018 We would like to begin by acknowledging that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtiá:ke/ Montreal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. We respect the continued connections with the past, present and future in our ongoing relationships with Indigenous and other peoples within the Montreal community. Please clickwww.concordia.ca/about/indigenous.html here to visit Indigenous Directions Concordia. TABLE OF CONTENTS Welcomes 4 Schedule 8-9 Parallel Sessions 10-16 Keynote Speakers 18-20 Screenings 22-31 Exhibitions 33-36 Speakers A-B 39-53 Speakers C-D 54-69 Speakers E-G 70-79 Speakers H-J 80-90 Speakers K-M 91-102 Speakers N-P 103-109 Speakers R-S 110-120 Speakers T-Y 121-132 2018 Team & Sponsors 136-137 Conference Map 138 3 Welcome to Concordia! On behalf of Concordia’s Faculty of Fine Arts, welcome to the 2018 Society for Animation Studies Conference. It’s an honour to host the SAS on its thirtieth anniversary. Concordia University opened a Department of Cinema in 1976 and today, the Mel Hoppenheim School of Cinema is the oldest film school in Canada and the largest university-based centre for the study of film animation, film production and film studies in the country. -
Eastern European Experimental Animation, Fine Art Aesthetics and the Digital Age
Eastern European experimental animation, fine art aesthetics and the digital age: A short dissertation presented by Anelia Gouteva in partial fulfillment of the requirements for the degree of Master of Arts (Fine Arts) College of Humanities, University of KwaZulu-Natal 2016 DECLARATION I, Anelia Gouteva, declare that The research reported in this thesis, except where otherwise indicated, is my original work. This thesis has not been submitted for any degree or examination at any other university. This thesis does not contain text, data, pictures, graphs or other information obtained from another person or source, unless specifically acknowledged as being so obtained. This thesis does not contain any other person’s writing, unless specifically acknowledged. Where such written sources have been used then they have always been acknowledged through the use of in-text quotation marks or indented paragraphs with accompanying in-text references and in the bibliography. This thesis does not contain text, graphics or tables copied and pasted from the Internet, unless specifically acknowledged through in-text references and in the bibliography. Student name: Anelia Gouteva Signature: Date: 12-01-2017 As the supervisor, I acknowledge that this research dissertation/thesis is ready for examination. Name: Dr Michelle Stewart Signature: Date: 12-01-2017 2 ACKNOWLEDGEMENTS I would like to thank the staff members at the Centre for Visual Art for their contribution in influencing my practical work over the years. Special thanks and greatest credit goes to my supervisor Michelle Stewart for her commmitment in guiding both my practical and theoretical research. I would also like to thank the university for providing high quality equipment and software, without which I would have not been able to experiment and produce my films. -
Treasure, Thievery and Mischief: Blending Culture and Negotiating Boundaries in the Worlds of Little People
Libri & Liberi • 2016 • 5 (2): 357–372 357 UDK 821.163.42-93-34:2-169 Željka Flegar and Ivana Moritz Josip Juraj Strossmayer University of Osijek, Faculty of Education, Osijek, Croatia [email protected] [email protected] Treasure, Thievery and Mischief: Blending Culture and Negotiating Boundaries in the Worlds of Little People Izvorni znanstveni rad / original research paper Primljeno / received 15. 12. 2016. Prihvaćeno / accepted 10. 3. 2017. DOI: 10.21066/carcl.libri.2016-05(02).0003 This study places Croatian Tales of Long Ago (1916) by Ivana Brlić- Mažuranić in the context of international literature by discussing “little people” in children’s fictional texts. “Worlds of little people” (Lynch-Brown and Tomlinson 2005) reveal conceptual blending at a linguistic, cultural and semantic level visible in the creation of new emergent structures. Brlić- Mažuranić’s combining of seemingly incompatible concepts (Fauconnier and Turner 2002) from various aspects of Slavic and Croatian mythologies as input spaces in the process of conceptual integration demonstrates the ability of little people to transcend boundaries and allows for the creation of new and unique cultures and lexica. Ivana Brlić-Mažuranić’s Croatian Tales of Long Ago, populated with tiny characters such as Malik Tintilinić, is a superb example of an original, adaptable world comparable to those created by Swift, Andersen, Tolkien, Baum, Barrie, Norton, Dr. Seuss or Dahl. Consequently, the conceptual integration at work in Ivana Brlić- Mažuranić’s original Croatian mythology has resulted in the empowerment and enchantment of readers from long ago to the present day. Keywords: conceptual blending, culture, little people, modern fantasy, mythology Introduction In 1991 Roald Dahl’s final bookThe Minpins described Little Billy surrounded by “more than twenty small windows all around where [he] was sitting, and from 358 Ž. -
Filming in Croatia 2012
Nova Ves 18, 10 000 Zagreb, Croatia tel +385 (0)1 6041 080 | fax +385 (0)1 4667 819 Filming in email [email protected] website www.havc.hr Croatia 2012 Filming in Croatia 2012 5 Introduction 26 Dalmatia 6 The Croatian Film Commission 28 Slavonia 30 Central Croatia 7 Resources 8 Production Know-How infrastructure 8 Production Companies 32 Airports 9 Crews 33 Sea Transport 10 Facilities & Technical Equipment 33 Buses & Railways 11 Costumes & Props 34 Traffic & Roads 12 Locations 35 Hotels & Amenities 14 Co-Production Funding 36 facts & figures 15 Cash Rebate 38 Basic Phrases 16 Useful Info 41 Brief Overview of International 17 Filming & Location Permits Productions in Croatia 17 Visas 18 Temporary Import of Professional Equipment 53 Industry Contacts Croatia 2012 19 Working Permits for Foreign Nationals 19 Customs Regulations 20 About Croatia 21 regions 22 Istria 24 Kvarner & the Highlands 2 Filming in Croatia 2012 damir fabijanić, Croatia may be a small country, croatian tourist board but it has a remarkably vibrant film industry, with exceptional local talent and production companies that have an impressive record in domestic and international production. With the newly introduced 20% cash rebate, skilled profession- ing film body, The Croatian Audiovisual Centre, opened its doors. als and production costs among the lowest in Europe, Croatia is In May 2008, Croatia became the first candidate country to join making its way back on Europe’s filmmaking map. the European Union’s Media Programme. These factors, in combination with spectacular locations and the Furthermore, staying true to its pledge to continue giving its full country’s proximity to some of Europe’s largest filmmaking cent- support to developing filmmaking and film culture in Croatia and ers such as Vienna, Budapest, Munich and Prague have led to a to attracting international film projects to the country, the govern- steady rise in the international production of commercials, televi- ment has introduced a 20% cash rebate for film and television sion serials and major international feature films in Croatia.