DOCSLIB.ORG

Production Central New York San Francisco Woody

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Production Central New York San Francisco Woody PRODUCTION CENTRAL WOODY WOODPECKER’S KIDZONE® HOLLYWOOD PARK-WIDE ENTERTAINMENT SM Despicable Me Minion Mayhem Animal Actor’s on Location! Universal Orlando’s Horror Make-Up Show Universal’s Superstar Parade Stationary PARADE ROUTE 40” Seating Available A Day in the Park with Barney™ Stationary SM Stationary Universal’s Cinematic Spectacular - Shrek 4-D Seating Available Curious George Goes To Town TERMINATOR 2®: 3-D Seating Available 100 Years of Movie Memories Hollywood Rip Ride Rockit® 51” - 79” Woody Woodpecker’s Nuthouse Coaster® 36” Lucy – A TributeSM TRANSFORMERS™: The Ride-3D 40” Fievel’s Playland® P Cafe La Bamba Quick Service Music Plaza Stage E.T. Adventure® 34” Q Mel’s Drive-In Quick Service A Universal Studios’ Classic Monsters Cafe O KidZone Pizza Company Quick Service R Beverly Hills Boulangerie Quick Service Quick Service NEW YORK Stationary TWISTER...Ride It Out® Seating Available Revenge of the Mummy® 48” The Blues Brothers® Show THE WIZARDING WORLD OF HARRY POTTER™ – DIAGON ALLEY™ Delancey Street Preview Center B Finnegan’s Bar & Grill Full Service C Louie’s Italian Restaurant Quick Service K D Ben & Jerry’s Ice Cream J E Starbucks® Coffee SAN FRANCISCO NEW YORK SAN FRANCISCO PARADE START Beetlejuice’s Graveyard Revue™ C Disaster!® I F Richter’s Burger Co. Quick Service G H G Chez Alcatraz B D E F H Lombard’s Seafood Grille Full Service I San Francisco Pastry Company Quick Service L A WORLD EXPO THE WIZARDING WORLD OF PRODUCTION CENTRAL HARRY POTTER™ - DIAGON ALLEY™ M The Knight Bus™ N Hogwarts™ Express – King’s Cross Station A Park-to-Park admission ticket is required to ride Hogwarts™ Q O Express. Additional restrictions apply. P Knockturn Alley Ollivanders™ PARADE END Harry Potter and the Escape from Gringotts™ R HOLLYWOOD 42” WOODY WOODPECKER’S KIDZONE® Live Performances J Leaky Cauldron™ Full Service For Guest Services or Dining Reservations dial 407-224-4233, choose Option 2. K Florean Fortescue’s Ice-Cream Parlour® For theme park tickets or more Information visit www.universalorlando.com GUEST MUST BE AT LEAST GUEST MUST TRANSFER TO GUEST MAY REMAIN IN STANDARD GUEST MUST TRANSFER WORLD EXPO INDICATED HEIGHT STANDARD WHEELCHAIR WHEELCHAIR THROUGHOUT TO RIDE’S SEATING Fear Factor Live SERVICE ANIMAL ASSISTIVE LISTENING ACTIVATORS AVAILABLE PARENTAL MEN IN BLACK™ Alien Attack™ REST AREA AVAILABLE AT GUESTS SERVICES ADVISORY VALID AT THIS ATTRACTION ATTRACTIONS DINING 42” The Simpsons Ride™ 40” HARRY POTTER, characters, names and related indicia are trademarks of and © Warner Bros. Entertainment Inc. Harry Potter Publishing Rights © JKR. BEETLEJUICE and all related characters and elements are trademarks of and © Warner Bros. Entertainment. (s14) Kang & Kodos’ Twirl ‘n’ Hurl Shrek 4-D © 2014 DreamWorks Animation L.L.C. TRANSFORMERS and its logo and all related characters are trademarks of Hasbro and are used with permission. © 2014 Hasbro. All Rights Reserved. © 2014 DreamWorks L.L.C. and Paramount Pictures Corporation. All Rights Reserved. The Blues Brothers © 2014 D. Aykroyd and J. Belushi Pisano. © Ben & Jerry’s Homemade Holdings, L Duff Brewery Inc. © 2014 Starbucks Coffee Company. All rights reserved. Men In Black & Alien Attack: TM & © 2014 Columbia Pictures Industries, Inc. All rights reserved. THE SIMPSONS RIDE TM Twentieth Century Fox Film Corporation. The Simpsons TM & © 2014 Twentieth Century Fox Film Corporation. All rights reserved. Fear Factor TM & © 2014 Endemol Netherlands B.V. © 2014 Lyons Partnership, L.P. The Barney name and character, related characters and the overlapping dino spots and Barney and star logos are trademarks of Lyons Partnership, L.P. Reg. U.S. Pat. & Tm. Off. and other M Fast Food Boulevard Quick Service countries. Curious George ®, created by Margret and H.A. Rey, is copyrighted and trademarked by Houghton Mifflin Harcourt Publishing Company and used under license. Licensed by Universal Studios Licensing, Inc. All rights reserved. Woody Woodpecker’s Nuthouse Coaster ® Walter Lantz. Fievel, Fievel’s Playland ® Universal Studios/U-Drive J.V. © 2014 Viacom International Inc. All Rights Reserved. Nickelodeon and all related titles, logos and characters are trademarks of Viacom International Inc. T2, TERMINATOR ® StudioCanal S.A. ALL RIGHTS RESERVED. “I LOVE LUCY” N Moe’s Tavern ® CBS Worldwide Inc. Images of Lucille Ball & Desi Arnaz are licensed by Desilu, Too, LLC. Licensing by Unforgettable Licensing. Universal elements and all related indicia TM & © 2014 Universal Studios. © 2014 Universal Orlando. All rights reserved. 1403974/JL.
Load more

Recommended publications
  • The University of Chicago Looking at Cartoons
    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
    [Show full text]
  • Toy Story: How Pixar Reinvented the Animated Feature
    Brown, Noel. " An Interview with Steve Segal." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 197–214. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 03:24 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 97 Chapter 13 A N INTERVIEW WITH STEVE SEGAL N o e l B r o w n Production histories of Toy Story tend to focus on ‘big names’ such as John Lasseter and Pete Docter. In this book, we also want to convey a sense of the animator’s place in the making of the fi lm and their perspective on what hap- pened, along with their professional journey leading up to that point. Steve Segal was born in Richmond, Virginia, in 1949. He made his fi rst animated fi lms as a high school student before studying Art at Virginia Commonwealth University, where he continued to produce award- winning, independent ani- mated shorts. Aft er graduating, Segal opened a traditional animation studio in Richmond, making commercials and educational fi lms for ten years. Aft er completing the cult animated fi lm Futuropolis (1984), which he co- directed with Phil Trumbo, Segal moved to Hollywood and became interested in com- puter animation.
    [Show full text]
  • The Effect of Exposure to an Agressive Cartoon on Children's Play. INSTITUTION Beaver Coll., Glenside, Pa
    DOCUMENT RESUME ED 055 297 CG 006 673 AUTHOR Cameron, Samuel M.; And Others TITLE The Effect of Exposure to an Agressive Cartoon on Children's Play. INSTITUTION Beaver Coll., Glenside, Pa. PUB DATE Apr 71 NOTE 10p.; Paper presented at Annual Meeting of Eastern Psychological Association, New York, N. Y., April 15-17, 1971 EDRS PRICE MF-S0.65 HC-$3.29 DESCRIPTORS *Aggression; *Behavior; Behavior Theories; Learning; Pictorial Stimuli; *Play; *Preschool Children; *Stimulus Behavior; Violence; Visual Stimuli ABSTRACT The authors discuss their replications of 2 prominent studies in the area of modeling aggressive behavior; those of Lovaas and Bandura. In the first, they predicted that, given the same socio-economic background, there would be no differences between black and white children in the amount of aggressive play subsequent to viewing an aggressive cartoon. No significant differences are shown between the experimental and control groups for either blacks or whites. The second study, in which 43 pre-schoolers were divided into 3 subject groups, varied the level of aggressive content by showing a different cartoon to each group. It was assumed that the children exposed to the most aggression would emit the most aggressive responses in a subsequent free play period. Again, no significant differences were found. The authors discuss their inability to demonstrate a previously well-documented effect. (TL) TheEffect of Exposure to cm Aggressive Cartoon on Children's Play' - Samuel M, Cameron, Linda K Abraham, and Jean B, Chernicoff Beaver College A series of studies by Bandura and associates (Bandura, Ross, and Ross, 1961; i963) has indicated that children will model novel aggressive behaviors shown by a mai life, film, or ''cartoon"model , These studies also show that aggressive play behaviors other than the ravel ones being modeled will also show an increase subsequent to the child's viewing an aggressive scene-.
    [Show full text]
  • Redalyc.Woody Woodpecker Enjoys Soft Drinks: the Blond-Crested
    Biota Neotropica ISSN: 1676-0611 [email protected] Instituto Virtual da Biodiversidade Brasil Rocca, Márcia A.; Sazima, Marlies; Sazima, Ivan Woody woodpecker enjoys soft drinks: the blond-crested woodpecker seeks nectar and pollinates canopy plants in south-eastern Brazil Biota Neotropica, vol. 6, núm. 2, 2006, pp. 1-9 Instituto Virtual da Biodiversidade Campinas, Brasil Available in: http://www.redalyc.org/articulo.oa?id=199114291026 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Woody woodpecker enjoys soft drinks: the blond-crested woodpecker seeks nectar and pollinates canopy plants in south-eastern Brazil1 Márcia A. Rocca2,4 , Marlies Sazima2 & Ivan Sazima3 Biota Neotropica v6 (n2) –http://www.biotaneotropica.org.br/v6n2/pt/abstract?short-communication+bn02606022006 Date Received 08/31/2005 Revised 04/05/2006 Accepted 05/31/2006 2Departamento de Botânica, Caixa Postal 6109, Universidade Estadual de Campinas, 13083-970 Campinas, São Paulo, Brasil 3Departamento de Zoologia e Museu de História Natural, Caixa Postal 6109, Universidade Estadual de Campinas, 13083-970 Campinas, São Paulo, Brasil (www.unicamp.br) 4Corresponding author. Tel: + 55-19-3788 6170; fax: +55-19-3788 6374; [email protected] Abstract Rocca, M.A.; Sazima, M. and Sazima, I. Woody woodpecker enjoys soft drinks: the blond-crested woodpecker seeks nectar and pollinates canopy plants in south-eastern Brazil. Biota Neotrop. May/Aug 2006, vol. 6, no. 2, http:// www.biotaneotropica.org.br/v6n2/pt/abstract?short-communication+bn02606022006.
    [Show full text]
  • Stock Number Name Condition Price Quantity Notes 0058-000000221793 Shanghai Pocket Loose $4.99 1 0058-000000221797 Evel Knievel
    GBC Stock Number Name Condition Price Quantity Notes 0058-000000221793 Shanghai Pocket Loose $4.99 1 0058-000000221797 Evel Knievel Loose $5.99 1 0058-000000222409 Army Men Air Combat Loose $4.99 1 0058-000000222416 Bionic Commando Elite Forces Loose $10.99 1 0058-000000222417 Bionic Commando Elite Forces Loose $10.99 1 0058-000000226400 Quest Brian's Journey Loose $14.99 1 0058-000000234113 Trouballs Complete in Box $7.99 1 0058-000000234144 Tonka Raceway Complete in Box $7.99 1 0058-000000234205 Tetris DX Complete in Box $18.99 1 0058-000000234211 Shanghai Pocket Complete in Box $7.99 1 0058-000000234215 Rugrats Time Travelers Complete in Box $9.99 1 0058-000000234217 Extreme Sports with The Berenstain Bears Complete in Box $9.99 1 0058-000000267419 Mickey's Racing Adventure Loose $4.49 1 0058-000000267426 Mario Golf Loose $7.99 1 0058-000000300809 Shrek Fairy Tales Freakdown Loose $3.99 1 0058-000000342603 720 Loose $3.99 1 0058-000000342604 Toy Story 2 Loose $3.99 1 0058-000000342607 The Rugrats Movie Loose $4.99 1 0058-000000342608 Beauty and the Beast A Board Game Adventure Loose $4.99 1 0058-000000342609 ET the Extra Terrestrial: Digital Companion Loose $3.99 1 0058-000000342610 Rugrats Totally Angelica Loose $3.99 1 0058-000000342613 Sabrina Animated Series Zapped Loose $4.99 1 0058-000000342616 Disney's Dinosaur Loose $3.99 1 0058-000000342617 102 Dalmatians Puppies to the Rescue Loose $3.99 1 0058-000000342622 Mary-Kate and Ashley Winner's Circle Loose $2.99 1 0058-000000342623 The Jungle Book: Mowgli's Wild Adventure Loose
    [Show full text]
  • Critter Class Pileated Woodpecker
    Critter Class Pileated Woodpecker Animal Diversity Web September 19, 2011 Comment: Pileated Woodpecker! Comment: Ooooh, a woodpecker! When I was being interviewed for the Outreach position I had to do a timed writing sample writing an 'update' on a WCV patient. Of the choices I was given, I picked the Yellow-Bellied Sapsucker.. what a fascinating bird! The males are very progressive and spoil their women. I enjoyed learning about them, so I'm sure tonight's will be just as interesting! Comment: MVK, can you give us the phonetic spelling of this woodpecker. I forgot it. sorry..... MVK: Pill - E - a-ted Comment: This really is the type of wp that Woody was. Right? MVK: Right! MVK: http://www.youtube.com/watch?v=vw1TCg63Dcw Comment: What is the range of these woodpeckers? Do they stay in one area or do they migrate? Critter Class – Pileated Woodpecker 1 9/19/2011 Comment: Oh and BTW, MVK, you picked my favorite group of birds, I adore Woodpeckers and have been on several birding trips in Eastern Europe specifically to seek out some of our rarer ones. Now I'm glad you picked a Pileated for our education tonight, I mean we should all be aware of the confusion between this and the elusive/extant (dare I say 'extinct'!) Ivory Billed when searching for woodies in the Great Dismal Swamp or yonder for fear of being ridiculed on the basis of misidentification! Perhaps you could elaborate on the separating identification criteria between the two species lol. Comment: We had pileated woodpeckers at our cottage; however they are not seen by me often now.
    [Show full text]
  • Robert Duvall
    VOICE Journal of the Alex Film Society Vol. 14, No. 1 February 2, 2008, 2 pm & 8 pm 02/08 of theTHEATRE Gregory Peck By Randy Carter has to age six decades over the course of the film regory Peck has and Zanuck thought Peck always been a could carry it off. Although Gleading man. He the film did well at the never played a waiter box office it didn’t recoup with two lines or a police Zanuck’s $3 million dollar officer who gets killed in investment. But Peck got an the first reel. A California Oscar® nomination for Best boy from La Jolla, he Actor and his position as a went to San Diego State top leading man was minted and Cal, did some college in only his second film. He theatre and headed to New would be nominated three York. A student of Sanford more times in the next four Meisner, he played the years for The Yearling (1946), lead in his first Broadway Gentleman’s Agreement production, “The Morning (1947) and Twelve O’ Clock Star”, a New York version High (1950). of a London hit by the Welsh actor/playwright Emlyn Williams. This was 1942 Gentleman’s Agreement teamed Peck with New Yorker and a few good notices, a round of Hollywood meetings Elia Kazan in a film about Anti-Semitism. Peck actually set up by his agent Leland Hayward, set the stage for played a gentile impersonating a Jew to observe the his first film role in the RKO production of Days of depth of prejudice in America.
    [Show full text]
  • Annoying Orange: a Youtube Success Story?
    1 Annoying Orange: A YouTube Success Story? As Burgess and Green note in YouTube: Online Video and Participatory Culture, YouTube is simultaneously “a high volume website, a broadcast platform, a media archive, and a social network. (5) Burgess and Green’s book attempts to capture the nature of YouTube as a media system, particularly one that they argue is an important site for the participatory practices that shape Web 2.0 in the contemporary media landscape. Since 2004, Web 2.0 has described practices that form the participatory web where users contribute but do not control content, and increasingly, where some participants are financially rewarded while others provide content for free. YouTube, a prime example of Web 2.0, was founded in 2005 as “a service aiming to remove the technical barriers to the widespread sharing of video online.” (Burgess and Green, 1) By summer of 2006, 100 million clips were viewed daily, with an additional 65,000 new videos uploaded every 24 hours. (USA Today) According to Nielson NetRatings, the website averaged around 20 million 2 visitors per month, where around 44% were female, 56% male, and the 12-to-17 year old group was dominant. YouTube quickly became part of one of the world’s largest global media companies: Google bought it for 1.65 billion dollars in 2006, and since 2008 it has consistently been in the top ten visited sites globally. One of the central issues around YouTube, as Burgess and Green note, is its “double function as both a “top down” platform for the distribution of popular culture and a “bottom-up” platform for vernacular creativity.” (6) Users are encouraged to “Broadcast Yourself,” but at the same time the purpose of YouTube is to generate profit, largely from advertising revenue.
    [Show full text]
  • Case 2:08-Cv-00157-MHW-MRA Document 64-6 Filed 03/05/10 Page 1 of 306 Case 2:08-Cv-00157-MHW-MRA Document 64-6 Filed 03/05/10 Page 2 of 306
    Case 2:08-cv-00157-MHW-MRA Document 64-6 Filed 03/05/10 Page 1 of 306 Case 2:08-cv-00157-MHW-MRA Document 64-6 Filed 03/05/10 Page 2 of 306 JURISDICTION AND VENUE 3. Jurisdiction is predicated upon 28 U.S.C. §§ 1331, 1338(a) and (b), and 1367(a). As the parties are citizens of different states and as the matters in controversy exceed the sum or value of seventy-five thousand dollars ($75,000.00), exclusive of interest and costs, this court also has jurisdiction over the state-law claims herein under 28 U.S.C. § 1332. 4. David Allison’s claims arise in whole or in part in this District; Defendant operates and/or transacts business in this District, and Defendant has aimed its tortious conduct in whole or in part at this District. Accordingly, venue is proper under 28 U.S.C. §§ 1391(b) and (c), and 1400(a). PARTIES 5. David Allison is a sole proprietorship with its principal place of business located in Broomfield, Colorado, and operates a website located at www.cheatcc.com. David Allison owns the exclusive copyrights to each of the web pages posted at www.cheatcc.com, as fully set forth below. 6. The true name and capacity of the Defendant is unknown to Plaintiff at this time. Defendant is known to Plaintiff only by the www.Ps3cheats.com website where the infringing activity of the Defendant was observed. Plaintiff believes that information obtained in discovery will lead to the identification of Defendant’s true name.
    [Show full text]
  • Vault Holds Vivendi's Reel Value
    cc Tuesday, August 26, 2003 LATIMES.COM/BUSINESS Vault Holds Vivendi’s Reel Value ‘Film is a product that never dies,’ one analyst says. Accurately assessing the worth of the movie and TV library is key in negotiating the sale. By MEG JAMES TIMES STAFF WRITER The trail to uncover the wealth of NBC has proposed combining its Vivendi Universal winds through a vault broadcast and cable networks, including in Universal City, past reels of CNBC, MSNBC, Bravo and the Spanish- "Frankenstein" and "E.T." to "American language Telemundo, with Vivendi's en- Graffiti" and "Apollo 13." tertainment operations to form a new With more than 4,000 titles, Universal company. The merger would create an has one of Hollywood's largest and most international media colossus, valued at eclectic film libraries. It boasts Alfred more than $45 billion, and would rival Hitchcock's thrillers — "Rear Window," Viacom Inc. and News Corp., which "Psycho" and "The Birds" — alongside both have a portfolio of properties includ- Steven Spielberg's gems such as "Jaws," ing broadcast and cable networks and "Jurassic Park" and the Oscar-winning movie studios. "Schindler's List." The move is a stark departure for GE, The shelves also are filled with chapters which under former longtime Chairman of television history: "Leave It to Jack Welch had been leery of the boom- Beaver," "Woody Woodpecker," "The or-bust film business. Munsters" and "Magnum P.I." The proposed venture with Vivendi il- Vivendi's directors are meeting today in lustrates that Welch's successor, Jeffrey Paris to vote on how to proceed with the Immelt, and NBC Chairman Bob Wright sale of these assets, along with the rest of have slowly warmed to the idea of mak- their U.S.
    [Show full text]
  • Hakke Hakkespett Vol. 1-4 [4 DVD] Hakke Hakkespett Vol
    Hakke Hakkespett vol. 1-4 [4 DVD] Hakke Hakkespett vol. 1-4 [4 DVD] Gjensyn med Hakke Hakkespett vekker gode minner, men utgivelsen imponerer ikke. Vår anmelder fristes til å direkteimportere fra USA for å få bedre innhold på DVDene. Woody Woodpecker vol. 1-4 Walter Lantz, Alex Lovy, Emery Hawkins, Milt Schaffer, Shamus Culhane, Dick Lundy Walter Lantz Animation Studio 1939-1948 Universal 4:3 Fullskjerm Dolby Digital 2.0 184 min. 2 3 En hakkespett ser dagens lys Fra Walter Lantz' studio og Ben "Bugs" Hardaway (som også skapte uforglemmelige karakterer som Daffy Duck og Snurre Sprett) vokste det på begynnelsen av 40-tallet seg frem en tegnefilmantihelt, så skrullete, så skruppelløs, og så uforsvarlig uetisk at vi sjelden har sett noe liknende siden. Hakke Hakkespett, eller Woody Woodpecker som han egentlig het, var resulatet av et svært kompetativt marked, der studioene kjempet for å overgå hverandre i å ligge lengst mulig unna Disney hva gjalt både historiefortelling, humor og realisme. Walter Lantz forsto at hvis han skulle få en sjanse til å utfordre Warner Bros' fantasifulle karakterverden, var han avhengig av å fornye sine tegnefilmer (i hovedsak bestående av Disney's Oswald the lucky Rabbit, som Lantz vant rettighetene til i et pokerlag). Designteamet hans klarte å koke sammen en haug med karakterer, men av dem var det bare pandabjørnen Andy Panda som hadde en moderat suksess. Og det var i en Andy Panda-episode at en rar (og plagsom) fugl med spisst nebb og digre føtter dukket opp for første gang. Hakke Hakkespett var en umiddelbar suksess, og det tok ikke lange tiden før han fikk sparket Andy ut av tronstolen og overtok showet på heltid.
    [Show full text]
  • Animation 23910
    Film 3910-02: Classical Cel Animation TTH 6-8 Pigott 107 Dr. Kirsten Thompson ___________________________________________________ Shhh! Be vewwy vewwy quiet. I'm hunting wabbits! With iconic characters like Elmer Fudd, Mickey Mouse, Popeye the Sailor and Wile E. Coyote, classical cel animation has shaped American popular culture. This class will explore the influential role of cel animation in the United States from the 1890's through to the 1960's, as an industrial form that is still enormously influential on contemporary shows like Family Guy and The Simpsons. We'll study the development of cel animation as an industry, production process and series of aesthetic and generic strategies, while we survey technological developments like the role of sound, music and color and the emergence of personality animation with characters like Bugs Bunny and Felix the cat. We'll trace the vexed ways in which animation engaged with, reproduced or transgressed different representations of race and gender and consider the influential role that animation played in World War II propaganda films, and in graphic modernism. This class can fulfill your genre requirement for Film Majors (PEP required) Each week the first class will be a screening of a feature film, while the second class will be devoted to group work, viewing of clips and some lecturing (Roughly 70 % group work & analysis and 30 % lecture). Together we will practice close analysis of the weekly readings and film. You will be expected to participate in class discussions, complete all class assignments on time and see all scheduled films. As the quarter system moves very quickly, it is essential you come to class prepared.
    [Show full text]