Visualization of an Animated Documentary with a Hybrid
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A Hybrid Documentary Genre: Animated Documentary and the Analysis of Waltz with Bashir (2008) Movie Barış Tolga Ekinci, [email protected]
A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) movie Barış Tolga Ekinci, [email protected] Volume 6.1 (2017) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2017.144 | http://cinej.pitt.edu Abstract The word documentary has been described as an advice in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to seperate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is a form of hybrid documentary has been concerned with Baudrillard’s theory. In this context, Ari Folman’s animated documentary Waltz with Bassir (2008) has been analyzed with genre criticism method. Keywords: Documentary, animated documentary, Waltz with Bassir, reality, hybrid genres. New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. A Hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) movie Barış Tolga Ekinci Introduction History of animated documentary1 is old as much as history of traditional documentary. However, in any period, animated documentaries have not been reached the popularity of traditional documentaries. -
National Conference
NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION In Memoriam We honor those members who passed away this last year: Mortimer W. Gamble V Mary Elizabeth “Mery-et” Lescher Martin J. Manning Douglas A. Noverr NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION APRIL 15–18, 2020 Philadelphia Marriott Downtown Philadelphia, PA Lynn Bartholome Executive Director Gloria Pizaña Executive Assistant Robin Hershkowitz Graduate Assistant Bowling Green State University Sandhiya John Editor, Wiley © 2020 Popular Culture Association Additional information about the PCA available at pcaaca.org. Table of Contents President’s Welcome ........................................................................................ 8 Registration and Check-In ............................................................................11 Exhibitors ..........................................................................................................12 Special Meetings and Events .........................................................................13 Area Chairs ......................................................................................................23 Leadership.........................................................................................................36 PCA Endowment ............................................................................................39 Bartholome Award Honoree: Gary Hoppenstand...................................42 Ray and Pat Browne Award -
Beyond Self-Images: the Context and Development of Animated Documentaries, the Cornerstones of Mode
Ajanovi#-Ajan, Midhat. "Beyond Self-images: The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden." Global Animation Theory: International Perspectives at Animafest Zagreb. Ed. Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji# and Hrvoje Turkovi#. New York: Bloomsbury Academic, 2019. 99–114. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781501337161.ch-007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 16:02 UTC. Copyright © Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji#, Hrvoje Turkovi#, and Contributors and Cover image Zlatka Salopek 2019. 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. 7 Beyond Self- images The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden Midhat Ajanovi´ c -Ajan It seems that the fi rst decades of the new millennium have brought about a small renaissance of documentaries, especially those that combine live action and animated pictures and even those visualized totally by employment of various animation techniques. My concern in the following chapter is the conspicuous propensity in Swedish animation towards animated documentary. In my view Sweden is the country that, besides Canada and Great Britain, has developed the most prolifi c production of fi lms that merge documentary purposes and animated imagery. In this chapter I defi ne animated documentary, as I understand it. I will also take a look into the history of Swedish animation and documentary, with an emphasis on the features that might be the base for the development of the animated documentary. -
Catalogo Festival Dei Popoli 20
Festival dei Popoli Di r e t t o r e | fe s t i v a l Di r e C t o r uf f i C i o Programmazione | Pr o g r a m m i n g of f i C e ru n n e r | ru n n e r Alberto Lastrucci Lorenzo Dell’Agnello, responsabile | Manager Marco Nocentini Istituto Italiano per il Film di Documentazione Sociale ONLUS Marco Cipollini Co o r D i n a m e n t o P r o g r a m m a e r e l a z i o n i C o n in P a r t n e r au t i s t i | Dr i v e r s Sede legale: Borgo Pinti, 82rosso 50121 Firenze – Italia Pr o g r a m m e Co o r D i n a t o r s a n D relationsHiPs w i t H Pa r t n e r s uf f i C i o os P i t a l i t à | HosPitality of f i C e Lorenzo Garnerone, Marco Nocentini Sede operativa: Vicolo di Santa Maria Maggiore, 1 Sandra Binazzi Elita Cannata, responsabile | Manager 50123 – Firenze – Italia Claudia Maci Marcello Mantovani assiCurazione | in s u r a n C e tel. +39 055 244778 – fax +39 055 241364 Carolina Pezzini I.M.M. Italian Insurance Managers di Fabrizio Volpe & C. Snc [email protected] Co m i t a t o D i se l e z i o n e | se l e C t i o n Co m m i t t e e www.festivaldeipopoli.org Claudia Maci, coordinamento | Coordinator uf f i C i o acc r e D i t i | acc r e D i t a t i o n of f i C e uf f i C i o st a m P a | Pr e s s of f i C e Sandra Binazzi Martina Borghi, responsabile | Manager Arianna Monteverdi, Antonio Pirozzi Co m i t a t o Di r e t t i v o | Bo a r D o f Di r e C t o r s Manuela Buono Margherita Novelli in collaborazione con Olimpia De Meo Marco Pratellesi, Presidente | President Daniele Dottorini Augusto Cacopardo, Vice Presidente -
New Spanish Films
NEW 2021 SPANISH FILMS WINTER/SPRING P.1 BERLINALE/EFM 2021 COMPLETED P.2 FORUM 9 Fugues ················································P.32 La calle del agua········································P.51 Transoceánicas·········································P.71 Mbah Jhiwo / Ancient Soul ··························P.06 9 Sevilles ················································P.32 LA Queenciañera·······································P.52 Ultrainnocence ·········································P.71 918 nights ···············································P.33 Last Days of Spring ···································P.52 Uncertain Journey·····································P.72 FORUM EXPANDED 2020······················································P.33 Lessons for the New School··························P.53 Undercover Wedding Crashers·······················P.72 Black Beauty: For a Shamanic Cinema ·············P.08 A Guide to Invisibility ·······························P.34 Lucía ····················································P.53 Vampus Horror Tales ·································P.73 A Perfect Enemy ······································P.34 Malnazidos··············································P.54 Welcome ················································P.73 CO-PRODUCTION MARKET Against the Tide ·······································P.35 Mujereando. The Lament of a Goddess ············P.54 Welcome to Spain······································P.74 Matria····················································P.10 All the Moons -
Miptv 2020 Producers to Watch Contents
MIPTV 2020 PRODUCERS TO WATCH CONTENTS DOC & FACTUAL 3 DRAMA / FICTION 36 FORMATS 112 KIDS & TEENS 149 DOC & FACTUAL DOC & FACTUAL PRODUCERS LISTED BY COUNTRY AUSTRIA FINLAND HUNGARY SOUTH AFRICA COLLABORATE: IDEAS & IMAGES GS FILM FILM-& FERNSEHPRODUKTION AITO MEDIA SPEAKEASY PROJECT HOMEBREW FILMS Lauren Anders Brown E.U. Erna AAlto László Józsa Jaco Loubser EMPORIUM PRODUCTIONS Gernot Stadler GIMMEYAWALLET PRODUCTIONS OKUHLE MEDIA Emma Read Phuong Chu Suominen IRELAND Pulane Boesak IMPOSSIBLE DOC & FACTUAL BELGIUM RAGGARI FILMS FELINE FILMS Adam Luria CLIN D’ŒIL Minna Dufton Jessie Fisk SPAIN WOODCUT MEDIA Hanne Phlypo BRUTAL MEDIA Matthew Gordon FRANCE JAPAN Raimon Masllorens BELGIUM COLLABORATION INC 4TH DOC & FACTUAL TAMBOURA FILMS UNITED STATES EKLEKTIK PRODUCTION Bettina Hatami Toshikazu Suzuki Xaime Barreiro CREATIVE HEIGHTS ENTERTAINMENT Tatjana Kozar Jaswant Dev Shrestha BLEU KOBALT KOREA ZONA MIXTA CANADA Florence Sala GINA DREAMS PRODUCTION Robert Fonollosa GALAXIE Sunah Kim DBCOM MEDIA SWITZERLAND Nicolas Boucher Thierry Caillibot GEDEON PROGRAMMES PERU SLASH PRODUCTION TORTUGA Jean-Christophe Liechti Adam Pajot Gendron Maya Lussier Seguin PACHA FILMS URBANIA MÉDIAS HAUTEVILLE PRODUCTIONS Luis Del Valle UNITED KINGDOM Philippe Lamarre Karina Si Ahmed POLAND ALLEYCATS ILLEGITIME DEFENSE Desmond Henderson CHINA Arnaud Xainte KIJORA FILM Anna Gawlita BIG DEAL FILMS - UNSCRIPTED DA NENG CULTURE MEDIA YUZU PRODUCTIONS Thomas Stogdon Hengyi Zhi Christian Popp PORTUGAL CHALKBOARD TV ENCOUNTER MEDIA Simon Cooper Qi Zhao PANAVIDEO Diana Nunes SHUTTER BUG STUIO(BEIJING) Hongmiao Yu GS FILM FILM-& FERNSEHPRODUKTION E.U. AUSTRIA My previous works & partners : We have produced over 70 documentaries/docu-dramas and documentary series on various topics such as human interest, history, culture and nature. -
The Making of an Animated Documentary
Course # 13, SIGGRAPH 2007 San Diego, CA USA The Making of an Animated Documentary Written & Presented by: Rob Bredow David Schaub Daniel Kramer Matthew Hausman Danny Dimian R. Stirling Duguid Sony Pictures Imageworks, Culver City, CA, USA ©2007 Sony Pictures Animation, Inc. All rights reserved. SURF’S UP About these notes These course notes cover new tools, processes and pipelines that were developed to make Surf’s Up a reality. These course notes are intended to serve as a reference for some of the more unique aspects of the Surf’s Up production pipeline. Many aspects of the production of the film share a lot in common with other CG feature films and have been intentionally omitted. This document is best viewed in “Facing Pages” mode if viewing digitally. i SIGGRAPH 2007 SURF’S UP SIGGRAPH 2007 ii TABLE OF CONTENTS 1. Introduction . .1 1.1. Abstract . .2 1.2. About the Film . .3 2. Making an Animated Documentary . .5 2.1. The Premise . .6 2.2. Found Footage . .7 2.3. The Live-Action Camera . .10 2.3.1. The HandyCam System . .11 2.3.2. The Hardware and Software . .12 2.4. Slow Motion and Time Manipulation . .14 2.4.1. High Speed Photography . .14 2.4.2. Step Printing . .15 2.4.3. Ramped Camera Speeds . .16 3. Animation . .19 3.1. Animation Team . .20 3.2. Character Designs . .21 3.3. Cody’s animation rig and controls . .22 3.3.1. Body Rig . .22 3.3.2. Face Rig . .24 3.4. Character Development . .28 3.4.1. -
Ukrainian Documentary Films
2013- -2015 UKRAINIAN DOCUMENTARY FILMS short medium-length feature-length in production 1 2 contents Completed Films 8 Short Films 9 Medium-Length Films 21 Feature Films 27 In Production 39 Looking for State Film Institutions in Ukraine? 60 Looking for Production Service in Ukraine? 61 Want to Distribute Your Film in Ukraine? 64 Looking for Film Festivals in Ukraine? 65 Index of Directors 66 Index of Original Film Titles 67 Index of English Film Titles 68 3 Gennady Kofman and the Docudays UA team 4 greetings Docudays UA International Documentary Film Festival planning to film in Ukraine, you will also find the contacts is the biggest venue in Ukraine, which for twelve years for various institutions and professionals to make your has annually presented to viewers the most powerful work more effective. masterpieces of creative documentary from around the world. Incredible queues in front of film theaters We hope this edition will help festival programmers during the festival week prove the huge popularity and distributors to open the modern Ukrainian of auteur’s documentaries, first of all among Ukrainian documentaries to a worldwide viewership, as much youth. We know that such popularity of documentary as it will help the industry professionals to find some films in Ukraine was formed thanks to the work of a great unbelievable stories, incredible protagonists, and most Docudays UA team. importantly, great film directors and reliable partners for your future films. But for us, it is no less important that in recent years Ukrainian documentaries have started to appear more often on screens of leading film festivals around the world. -
South Korea and the Sub- Empire of Anime
JOON YANG KIM South Korea and the Sub- Empire of Anime: Kinesthetics of Subcontracted Animation Production Th e relationship in the animation industry between Japan and South Korea has been as close as the geographic distance between the two countries. Since the mid- 1960s, South Korean studios and workers have manufactured Japa- nese animation in a mode of production referred to as hacheong in Korean and shitauke in Japanese, both of which mean “to subcontract.” In the global anime wave that started in the 1990s, this material condition of production has often been neglected or ignored, by academics as well as fans. Meanwhile in South Korea, since the mid- 1990s when the government started to promote fi lm and animation as a new national industry, the Korean term hacheong has been replaced by the English acronym OEM (original equipment manufacturing), despite no substantional changes in the condition of subcontracted produc- tion, as the former term seemed likely to off end many South Koreans’ national pride. Indeed, the issue of internationally subcontracted animation production in South Korea has long been viewed and spoken of from a nationalist perspec- tive. While intentionally ignoring the material reality of subcontracted work that has acted on the majority of the country’s animation industry, the South Korean mass media has not hesitated to propagate the notion that South Korea is the third-largest producer of animation in the world. 90 Subcontracted production in the Japanese animation industry, which I will explore in the main part of this essay, was encouraged by politico- economic factors that included location, diplomatic agreements, wage levels, and ex- change rates, and then materialized by a Taylorist work organization that went along with technologies of celluloid animation. -
Who Is Who 2021
50%-45% Deduction for investment in Spanish productions 2021 or co-productions 4% Corporation Tax Canary Islands Special Zone 50%-45% Direct deduction for international productions 0% Regional VAT www.canaryislandsfilm.com Lanzarote · Fuerteventura · Gran Canaria · Tenerife · La Gomera · La Palma · El Hierro NIPO: 114210078 Message from the CEO of ICEX Spain Trade and Investment Message from the CEO of ICEX Spain Trade and Investment Dear reader, MoreDear reader,than ever in these difficult times, we continue with our support for the Spanish animation area, presenting our sixth edition of the “Who is who” guide, a publication which provides a com- pleteContinuing picture with of Spain’sour support animation for the industry Spanish and animation highlights area, its we values are proud and its to talent.present our fi fth edition of the “Who is who” guide, a publication which provides a complete picture of Spain’s Spanishanimation creators industry are and working highlights hard its to values gain furtherand its internationaltalent. successes, following those already achieved through productions such as the Oscar nominee and BAFTA award-winning “Klaus”, theThis prestigious publication “Buñuel is your inultimate the labyrinth guide ofto the the turtles” industry, or theintroducing new adventures you to companiesof “Pocoyó” of and his friends.various sizes and profi les, including producers, studios and services providers with active projects in 2020. ANIMATION This publication is your ultimate guide to the industry, introducing you to companies of various si- zesAnimation and profiles, from Spain including is the producers, brand created studios by and ICEX services to promote providers the withSpanish active animation projects in 2021. -
Writing Animated Documentary: a Theory of Practice
WRITING ANIMATED DOCUMENTARY: A THEORY OF PRACTICE PAUL WELLS Abstract ANIMATION ACADEMY, SCHOOL OF ARTS, ENGLISH & This short discussion provides some introducto- DRAMA, LOUGHBOROUGH UNIVERSITY ry remarks on writing for the documentary form in animation. Taking into account theories of the place of animation in utilitarian films, avant-gar- de works and the essay film, the analysis, based on auto-ethnographic insights, provides some methods and approaches to developing animat- ed documentary work. These include ‘Making Animation Choices’, ‘Staging in Space’, ‘Using Attachment and Detachment’, developing ‘Epi- sodic lists and Micro-Narratives’, and deploying ‘Transition and Associative Relations’. The anal- ysis seeks to show that these approaches to the animated documentary reveal and evidence a theory of practice, and a practice of theory. Keywords: Non-Fiction Essay; Auto- Ethnography; Public Engagement; Occasion ;Purpose; Addressee; Document; Non-Fictional Dramaturgy 6 Documentary Stories… sion or as an application in its own right the crucial role of the practitioner in has not been fully considered. In the fol- choosing and organizing the material; Though animation theorists and histori- lowing discussion, then, I wish to identify a mode of practice in this instance that ans have long argued about the impor- specific approaches to writing animated borrows freely from what are arguably tance of animation per se in many areas documentary, using theoretical concepts the “guru” templates in defining structure of social and cultural expression over its as tools of practice, and identifying prac- in Hollywood narratives, written by Field, long history, it is only comparatively re- tical applications, illustrated through the Vogler, McKee and their like.1 Bernard cently that animation’s self-evident role perspectives of practitioners and my sees such work as plot or character driv- in public engagement has been proper- own screenwriting practice in the form en or question-led, but just as concerned ly acknowledged. -
'The Other' Through Narrative Empathy in Animated Documentary
DRAWING THE UNSPEAKABLE – UNDERSTANDING ‘THE OTHER’ THROUGH NARRATIVE EMPATHY IN ANIMATED DOCUMENTARY JAN NÅLS Abstract ARCADA UNIVERSITY How to represent the suffering of distant others? AND UNIVERSITY OF HELSINKI An international exchange program between Af- rica and Europe was set up in 2006 to tackle this issue with the help of documentary filmmaking. A result was A Kosovo Fairytale (2009), a case study of how animated documentary can pro- vide insights in how to represent ‘the other’. Theories of narrative empathy inform the under- standing of the process as well as the final film. This paper examines animated documentary from three distinct perspectives: as a pedagog- ical tool to enhance cultural understanding, as a process of narrative empathy, and as a coher- ent text which makes use of narrative strategies endemic to animated documentary in order to create emotional engagement. Conclusions suggest that animated documen- tary can be a novel way of representing the other, especially if narrative empathy is present throughout a production process, and that the process involves participatory elements where the subjects contribute to the narrative. Keywords: empathy, narrative, Africa, represen- tation, animated documentary, refugee 28 Introduction of young international film students from extended periods of immersion by the Finland, Zimbabwe and South Africa. A researcher in the field. The main method How to represent ‘the other’ – be it with Kosovo Fairytale explores the history of used in ethnography is participant obser- regard to race, culture, gender or beyond one traumatized refugee family – the vation, and the aim of using this meth- – has long been a challenge in media Neziris – who fled to Finland from Koso- od is to facilitate the understanding of practice and its study (Hall, 1997; Sho- vo and in the process were separated cultural contexts from the inside (idem).