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The 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
2017 Institutional Master Plan
2017 InstItutIonal Master Plan 2017 InstItutIonal Master Plan Table of Contents I. Introduction 3 II. Executive Summary 4 III. Academy of Art University Overview 10 Mission 10 Commitment to an Urban Campus 11 History of the Academy of Art University 11 IV. Academic Departments and Curricula 12 Online Students 12 Alignment of Degree Programs Online/Onsite 12 Online Course Approval 13 Accreditation 13 Academy Programs 14 Classic Automobile Collection 17 Academy of Art University Athletics 17 V. City and Neighborhood Benefits and Impacts 18 Benefits Overview 18 Security and Maintenance 20 Addressing Neighborhood Needs 20 Scholarships for San Francisco and Bay Area Residents 21 Active Engagement in Community Programs 21 Pro-Bono Design Work and Other Academy Civic Engagement 22 VI. Students, Faculty and Staff 31 Enrollment 31 Enrollment Trends 32 Diversity 34 Student Housing 34 Cost of Attendance & Financial Aid 35 Faculty and Staff 37 The Academy’s Equal Employment Policy 37 VII. Existing Facilities 38 Neighborhood Context and Land Use Requirements 38 Policy of Adaptive Re-Use 41 Campus Safety 41 VIII. Current and Future Needs 45 10-yr Plan: Consolidate and Centralize the Campus 45 Near Term Plan: Proposed Changes to the Academy Campus 46 Transportation: Changes and Improvements Affecting the Shuttle Program 50 Student Housing and Metering Relationship to Enrollment 52 IX. Environmental Impact Report and the Existing Sites Technical Memorandum 53 Historic Preservation 53 X. General Plan Consistency 54 San Francisco Priority Policies 54 Consistency of General Plan Elements 56 Relevant Area Plans 61 XI. Attachments 64 Attachment 1: Employers 64 Attachment 2: Neighborhood Context Groups 76 Attachment 3: Existing Institutional and Residential Sites 77 Attachment 4: Study Areas 78 Attachment 5: Shuttle Systems: Current and Proposed/Future Shuttle Map 79 2 2017 Institutional Master Plan VIII. -
Entertainment 87 ENTERTAINMENT
Enroll at uclaextension.edu or call (800) 825-9971 Entertainment 87 ENTERTAINMENT Sneak Preview See the most highly anticipated new films prior to public release, specially selected for our Sneak Preview audience. Our seasoned moderators lead engaging Q&As with actors, directors, writers, and producers, giving you an inside look at the making of each film. Sneak Preview starts January 29 and presents 10 new films. Page 87. Past films and guests have included 87 FILM & TV MUSIC Marriage Story with director Ford v Ferrari with director 88 Business & Management 95 Film Scoring Noah Baumbach James Mangold of Entertainment 96 Music Business If Beale Street Could Talk with director Dolemite Is My Name with screenwriters Barry Jenkins Scott Alexander and Larry Karaszewski 89 Entertainment Project 97 Music Production Management A Hidden Life with actor Valerie Pachner Diane with actor Mary Kay Place 90 Acting Above: Q&A with (left to right) moderator Pete Hammond and director Robert Kenner at Sneak Preview. 91 Cinematography For weekly updates, visit entertainment.uclaextension.edu/sneak-preview. 91 Directing 92 Film & TV Development FILM TV UL 700 Film & TV Free Networking Opportunities 93 Producing For more information call (310) 825-9064, email for Entertainment Studies [email protected], or visit Certificate Students 95 Post-Production entertainment.uclaextension.edu. Does your project need a director, cinematographer, screenwriter, actor, producer, composer, or other crew FILM TV 804.2 member? Would you like to meet other like-minded Sneak Preview: students who have the same business or career goals Contemporary Films and Filmmakers as you? This is the perfect opportunity to meet your 2.0 CEUs fellow certificate students and make important connec- For more information call (310) 825-9064. -
Introduction to the Complete Directory to Prime Time Network and Cable TV Shows
Broo_9780345497734_2p_fm_r1.qxp 7/31/07 10:32 AM Page ix INTRODUCTION In the following pages we present, in a sin- eral headings. For example, newscasts are gle volume, a lifetime (or several lifetimes) of summarized under News, movie series under television series, from the brash new medium Movies and sports coverage under Football, of the 1940s to the explosion of choice in the Boxing, Wrestling, etc. All other series are 2000s. More than 6,500 series can be found arranged by title in alphabetical order. There here, from I Love Lucy to Everybody Loves is a comprehensive index at the back to every Raymond, The Arthur Murray [Dance] Party cast member, plus appendixes showing an- to Dancing with the Stars, E/R to ER (both nual network schedules at a glance, the top with George Clooney!), Lost in Space to Lost 30 rated series each season, Emmy Awards on Earth to Lost Civilizations to simply Lost. and other information. Since the listings are alphabetical, Milton Network series are defined as those fed out Berle and The Mind of Mencia are next-door by broadcast or cable networks and seen si- neighbors, as are Gilligan’s Island and The multaneously across most of the country. Gilmore Girls. There’s also proof that good Broadcast networks covered are ABC, CBS, ideas don’t fade away, they just keep coming NBC, Fox, CW, MyNetworkTV, ION (for- back in new duds. American Idol, meet merly PAX) and the dear, departed DuMont, Arthur Godfrey’s Talent Scouts. UPN and WB. We both work, or have worked, in the TV Original cable series are listed in two dif- industry, care about its history, and have ferent ways. -
Digital Media
2017 NABJ SALUTE TO EXCELLENCE AWARDS FINALISTS (Finalists listed alphabetically by entry title) DIGITAL MEDIA DIGITAL MEDIA - Commentary/Weblog Lee Hawkins Commentary/Analysis Lee Hawkins Wall Street Journal Reflecting on Mortality: From Prince to Alton Sterling to My Black Sons Chandra Thomas Whitfield NBCBLK The Undefeated Soraya McDonald Soraya Nadia McDonald The Undefeated DIGITAL MEDIA - Interactive: Feature Historically Black The Washington Post DIGITAL MEDIA - Interactive: News Amazon Doesn’t Consider the Race of Its Customers. Should It? David Ingold, Spencer Soper Bloomberg Looking for Lead (in all the wrong places) Dan Telvock Investigative Post Settling for Misconduct Jonah Newman, Matt Kiefer, Lauren Harris, Michelle Kanaar The Chicago Reporter 2017 NABJ Salute to Excellence Awards Finalists | [email protected] | 1 DIGITAL MEDIA > Online Project: Feature The City: Prison's Grip on the Black Family Trymaine Lee NBC News Digital Under Our Skin Staff of The Seattle Times The Seattle Times Unsung Heroes of the Civil Rights Movement Eric Barrow New York Daily News DIGITAL MEDIA > Online Project: News Chicago's disappearing front porch Rosa Flores, Mallory Simon, Madeleine Stix CNN Machine Bias Julia Angwin, Jeff Larson, Surya Mattu, Lauren Kirchner, Terry Parris Jr. ProPublica Nuisance Abatement Sarah Ryley, Barry Paddock, Pia Dangelmayer, Christine Lee ProPublica and The New York Daily News DIGITAL MEDIA > Single Story: Feature Congo's Secret Web of Power Michael Kavanagh, Thomas Wilson, Franz Wild Bloomberg Migration and Separation: -
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007. -
Allen Rostron, the Law and Order Theme in Political and Popular Culture
OCULREV Fall 2012 Rostron 323-395 (Do Not Delete) 12/17/2012 10:59 AM OKLAHOMA CITY UNIVERSITY LAW REVIEW VOLUME 37 FALL 2012 NUMBER 3 ARTICLES THE LAW AND ORDER THEME IN POLITICAL AND POPULAR CULTURE Allen Rostron I. INTRODUCTION “Law and order” became a potent theme in American politics in the 1960s. With that simple phrase, politicians evoked a litany of troubles plaguing the country, from street crime to racial unrest, urban riots, and unruly student protests. Calling for law and order became a shorthand way of expressing contempt for everything that was wrong with the modern permissive society and calling for a return to the discipline and values of the past. The law and order rallying cry also signified intense opposition to the Supreme Court’s expansion of the constitutional rights of accused criminals. In the eyes of law and order conservatives, judges needed to stop coddling criminals and letting them go free on legal technicalities. In 1968, Richard Nixon made himself the law and order candidate and won the White House, and his administration continued to trumpet the law and order theme and blame weak-kneed liberals, The William R. Jacques Constitutional Law Scholar and Professor of Law, University of Missouri–Kansas City School of Law. B.A. 1991, University of Virginia; J.D. 1994, Yale Law School. The UMKC Law Foundation generously supported the research and writing of this Article. 323 OCULREV Fall 2012 Rostron 323-395 (Do Not Delete) 12/17/2012 10:59 AM 324 Oklahoma City University Law Review [Vol. 37 particularly judges, for society’s ills. -
Disappoints" Chairs
'\foiume 7, Number 3 College At Lincoln Center, Fordham University, New York February 19-March 4,1986 Fordham Divests From Three Five-Year Corporations Operating In South Africa Plan To Be By Franz C. Adams includes the Chairman of the Board of Trustees of the University's total capital investment of about Prepared Richard Bennett, Fr. O'Hare, and foar Board $36 million. Fordham University's Board of Trustees, voted members. Philion said he plans to meet with the Board of last December 10 to disinvest University funds Trustees on whether there are any possibilities for from companies "who are not observing the By Mary Kay Linge ^ Investment figures taken from the University's complete divestment. "I would like to see people Sullivan Principals" according to University Presi- four portfolios show the value of Fordham stock take the risk and show their support because we dent Rev. Joseph A. O'Hare, The Board also In response to a request made by University in businesses in South Africa to be over $9 million are morally right," he said. adopted a set of general principles concerning President Rev. Joseph A. O'Hare, S.J., the College social responsibility and investment policies, he at Lincoln Center is to prepare "a Strategic Plan said. for developments over the next five years," an- According to Stephen Philion, (FC '86), co- nounced Dean William Tanksley in a February 4 founder of the Fordham Coalition for Divestment, memorandum to the faculty. Students, faculty and about 30 leaders on the campuses of Rose Hill and administrators are all expected to be involved in the College at Lincoln Center are in favor of com- this project, said Tanksley, which is set to be plete divestment of Fordham stocks. -
Final Copy 2020 06 23 Niu
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: Digital visual effects in contemporary Hollywood cinema aesthetics, networks and transnational practice General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: DIGITAL VISUAL EFFECTS IN CONTEMPORARY HOLLYWOOD CINEMA AESTHETICS, NETWORKS AND TRANSNATIONAL PRACTICE General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. -
Recording Secrets for the Small Studio This Page Intentionally Left Blank Recording Secrets for the Small Studio
Recording Secrets for the Small Studio This page intentionally left blank Recording Secrets for the Small Studio Mike Senior First published 2015 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2015 Mike Senior The right of Mike Senior to be identifi ed as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notices Knowledge and best practice in this fi eld are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Application submitted ISBN: 978-0-415-71670-3 (pbk) ISBN: 978-1-135-87950-5 (ebk) Typeset in ITC Giovanni Std By MPS Limited, Chennai, India, www.adi-mps.com To my parents. -
To Download The
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No Oscar for the Oscar? Behind Hollywood's Walk of Greed
Networking Knowledge 7(4) All About Oscar No Oscar for the Oscar? Behind Hollywood’s Walk of Greed ELIZABETH CASTALDO LUNDEN, Stockholm University ABSTRACT In 1966 the popular interest in the Academy Awards propelled Paramount Pictures to produce The Oscar (Embassy Pictures-Paramount Pictures, 1966), a film based on the homonymous novel by Richard Sale. The Oscar tells the story of an unscrupulous actor willing to do anything in his power to obtain the golden statuette, regardless of whom he has to take down along the way. Building up on fantasies of social mobility, we see the protagonist (Frankie) display his vanity, arrogance and greed to create a less than likeable character whose only hope to put his career back on track lies in obtaining the precious statuette. The movie intends to be a sneak peek behind the scenes of the biggest award ceremony, but also behind the lifestyle of the Hollywood elites, their glory and their misery as part of the Hollywood disposal machinery. Despite not being financed or officially supported by the Academy, the film intertwines elements of fiction and reality by using real footage of the event, and featuring several contemporary representatives of the movie industry such as Edith Head, Hedda Hopper, Frank and Nancy Sinatra, playing cameo roles, adding up to the inter- textual capacities of the story. Head’s participation was particularly exploited for the promotion of the film, taking advantage of her position at Paramount, her status as a multiple winner, and her role as a fashion consultant for the Academy Awards. This paper is an analytical account of the film’s production process.