Testing Is a Hot Button Issue in Animation and Everyone Has an Opin- Ion About It. Many of Us Have Taken Tests Over the Course
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Dee Dees Imaginary Friend Koosalagoopagoop
Dee dees imaginary friend koosalagoopagoop click here to download Koosalagoopagoop also nicknamed Koosy or Koos is Dee Dee's imaginary friend who is a rainbow. Koosalagoopagoop is the second part of the 21st episode of Dexter's Laboratory. In this episode, Dee Dee's imaginary friend Koosalagoopagoop tells about being the king of Koosland. 2 Dee Dee · 3 Justice Friends · Everything You Ever Wanted to Know About Snoke (But Were Afraid to Ask) FANDOM · Koosalagoopagoop (character) Dexter's Laboratory Wiki · 'The Walking Dead': Why We're Bummed About the Morgan Crossover News FANDOM · Koosalagoopagoop (episode) Dexter's Laboratory Wiki. "Deep in imagination lies a little girl's creation. He's her best friend. She's the only one who sees him. Don. Anyway, for those who don't remember, Koosy (short for "Koosalagoopagoop") was Dee Dee's imaginary friend. He appeared four times in the series; twice in the original run (with the original art style and before Dexter's voice actress got replaced), and twice in the revival. In Koosy's first appearance, "The. Koosalagoopagoop. Watch Dexter's Laboratory episodes online. Dexter's Laboratory online. Dexter's Laboratory - Season 2 - Episode Dexter's Laboratory - In this Dexter's Laboratory episode, Dee Dee enters the land of her imaginary friend Koosalagoopagoop after he lies to her that he is the king of his land. About this Dexter's Laboratory episode: Dexter's Laboratory - The Koos is Loose is the 10th episode of the Dexter's Lab season 2. In this Dexter's Laboratory episode, Dee Dee's imaginary friend, Koosalagoopagoop (Dom DeLuise), suddenly comes to life and starts annoying Dexter, prompting him to take measures against. -
Third Wave Feminism and the Powerpuff Girls Evie Kendal Introduction the Popular Children's
There’s No One Perfect Girl: Third Wave Feminism and The Powerpuff Girls Evie Kendal Introduction The popular children’s television series, The Powerpuff Girls, was originally conceived by animator Craig McCracken under the name The Whoopass Girls in 1992.1 Following a name change and three alternative pilot epi- sodes, the series was picked up by the Cartoon Network and ran from 1995 through to 2005. During this time the show won several awards, including two Primetime Emmy awards for Outstanding Individual Achievement in Animation (2000 and 2005), and two Annie awards for Production Design and Musical Score in an Animated Series (2001).2 In this article I will be exploring The Powerpuff Girls from a feminist perspective, focusing on what is unique about this series and where it is positioned in popular media culture, before addressing some of the common criticisms of the show and identifying some of its major strengths. It will be my contention that The Powerpuff Girls embraces third-wave feminist ideology, with its focus on “Girl Power” and consumerism, while also abandoning the more individual- istic aspects of this brand of feminism by exploring the meaning of sister- hood and female empowerment through community. COLLOQUY text theory critique 24 (2012). © Monash University. www.arts.monash.edu.au/ecps/colloquy/journal/issue024/kendal.pdf ░ Third Wave Feminism and The Powerpuff Girls 235 Background: The relationship between the second and third waves of feminism According to Lise Shapiro Sanders, one of the major distinguishing features of third-wave feminism is the privileging of the “diversity of women’s experi- ence over the similarities amongst women,” with a particular focus on ad- dressing the inadequacies of second-wave ideology to deal with women’s experience beyond its “white, middle-class biases.”3 In this way, women of colour and those from the developing world were recruited into the fight for equality, while at the same time a radical reclamation of the symbols asso- ciated with traditional femininity was initiated. -
Commercials Issueissue
May 1997 • MAGAZINE • Vol. 2 No. 2 CommercialsCommercials IssueIssue Profiles of: Acme Filmworks Blue Sky Studios PGA Karl Cohen on (Colossal)Õs Life After Chapter 11 Gunnar Str¿mÕs Fumes From The Fjords An Interview With AardmanÕs Peter Lord Table of Contents 3 Words From the Publisher A few changes 'round here. 5 Editor’s Notebook 6 Letters to the Editor QAS responds to the ASIFA Canada/Ottawa Festival discussion. 9 Acme Filmworks:The Independent's Commercial Studio Marcy Gardner explores the vision and diverse talents of this unique collective production company. 13 (Colossal) Pictures Proves There is Life After Chapter 11 Karl Cohen chronicles the saga of San Francisco's (Colossal) Pictures. 18 Ray Tracing With Blue Sky Studios Susan Ohmer profiles one of the leading edge computer animation studios working in the U.S. 21 Fumes From the Fjords Gunnar Strøm investigates the history behind pre-WWII Norwegian animated cigarette commercials. 25 The PGA Connection Gene Walz offers a look back at Canadian commercial studio Phillips, Gutkin and Associates. 28 Making the Cel:Women in Commercials Bonita Versh profiles some of the commercial industry's leading female animation directors. 31 An Interview With Peter Lord Wendy Jackson talks with co-founder and award winning director of Aardman Animation Studio. Festivals, Events: 1997 37 Cartoons on the Bay Giannalberto Bendazzi reports on the second annual gathering in Amalfi. 40 The World Animation Celebration The return of Los Angeles' only animation festival was bigger than ever. 43 The Hong Kong Film Festival Gigi Hu screens animation in Hong Kong on the dawn of a new era. -
THE CARTOON ART of ALEX TOTH $49.99 Libraryofamericancomics.Com DEAN MULLANEY & BRUCE CANWELL
ALEX TOTH “What Mullaney and Canwell have done is nothing short of wonderful.” —Howard Chaykin, The Los Angeles Review of Books “An astounding achievement. A game-changer…. Anyone with an interest in the medium should own and study this book. It’s one of those.” —Dan Nadel, The Comics Journal “This massive coffee-table biography-cum-compilation makes a compelling argument for Toth’s stature through its painstakingly researched text and copious visual examples that demonstrate his masterful illustration, graphic economy, and elegantly powerful design sense.” — Gordon Flagg, Booklist THE CARTOON ART OF ALEX TOTH $49.99 libraryofamericancomics.com DEAN MULLANEY & BRUCE CANWELL Master model sheet, The Three Musketeers, 1968. The series provided Toth with a vehicle in which to focus his lifelong fascination with the Dumas classic and with swashbuckling heroes in general. DEAN MULLANEY AND BRUCE CANWELL IDW PUBLISHING SAN DIEGO, CALIFORNIA THE LIBRARY OF AMERICAN COMICS EDITED AND DESIGNED BY Dean Mullaney ASSOCIATE EDITOR & BIOGRAPHICAL TEXT BY Bruce Canwell ART DIRECTOR Lorraine Turner CONTRIBUTING EDITORS David Armstrong & Scott Dunbier FILMOGRAPHY Francisco San Millan & Axel Kahlstorff INDEX Jared Gardner • MARKETING DIRECTOR Beau Smith ISBN: 978-1-61377-950-7 First Printing, April 2014 Distributed by Diamond Book Distributors, 1-410-560-7100 LibraryofAmericanComics.com IDW Publishing a Division of Idea and Design Works, LLC 5080 Santa Fe Street, San Diego, CA 92109 www.idwpublishing.com Ted Adams, Chief Executive Officer/Publisher • Greg Goldstein, Chief Operating Officer, President Robbie Robbins, EVP/Sr. Graphic Artist • Chris Ryall, Chief Creative Officer/Editor-in-Chief Matthew Ruzicka, CPA, Chief Financial Officer • Alan Payne, VP of Sales Dirk Wood, VP of Marketing • Lorelei Bunjes, VP of Digital Services Text and compilation copyright © 2014 Dean Mullaney and Bruce Canwell. -
Outstanding Animated Program (For Chris Clements, Directed by Programming Less Than One Hour) Matt Selman, Written By
Scott Brutz, Animation Timer Outstanding Animated Program (for Chris Clements, Directed By Programming Less Than One Hour) Matt Selman, Written by Avatar: The Last Airbender • City Of Walls And Secrets • South Park • Make Love, Not Warcraft • Comedy Central • Nick • Nickelodeon Animation Studio Central Productions Michael Dante DiMartino, Executive Producer Trey Parker, Executive Producer/Directed by/Written by Bryan Konietzko, Executive Producer Matt Stone, Executive Producer Eric Coleman, Executive Producer Anne Garefino, Executive Producer Aaron Ehasz, Co-Executive Producer/Head Writer Frank C. Agnone II, Supervising Producer Tim Hedrick, Written by Kyle McCulloch, Producer Lauren MacMullan, Directed by Eric Stough, Director of Animation Yu Jae Myoung, Animation Director/Timing Director SpongeBob SquarePants • Bummer Vacation / Wig Struck Robot Chicken • Lust For Puppets • Cartoon Network • • Nick • Nickelodeon Animation Studio in association with ShadowMachine Films United Plankton Pictures, Inc. Seth Green, Executive Producer/Writer/Directed by Stephen Hillenburg, Executive Producer Matthew Senreich, Executive Producer/Writer Paul Tibbitt, Supervising Producer Keith Crofford, Executive Producer Tom Yasumi, Animation Director/Timer Mike Lazzo, Executive Producer Alan Smart, Animation Director/Supervising Director/Timer Corey Campodonico, Producer Casey Alexander, Storyboard Director/Written by Alex Bulkley, Producer Chris Mitchell, Storyboard Director/Written by Tom Root, Head Writer Luke Brookshier, Storyboard Director/Written by -
Realismo En El Anime: Una Perspectiva Occidental a Través De Sus Obras Populares
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD I TESIS DOCTORAL El realismo en el anime: Una perspectiva occidental a través de sus obras populares MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Iván Rodríguez Fernández Directora Mar Marcos Molano Madrid, 2014 ©Iván Rodríguez Fernández, 2014 El realismo en el anime: Una perspectiva occidental a través de sus obras más populares Iván Rodríguez Fernández Departamento Comunicación Audiovisual y Publicidad I Dirección: Mar Marcos Molano 2 3 4 Índice Resumen Español ............................... 17 Resumen Inglés ................................... 21 I Introducción ..................... 27 II Metodología ..................... 37 1. Objeto de estudio .................... 39 2. Objetivos ............................ 39 3. Hipótesis ............................ 40 4. Marco Conceptual ..................... 40 4.1. El anime .................................... 40 4.1.1. Definición común de anime ................... 40 4.1.1.1. Contradicciones en la definición ............ 40 5 4.1.2. Otro términos ............................... 42 4.1.2.1. Japanimation ................................ 43 4.1.2.2. Manga ....................................... 43 4.1.2.3. Películas manga ............................. 43 4.1.2.4. Manga-Eiga .................................. 44 4.1.3. Origen del término .......................... 45 4.1.4. ¿Qué es anime? .............................. 45 5. Contexto metodológico: Realismo ..... -
10-Year Review of Gender and EMMY Nominations
INVESTIGATION: 10-YEAR REVIEW OF GENDER & EMMY NOMINATIONS womensmediacenter.com WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonpro!t organization endeavoring to raise the visibility, viability and decision-mak- ing power of women and girls in media and, thereby, ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of intercon- nected channels and platforms to transform not only the media landscape but also a culture in which women’s and girls’ voices, stories, experiences and images are neither suf!ciently ampli!ed nor placed on par with the voices, stories, experiences and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spot- light gender and racial bias in news coverage, entertainment !lm and television, social media and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Guide to Covering Reproductive Issues”; and the Women’s Media Center’s annual “The Status of Women in the U.S. Media” report. Our WMC Women Under Siege project investigates sexualized violence. Our original content channels — WMC Features, WMC FBomb, WMC Speech Project and the “Women’s Media Center Live with Robin Morgan” radio program — provide women’s perspectives on both headline stories and timely events that are ignored, not wholly captured or misrepresented in the mainstream media. -
Nominations F
68th EMMY® AWARDS NOMINATIONS For Programs Airing June 1, 2015 – May 31, 2016 Los Angeles, CA, July 14, 2016– Nominations for the 68th Emmy® Awards were announced today by the Television Academy in a ceremony hosted by Television Academy Chairman and CEO Bruce Rosenblum along with Anthony Anderson from the ABC series black-ish and Lauren Graham from Parenthood and the upcoming Netflix revival, Gilmore Girls. "Television dominates the entertainment conversation and is enjoying the most spectacular run in its history with breakthrough creativity, emerging platforms and dynamic new opportunities for our industry's storytellers," said Rosenblum. “From favorites like Game of Thrones, Veep, and House of Cards to nominations newcomers like black-ish, Master of None, The Americans and Mr. Robot, television has never been more impactful in its storytelling, sheer breadth of series and quality of performances by an incredibly diverse array of talented performers. “The Television Academy is thrilled to once again honor the very best that television has to offer.” This year’s Drama and Comedy Series nominees include first- timers as well as returning programs to the Emmy competition: black-ish and Master of None are new in the Outstanding Comedy Series category, and Mr. Robot and The Americans in the Outstanding Drama Series competition. Additionally, both Veep and Game of Thrones return to vie for their second Emmy in Outstanding Comedy Series and Outstanding Drama Series respectively. While Game of Thrones again tallied the most nominations (23), limited series The People v. O.J. Simpson: American Crime Story and Fargo received 22 nominations and 18 nominations respectively. -
Nomination Press Release
Elisabeth Moss as Peggy Olson Outstanding Lead Actor In A Drama Series Nashville • ABC • Lionsgate Television in association with ABC Studios Breaking Bad • AMC • Sony Pictures Connie Britton as Rayna James Television Bryan Cranston as Walter White Scandal • ABC • ABC Studios Kerry Washington as Olivia Pope Downton Abbey • PBS • A Carnival / Masterpiece Co-Production Hugh Bonneville as Robert, Earl of Grantham Outstanding Lead Actor In A Homeland • Showtime • Showtime Presents, Miniseries Or A Movie Fox 21, Teakwood Lane Productions, Cherry Pie Productions, Keshet Behind The Candelabra • HBO • Jerry Damian Lewis as Nicholas Brody Weintraub Productions in association with HBO Films House Of Cards • Netflix • Michael Douglas as Liberace Donen/Fincher/Roth and Trigger Street Productions, Inc. in association with Media Behind The Candelabra • HBO • Jerry Rights Capital for Netflix Weintraub Productions in association with Kevin Spacey as Francis Underwood HBO Films Matt Damon as Scott Thorson Mad Men • AMC • Lionsgate Television Jon Hamm as Don Draper The Girl • HBO • Warner Bros. Entertainment, GmbH/Moonlighting and BBC The Newsroom • HBO • HBO Entertainment in association with HBO Films and Wall to Jeff Daniels as Will McAvoy Wall Media Toby Jones as Alfred Hitchcock Parade's End • HBO • A Mammoth Screen Outstanding Lead Actress In A Production, Trademark Films, BBC Drama Series Worldwide and Lookout Point in association with HBO Miniseries and the BBC Bates Motel • A&E • Universal Television, Benedict Cumberbatch as Christopher Tietjens -
1 From: Robin Mesger the Lippin Group 323/965-1990 for IMMEDIATE RELEASE September 11, 2005 8:00 PM PDT the Academy of Televisio
From: Robin Mesger The Lippin Group 323/965-1990 FOR IMMEDIATE RELEASE September 11, 2005 8:00 PM PDT The Academy of Television Arts & Sciences (ATAS) tonight (Sunday, September 11, 2005) awarded the 2004-2005 Creative Arts Primetime Emmys for programs and individual achievements at the 57th Annual Emmy Awards presentation at the Shrine Auditorium in Los Angeles. Included among the presentations were Emmy Awards for the following previously announced categories: Outstanding Achievement in Animation, Outstanding Voice-Over Performance, Outstanding Costumes for a Variety or Music Program, Outstanding Interactive Television Programming, Outstanding Achievement in Engineering Development. ATAS Chairman & CEO Dick Askin participated in the awards ceremony assisted by a lineup of major television stars as presenters. The awards, as tabulated by the independent accounting firm of Ernst & Young LLP, were distributed as follows: Programs Individuals Total HBO 1 19 20 ABC 1 9 10 PBS 3 6 9 NBC - 8 8 CARTOON NETWORK 1 6 7 CBS 1 5 6 FOX - 4 4 NICKELODEON 1 1 2 SHOWTIME - 2 2 A&E - 1 1 COMEDY CENTRAL 1 - 1 DISCOVERY CHANNEL - 1 1 HALLMARK - 1 1 1 ACADEMY OF TELEVISION ARTS AND SCIENCES 57TH ANNUAL PRIMETIME EMMY AWARDS Emmys in 27 other categories will be presented at the 2005 Primetime Emmy Awards telecast on Sunday, September 18, 2005, 8:00 p.m. - conclusion, ET/PT over the CBS Television Network at the Shrine Auditorium. A complete list of all awards presented tonight is attached. The final page of the attached list includes a recap of all programs with multiple awards. For further information, see http://www.emmys.tv 2 ACADEMY OF TELEVISION ARTS AND SCIENCES 57TH ANNUAL PRIMETIME EMMY AWARDS OUTSTANDING CASTING FOR A DRAMA SERIES APRIL WEBSTER, C.S.A. -
CHAPTER VIII Shakespeare in Animation
CHAPTER VIII Shakespeare in Animation Murat ÖĞÜTCÜ Shakespeare’s works have been used through a variety of media both for the edification of people and enlarging the commercially big market surrounding him, which have been contributing to the pre-eminence of Shakespeare in the consciousness of people. Although animations have been yet another important media, they have been overshadowed by their more serious counterparts in movie adaptations, which is why there is no substantial work on the history of Shakespeare in animation. Only some references are given as part of adaptation studies, mostly in negative way, which criticise animations as “reductive kitsch” of “low culture” and as apocalyptic because they abbreviate the original text and seem to substitute and, thus, triumph over high culture (Brown 1992: 12; Osborne 2003: 121; Osborne 1997: 142; Coursen 1997: 100; Eggert 2003: 74). Nevertheless, the problem with literary minded critics is that they think that students should be protected from ‘incorrect’ signification. Concepts about memory, loss and reconstruction in the mind are not considered in analysing Shakespeare in animations, although they might stimulate creativity. Therefore, this paper will analyse how animation reflected Shakespeare’s legacy in parodies, re-creations and relatively straightforward adaptations, especially through references to Romeo and Juliet, Hamlet and Macbeth. To start with, parody is a literary device that uses subversion for comic effect where the level of appreciation is determined by the amount of knowledge of the original (“parody” 2013; “parody” 2006). Yet, even without foreknowledge, the situational and verbal comedy in a parody may still create laughter. Thus, even though critics consider parodies as bastardisations, they are “far more 109 Shakespeare in Animation successful” (Bristol 1996: 90) to catch, at least momentarily, audience attention.