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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
7A Temporada 4.- El Rayo Mortal / Mr. Wonderful Daniel Clowes Gener 2014
7a Temporada 4.- El Rayo Mortal / Mr. Wonderful Daniel Clowes Gener 2014 Índex: Club de Lectura: L’autor: Daniel Clowes ......................................................................................................................................... 1 La seva obra .............................................................................................................................................................. 1 El Rayo Mortal / Daniel Clowes Random House Mondadori, 2013 El Rayo Mortal / Ressenya / Gerardo Vilches.......................................................................................... 2 El Rayo Mortal / Article / Juanjo Villalba................................................................................................... 3 Mr. Wonderful / Daniel Clowes Random House Mondadori, 2012 Mr. Wonderful / Ressenya / Gerardo Vilches........................................................................................... 5 Mr. Wonderful / Article / Antonio Fraguas ................................................................................................ 6 “Wilson es una respuesta triste a Mr. Wonderful ” / Entrevista / Noel Murray ........................................ 8 “El Rayo Mortal no trata de mostrar un mundo, sino insinuarlo” / Entrevista / Albert Fernández .. 9 Altres Recomanacions ....................................................................................................................................................... 10 Novetats de la tardor / Secció Còmics d’Adults / Bib. -
7 1Stephen A
SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Bachelor of Fine Arts in Film Production New York University 1985 Submitted to the Media Arts & Sciences Section, School of Architecture & Planning in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE at the Massachusetts Institute of Technology September, 1990 c Massachusetts Institute of Technology, 1990 All Rights Reserved I Signature of Author Media Arts & Sciences Section Certified by '4 A Professor Glorianna Davenport Assistant Professor of Media Technology, MIT Media Laboratory Thesis Supervisor Accepted by I~ I ~ - -- 7 1Stephen A. Benton Chairperso,'h t fCommittee on Graduate Students OCT 0 4 1990 LIBRARIES iznteh Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 MITLibraries Email: [email protected] Document Services http://libraries.mit.edu/docs DISCLAIMER OF QUALITY Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. If you are dissatisfied with this product and find it unusable, please contact Document Services as soon as possible. Thank you. Best copy available. SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Submitted to the Media Arts & Sciences Section, School of Architecture and Planning on August 10, 1990 in partial fulfillment of the requirements for the degree of Master of Science ABSTRACT Film Production has always been a complex and costly endeavour. Since the early days of cinema, methodologies for planning and tracking production information have been constantly evolving, yet no single system exists that integrates the many forms of production data. -
1 Daniel Clowes (1961- ) Is a Highly
Integrity of the Page: The Creative Process of Daniel Clowes Daniel Clowes (1961- ) is a highly-regarded cartoonist, graphic novelist, and screenwriter. He is best known for his Eightball comic book series (1989-2004) and for his graphic novels Ghost World (1997), Ice Haven (2005), Wilson (2010), Mister Wonderful (2011), and The Death-Ray (2011). The Special Collections Research Center acquired Clowes’ archive in 2015. The acquisition honors Clowes’ personal ties to the University of Chicago – Clowes was born in Chicago and spent much of his childhood in Hyde Park where he attended the University of Chicago Laboratory School until 1979. His grandfather, James Lea Cate (1899-1981), was a history professor at the University of Chicago from 1930 to 1969, and Dr. Cate’s personal papers reside in the Special Collections Research Center. Clowes’ archive also anchors a growing collection of Chicago-related contemporary comics at the Library. The collection supports a burgeoning, cross-disciplinary interest in comics for research and teaching at the University. The Clowes archive contains notes, outlines, narrative drafts, character sketches, draft layouts, and more for three of Clowes’ books: Ice Haven, Mister Wonderful, and The Death-Ray. The exhibition pieces this material together, tracing the evolution of Clowes’ art from conception to production to publication. The materials on display emphasize the exceptional tangibility of Clowes’ work in an era when art can easily be made, and then unmade, on a computer. Throughout his career, the physicality of his craft has been a vital component of his artistic vision and creative process. Clowes remains dedicated to simple paper, pencil, and ink – to what he calls the “integrity of the page.” Explanatory panels throughout the exhibition are composed of excerpts from interviews with Clowes in which he articulates aspects of his style and technique. -
Winsor Mccay
Winsor McCay The Ohio State University Cartoon Research Library Union List This union list of work by Winsor McCay and related materials available at The Ohio State University Cartoon Research Library is published to provide researchers and collectors a single source of information compiled from several unpublished finding aids. Finding numbers are listed for the convenience of researchers. None of the books or serials relating to Winsor McCay that are available in the library are included in this list because information about these works is available on OSCAR, Ohio State University Libraries’ on-line catalog. McCay materials in the San Francisco Academy of Comic Art Collections (SFACA) gathered by Bill Blackbeard, Director, are not included because they are unprocessed at the present time. When the SFACA materials become available, a virtually complete archive of the published works of Winsor McCay will be accessible here. For further information, please contact the library. We are grateful to many persons for their role in making the rich resources described in this union list available to the public at the Cartoon Research Library: To collectors Bob Bindig, Henriette Adam Brotherton, John Canemaker, Leo and Marie Egli, Richard Gelman, Woody Gelman, Charles Kuhn, and Philip Sills for sharing their treasures. To Director of Libraries, William J. Studer, for making the initial acquisition of Gelman materials possible. To Pamela Hill for her assistance. To Erin Shipley for her patient work on this publication. Winsor McCay The Ohio State University Cartoon Research Library Union List Unless otherwise noted, all Winsor McCay materials form part of the Woody Gelman Collection. -
The Waking Life of Winsor Mccay: Social Commentary in a Pilgrim's
University of Richmond UR Scholarship Repository Student Publications Student Research 7-2015 The akW ing Life of Winsor McCay: Social Commentary in A Pilgrim’s Progress by Mr. Bunion Kirsten A. McKinney University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/student-publications Part of the Graphic Design Commons, Illustration Commons, and the United States History Commons This is a pre-publication author manuscript of the final, published article. Recommended Citation McKinney, Kirsten A., "The akW ing Life of Winsor McCay: Social Commentary in A Pilgrim’s Progress by Mr. Bunion" (2015). Student Publications. 1. http://scholarship.richmond.edu/student-publications/1 This Post-print Article is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Student Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. The Waking Life of Winsor McCay: Social Commentary in A Pilgrim’s Progress by Mr. Bunion By Kirsten A. McKinney ABSTRACT This article suggests that comic scholars and historians of American culture take a closer look at Winsor McCay’s A Pilgrim’s Progress by Mister Bunion. Known as the father of animation and the artistic virtuoso behind the classic children’s comic Little Nemo in Slumberland, McCay actually did most of his comic work for adults. Published in the daily The New York Evening Telegram, McCay’s adult works included Dream of the Rarebit Fiend (1904-1911), A Pilgrim’s Progress by Mr. Bunion (1905-1909) and Poor Jake (1909-1911). -
The Cambridge History of the Graphic Novel Edited by Jan Baetens , Hugo Frey , Stephen E
Cambridge University Press 978-1-107-17141-1 — The Cambridge History of the Graphic Novel Edited by Jan Baetens , Hugo Frey , Stephen E. Tabachnick Index More Information 659 Index (À Suivre) see also Adèle Blanc- Sec (Tardi) ; Corto anime, Japanese Maltese (Pratt) adaptations of Tezuka’s works, 597 – 598 comics as literature, 252 – 253 , 266 – 267 Akira (Otomo), 331 – 332 , 546 , 598 retelling of genre i ction, 251 – 252 , 253 Astro Boy (Tezuka), 324 , 326 , 333 The World of Edena cycle (Moebius), domestication of, 333 264 – 266 foreignization strategies and, 331 – 333 (L’)Association, 69 subtitles and foreignization, 326 Abdelrazaq, Leila transculturation of texts, 326 Baddawi , 416 – 417 arabesque romanticism, 26 – 27 , 30 , 32 Abel, Robert W., 372 Archie , 103 , 305 , 357 – 358 , 469 Abirached, Zeina art brut, 136 , 140 – 141 A Game for Swallows: to Die, to Leave, to Atwood, Margaret, 492 Return , 415 – 416 author–artist teams Abouet, Marguerite complete author remit of graphic Aya de Yopugon , 601 novels, 54 Adams, Jef , 398 , 400 creative output, 11 Adèle Blanc- Sec (Tardi) Moore and Gibbons, 226 – 227 narrative structure, 260 – 261 negative capability, 201 noir tradition in, 258 rise in, 219 otherness in, 258 – 260 on Sandman (Gaiman), 345 – 346 urban environment of, 258 – 260 Töpf er’s embodiment of, 32 – 33 and World War I, 261 – 262 authorship adult comic strips see also Barbarella (Forest) ; auterist model, 219 Grove Press of comix, 159 – 160 debates over, 133 – 134 creative expression and underground in France, 134 – 135 , 263 comics, 156 – 157 , 158 , 161 – 162 , 269 , 304 inl uence of Barbarella on, 135 – 136 Daniel Clowes’ author– reader relationship, scholarship on, 6 – 7 366 – 368 Adult Comics (Sabin), 5 , 6 , 380 Eisner’s portrait of the artist at work, Aldama, F. -
Jewish Comics; Or, Visualizing Current Jewish Narrative
I Jewish Comics + Jewish Comics; Or, Visualizing Current Jewish Narrative Derek Parker Royal Executive Editor, Philip Roth Studies Over the past several years, there has been rapidly growing interest in Jews and comics-not comics of the Groucho Marx, Woody Allen, and Jerry Seinfeld variety, but those as presented on the paneled pages of the newspaper funnies, comic books, and graphic novels.1 In the past four years alone, there have been no less than seven tides devoted exclusively to the history and analysis ofJews and comic art, and these books do not even include the many recent com ics-related texts with substantive portions devoted to specific Jewish authors.2 1"Graphic novel" is a term that is not without its problems, but I am using it here not only because of its widespread common use, but also to distinguish it from comic books as a publication format or delivery system. In this sense, "comics" applies to the medium as a whole, regardless of the form it takes (e.g., the editorial cartoon, the single-panel gag, the newspaper comic strip, the comic book, and the graphic novel). Furthermore, I use "graphic novel" to refer to long-form comics-as opposed to the typical American comic book which runs 32-36 pages-regardless of genre. This could include long works of fictional comics that are "novelistic" in scope, collected issues of previously published comic books or strips, comic memoirs, comics-based journalism, and even expository comics. 2Recenr books devoted solely to Jews and comics include Simcha Weinstein, Up, Up, and Oy -
This Town. Sameness, Suburbs and Spectrality in Daniel Clowes's Ghost
Last stop: this town. Sameness, suburbs and spectrality in Daniel Clowes’s Ghost World Giorgio Busi Rizzi Ghost World, first published as a graphic novel by Fantagraphics in 1997, is to date the most famous and successful work by Daniel Clowes1. It recounts a key, yet consistently mundane, moment in the life of two teenagers, Enid Coleslaw and Rebecca Doppelmeier2. It is the summer after the end of high school and the two self-proclaimed witty, cynical, different girls have to confront with the passage their coming of age involves towards an adult life, consider moving to a new town, and face the possible dissolution of their friendship3. 1 The book won the Ignatz Award (1997) and was considered by the mag- azines Times and Paste to be among the ten best graphic novels of all time. 2 Significantly, both names mirror and redouble the identity of the au- thor: Enid Coleslaw is anagram of Daniel Clowes, and Doppelmeier alludes to a pun with doppelgänger that will be explicitly made in the course of the story. Clowes even inserts in the story a third alter ego of himself, a creepy cartoonist called David Clowes. 3 On the first paperback edition’s back cover, Clowes includes a brief syn- opsis: “Ghost World is the story of Enid and Rebecca, teenage friends facing the unwelcome prospect of adulthood and the uncertain future of their com- plicated relationship” (2001). Between, vol. VIII, n. 15 (Maggio/May 2018) Giorgio Busi Rizzi, Last stop: this town Enid and Rebecca live this liminal state in an anonymous 1990s American suburb that Clowes -
Graphic Narrative: Comics in Contemporary Art
An Elective Course for Undergraduate and Graduate Students of any discipline and for English Language Students GRAPHIC NARRATIVE IN CONTEMPORARY LITERATURE & ART: EVOLUTION OF COMIC BOOK TO GRAPHIC NOVEL Basic Requirements: Appropriate language skills required by the University. This course should be of interest to anyone concerned with verbal & visual communications, popular forms, mass culture, history and its representation, colonialism, politics, journalism, writing, philosophy, religion, mythology, mysticism, metaphysics, cultural exchanges, aesthetics, post-modernism, theatre, film, comic art, collections, popular art & culture, literature, fine arts, etc. This course may have a specific appeal to fans and/or to those who are curious about this vastly influential, widely popular, most complex and thought-provoking work of contemporary literature and art form, the ‘Comics’; however it does not presume a prior familiarity with graphic novels and/or comics, just an overall enthusiasm to learn new things from a new angle and an open mind. Prerequisites: FA489: ‘By consent’ selection of students. FA490: Upon successful completion of FA489. Co-requisites: FA489: Freshmen who graduated from a high school with an English curriculum or passed BU proficiency test with an A; & sophomore, junior, senior students. FA490: Successful completion of FA 489. No requisites: FA 49I, FA49J, FA49V. Recommended Preparation: Reading all of the required readings and as many from the suggested reading list. Idea Description: Is ‘comics’ a form of both literature and art? Certainly the answer is “yes” but there are many people who reject the idea, yet many other people call those people old-school intellectuals. However, in recent years, many scholars, critics and faculty alike have accepted ‘comics’, often dubbed by many publishers as ‘graphic novel’, as a respected form of both literature and art. -
THE BOOK ABOUT MOOMIN, MYMBLE and LITTLE MY, by Tove Jansson
RECOMMENDEDAGELEVEL:ALLAGES DRAWN&QUARTERLY T OVE J ANSSON FALL 2009 CATALOGUE THEBOOKABOUT [ D & Q ’ S 2 0 TH ANNIVERSARY] MOOMIN,MYMBLE DISTRIBUTEDINCANADABY ANDLITTLEMY RAINCOASTBOOKS The treasured children’s classic, ORDERS: 1–800–663–5714 lovingly back in print “My favorite is THE BOOK ABOUT MOOMIN, MYMBLE AND LITTLE MY, by Tove Jansson. [I] discovered it when [I was] in Finland. It's just an awful lot of fun.”—James Billington, NEWSWEEK “For those wanting more gentle escapism, Tove MARKETING Jansson’s THE BOOK ABOUT MOOMIN, MYMBLE AND National Publicity LITTLE MY is a joy... teases and beguiles at every National Advertising turn.”—THE OBSERVER Web Marketing Library Marketing “THE BOOK ABOUT MOOMIN, MYMBLE AND LITTLE MY is a what–happens–next? tale with cut–outs. It ENFANT (D&Q Children’s is charmingly dated but delightful, and has an imprint) oddness to which modern illustrators might as- pire.”—SUNDAY TIMES (UK) HARDCOVER Full–Color illustrations throughout with die–cuts In a delightful, curious game of what comes next, on every page. Moomintroll travels through the woods to get 8.2 x 11.25 / 20 pages home with milk for Moominmamma. A simple trip turns into a colorful adventure as Moom- 9781897299–95–1 introll meets Mymble who has lost her sister Lit- $ 1 9 . 9 5 C D N tle My. Along the way, they endure the hijinks of all the charming characters of the Moomin world including the Fillijonks and Hattifatteners. Will OCTOBER Moomin ever make it home safe and sound? A beautiful and boisterous story by internationally acclaimed children’s author Tove Jansson, this pic- ture book is sure to tickle the fancies of parents and kids as well as Moomintroll fans everywhere! TOVE JANSSON (1914–2001) was born in Helsinki, Finland and is the Hans Christian Andersen award–winning author, cartoonist, painter and creator of the Moomintrolls. -
31 Women in Animation Films
Paper-10 Module - 31 Women in Animation Films I. (A) Personal Details Role Name Affiliation Principal Investigator Prof. Sumita Parmar Allahabad University, Allahabad Paper Coordinator Prof. Sisir Basu Banaras Hindu University, Varanasi Content Writer/Author (CW) Ajay Kumar Research Scholar, Banaras Hindu University, Varanasi Content Reviewer (CR) Samarth Shukla St Xavier’s College, Mumbai Prof. Sisir Basu BHU, Varanasi Language Editor (LE) Prof. Sumita Parmar Allahabad University (B) Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women, Media, and Films Module Name/ Title Women in Animation Films Module ID Paper-10 Module - 31 Pre-requisites Conceptual knowledge about stereotyping Objectives To help the students to critically analyse animation films and identify various gender issues inherent in them Keywords Animation, gender roles, stereotyping, Introduction We see animation everywhere around us – on the television, on internet web pages, in smartphones, in video games, and in films. Over the years, animation has evolved as a powerful tool of visual communication aided by advancement of technologies that help make them ever more realistic and immersive. Starting primarily from Europe and the USA, animation is now a global phenomenon with almost all film producing countries contributing to the wealth of animated films. However, like the live action movies, animated films from the USA, especially Disney, dominate the scene. From trivial entertainment meant for children, animation has come to be recognised as an influential art form having significant cultural implications. We now know that it is capable of affecting the thinking and behaviour of children and adults alike. Figure 1: Creating global childhool culture (screenshot from documentary Mickey Mouse Monopoly) In this module we take a look at the world of animation films and the kind of image it portrays of women through female characters.