DOCSLIB.ORG

From Doodles to Pixels Over a Hundred Years of Spanish Animation Estudios Chamartin at Casa Batlló, Barcelona, 1940’S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From Doodles to Pixels Over a Hundred Years of Spanish Animation Estudios Chamartin at Casa Batlló, Barcelona, 1940’S From Doodles to Pixels_ Over a Hundred Years of Spanish Animation Estudios Chamartin at Casa Batlló, Barcelona, 1940’s. Archivos Filmoteca Española. From Doodles to Pixels Over a Hundred Years of Spanish Animation FILM PROGRAMME CURATOR: Carolina López DVD PRODUCTION: Cameo, CCCB and AC/E CONSULTANTS: Andrés Hispano, Emilio de la Rosa WITh ThE COLLAboration OF Filmoteca de Catalunya, and Alfons Moliné Filmoteca Española, Movierecord, Tres60 Bcn, Lobster Films COORDINATOR: Cloe Masotta ORGANIZATION: Audiovisual and Multimedia Department COORDINATOR AC/E: Anael García CCCB. Director, Ángela Martínez. PRODUCTION: CCCB and AC/E 2 INDEX_ ThE PROject - pag. 4 PROjECT FORMAT AND CALENDAR - pag. 5 Session 1. DOODLES - pag. 6 Session 2. UNDER ThE YOKE - pag. 7 Session 3 .MODERN TIMES - pag. 8 Session 4. MACIÁN, ThE MAESTRO - pag. 9 Session 5. ThE ARTIST’S TRACE - pag. 10 Session 6.hUMOR AND CARNAGE - pag. 11 Session 7.DESTINO hOLLYWOOD (AND bEYOND) - pag. 12 Session 8. NEXT GENERATION - pag. 13 FILM PROGRAMME’S TEChNICAL DATA - pag. 14 FILMS MATERIAL’S SOURCE - pag. 16 ThE CURATORS - pag. 18 contact information - pag. 19 Estudios Moro Commercials (1954-1964) Todas prefieren… (Medias Jenny), José Luis Moro, 1958 3 ThE PROjECT_ From Doodles to Pixels. Over One Hundred Years of Spanish Animation is a response to the desire to showcase a little known history—that of Spanish animation cinema. Films like Chico & Rita (Javier Mariscal, Fernando Trueba y Tono Errando, 2010), Las aventuras de Tadeo Jones (Enrique Gato, 2012) or Pos Eso (Sam, 2014) have put Spanish animation on the international map, but these examples are just the tip of the iceberg of the talent and years of hard work involved in creating art and industry, in some cases against all the odds. This cycle is the result of a task of research, revision and recovery of historical material in dialogue with more recent works. From Doodles to Pixels is a coproduction of the CCCB and AC/E that brings together a selection of films animated using diverse techniques that represent turbulent times ranging from the early twentieth century to the present day. It features recurring themes such as links with the world of comic books, reflections of political concerns and dialogue with the visual arts. It’s a story with lots of gaps and isolated landmarks (Europe’s first animated colour feature was Garbancito de la Mancha), dotted with forgotten works; for years, it seemed as though Spanish animation hardly existed. This programme shows that nothing could be further from the truth. Great care has been taken to choose works representing each time period and trend, as well as highlighting Spain’s idiosyncrasy with all its cultural diversity. 4 Format AND FILM PROGRAMME CONTENTS_ The film programme, curated by Carolina López, charts a course through a selection of the landmark works of Spanish animation of all times. The cycle includes historic films (from 1908 to the end of the dictatorship in 1975) and contemporary shorts (from 1975 to the present day). This has involved the restoration and digitization of works that were previously “invisible” because of their condition or the difficulty of accessing them, using the best possible materials in each case. The travelling film programme includes 63 works by different filmmakers, plus a selection of 17 commercials by Estudios Moro, and comprises six sessions of short films, with an approximate duration of 70 minutes and two sessions of feature films. The programme comes with a triple DVD-digipack accompanied by a booklet with texts by the curator and other experts, and full information about the works and authors represented (in English and in Spanish). The touring cycle will be available from June 2015 to June 2018. All the films in the original version with Spanish and English subtitles ‘La doncella guerrera’, 5 julio Taltavull, 1974 Session 1. DOODLES_ (Duration: 81 min) The programme starts out with a short by Segundo de Chomón, the illustrious pioneer who worked in Spain, France and Italy. His short The Gold Spider is one of the most admirable pieces in his filmography with some stunning animation sequences for the time. Some vintage promotional spots using nitrate film were collected for this event, like Radio RCA (around 1935) by Enrique Ferrán, created in Barcelona during the Second Spanish Republic. A few ads by the productive Mr. Serra I Massana and other more satirical unknown artists, La bronca and Cambó i l’autonomia (around 1918), were also restored. These films demonstrate the strength of on-screen graphic humour. K-Hito (En los pasillos del congreso, 1932) and José Escobar (El fakir González) were both writers and directors. During this period, political, social comics were all the rage. Later, Javier Mariscal (Chico & Rita) and Calpurnio Pisón, two other popular contemporary cartoonists, started making animation films based on their trademark characters Los Garriris and Cuttlas. L’Araignée d’or, Segundo de Chomón, 1908, 8’40’’ (A film from the Lobster Collection) En los pasillos del congreso, K-Hito (Ricardo García), 1932, 2’ Alimentos de régimen Santiveri, Josep Serra i Massana, 1932-1935, 2’11’’ Tabú, colorete en polvo, Josep Serra i Massana, 1933, 1’08’’ Radio RCA, Enrique Ferrán, circa 1935, 2’ El fakir González buscador de oro, Joaquim Muntañola, 1942, 8’12” juanito va de caza, Salvador Mestres, 1942, 8’ El cascabel de Zapirón, Josep Escobar, 1943, 8’ Don Cleque flautista,Jaume Baguñà, 1944, 8’12’’ Garabatos: Manolete, Jaume Baguñà y Manuel Díaz, 1943-44, 8’ Los tambores de Fu-Aguarrás, Jaume Baguñà, 1945, 9’10” El bueno de Cuttlas, Calpurnio Pisón, 1991, 8’48” Amarillo verano, Javier Mariscal, 2013, 4’40” All audiences. ‘L’Araignée d’or’, ‘Radio RCA’, Segundo de Chomón, 1908 Enric Ferrán, circa 1935 6 Session 2. UNDER ThE YOKE_ (Duration: 68 min) To carry out this project, the Balet y Blay studios brought in cartoonist Arturo Moreno and handed over the script to Julián Pemartín, author of Teoría de la Falange. Garbancito is a young Catholic orphan boy who lives in a barn with his goat Peregrina. One day, the ogre Caravaca kidnaps his friends and just like Don Quixote, he courageously sets off to save them. Even though the film is influenced by the Fleischer brothers and Disney’s Silly Symphonies, the soundtrack composed by Jacinto Guerrero gives it a typically Spanish edge. The film was popular before it even hit the screens, due to the tale written by the same two authors. It was also given a higher budget than live action films made at the time, which was quickly recouped through its range of by-products. Shot in Barcelona with a crew of professionals who were learning as they went along, the film was sent to London for editing. The rolls of film then flew over the blood and fires of Europe one more time, escaping the bombardments, and the feature was released in theatres in 1945. Garbancito de la Mancha, Arturo Moreno, Spain, 1945, 68’ All audiences. ‘Garbancito de la Mancha’, 7 Arturo Moreno, 1945 Session 3 .MODERN TIMES_ (Duration: 82 min) Together with industrial development and the expanding middle class, advertising began to flourish and found a language in animation that was able to attract these new consumers. Estudios Moro, based in Madrid, became THE company for advertising films in Spain, producing thousands of animated and live action commercials, created by such names as Pablo Núñez, Paul Casalini, Marcel Breuil and Francisco Macián. A North American treatment was the order of the day, but was given a more stylish, modern and jazzy look, similar to that of the UPA studio. The illustrator José Luis Moro and his producer brother, Santiago, best reflect this trend, and together wrote one of the most exciting pages of Spain’s popular culture. Some of the best work to come out of Moro highlights this programme, whether from its stock of internationally acclaimed commercials or the unforgettable Vamos a la cama (1965). Other work focuses on ensuing decades with films by Robert Balser, Julio Taltavull, and, closer to home, Isabel Herguera, Adriana Navarro, Carles Porta and Miguel Gallardo. Estudios Moro commercials, 1954-1964, 16’29” Vamos a la cama, José Luis Moro ,1965, 36” El sombrero, Robert Balser, 1964, 8’15” La doncella guerrera, Julio Taltavull, 1974, 11’39” William Wilson, Jorge Dayas, 1999, 10’28” La gallina ciega, Isabel Herguera, 2005, 7’17” Las vidas ejemplares, Carles Porta, 2008, 11’24” El viaje de María, Miguel Gallardo, 2010, 5’42” Vía Tango, Adriana Navarro, 2013, 321” Onemoretime, José González, Tonet Calabuig y Elisa Martínez, 2014, 5’ All audiences. ‘El sombrero’, ‘Onemoretime, josé González, Rober balser, 1964 Tonet Calabuig and Elisa Martínez, 2014 8 Session 4. MACIÁN, ThE MAESTRO_ (Duration: 76 min) A distinguished Spanish animator, Francisco Macián (Barcelona, 1929-1976) created his own studio in Barcelona in 1955 where he created commercials for Estudios Moro. In 1966 he directed his first feature:El mago de los sueños (The Dream Wizard), inspired by Andersen’s fairy tale Ole Lukøje. This story and its characters La Familia Telerín became popular in Spain thanks to a promotional filmVamos a la cama (1965) for TVE (Televisión Española). Macián’s film, full of Disney references, was driven by the work of Salvador Mestres, Jaume Vila, Jordi Gim, Albert Rué and Carmelo Garmendia y Vicar (also the creator of the El mago character), as well as the modern and identifiable character designs by José Luis Moro. The soundtrack features children’s voices as well as artists from the era like Los 3 Sudamericanos, Chicho Gordillo, Ennio Sangiusto and Los de la Torre. Josep Solà wrote the music and despite the fact that this was his first opera and considering the technical difficulties they ran into during production, it’s some of the most well-loved music from Spanish animation history.
Load more

Recommended publications
  • Tidligere Vindere 1975-2012
    I dette dokument kan du finde tidligere vindere af Odense Internationale Film Festival. Derudover kan du se, hvem der var jury det pågældende år samt læse en kort beskrivelse af de enkelte festivaler. Følg hyperlinksene herunder for at komme frem til det ønskede år: 1975, 1977, 1979, 1981, 1983, 1985, 1987, 1989, 1991, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012 Hvis du har spørgsmål, er du altid velkommen til at kontakte os på telefon 6551 2837 eller på mail [email protected] 1975, 27. juli – 4. august I 1975 afholdes festivalen for første gang under navnet Den Internationale Eventyrfestival. Festivalen kunne præsentere 58 udvalgte film fra 20 forskellige lande. Filmene blev vist i Palace Biografen. Juryen bestod af: - Jan Lenica, Polen - Thorbjørn Egner, Norge - Georg Poulsen, Danmark - Niels Oxenvad, Danmark - Ebbe Larsen, Danmark 1.pris - Guldpris THE THREE COMPANIONS af Jan Karpas, Tjekkoslovakiet THE LEGEND OF POUL BUNYAN af Sam Weiss, USA 2.pris - Sølvpris THE LITTLE MATCH GIRL af Kazuhiko Watanabe, Japan Vinderfilm THE FROG PRINCE af Jim Henson, USA THE SHADOW af Jørgen Vestergaard, Danmark THE SWINEHERD af Gene Deitch, Danmark ARROW TO THE SUN af Gerald McDermott, USA BLACK OR WHITE af Waclaw Wajser, Polen Personlige priser Thorbjørn Egner: THE BAG OF APPLES af Vladimir Bordzilovskij, U.S.S.R. Speciel Jurypris: THE SERIES OF CARTOONS af Raoul Servais, Belgien 1977, 31. juli - 7. august Den 2. Internationale Eventyrfestival bød på 68 film fra 18 forskellige lande. Filmene blev vist i Palads Teatret, Bio Centret, Folketeatret Grand og Bio Vollsmose.
    [Show full text]
  • To Academy Oral Histories Marvin J. Levy
    Index to Academy Oral Histories Marvin J. Levy Marvin J. Levy (Publicist) Call number: OH167 60 MINUTES (television), 405, 625, 663 ABC (television network) see American Broadcasting Company (ABC) ABC Circle Films, 110, 151 ABC Pictures, 84 A.I. ARTIFICIAL INTELLIGENCE, 500-504, 615 Aardman (animation studio), 489, 495 AARP Movies for Grownups Film Festival, 475 Abagnale, Frank, 536-537 Abramowitz, Rachel, 273 Abrams, J. J., 629 ABSENCE OF MALICE, 227-228, 247 Academy Awards, 107, 185, 203-204, 230, 233, 236, 246, 292, 340, 353, 361, 387, 432, 396, 454, 471, 577, 606, 618 Nominees' luncheon, 348 Student Academy Awards, 360 Academy of Motion Pictures Arts and Sciences, 361-362, 411 Academy Board of Governors, 312, 342, 346-349, 357, 521 Academy Film Archive, 361, 388, 391, 468 Public Relations Branch, 342, 344, 348, 356 Visiting Artists Program, 614, 618 ACCESS HOLLYWOOD (television), 100, 365 Ackerman, Malin, 604 Activision, 544 Actors Studio, 139 Adams, Amy, 535 THE ADVENTURES OF HUCKLEBERRY FINN, 71, 458 THE ADVENTURES OF TINTIN, 126 Aghdashloo, Shohreh, 543 Aldiss, Brian, 502 Aldrich, Robert, 102, 107, 111 Alexander, Jane, 232, 237 Ali, Muhammad, 177 ALICE IN WONDERLAND (2010), 172, 396 ALIVE, 335 Allen, Debbie, 432 Allen, Herbert, 201, 205 Allen, Joan, 527-528 Allen, Karen, 318, 610 Allen, Paul, 403-404 Allen, Woody, 119, 522-523, 527 ALMOST FAMOUS, 525-526, 595 ALWAYS (1989), 32, 323, 326, 342, 549 Amateau, Rod, 133-134 Amazing Stories (comic book), 279 AMAZING STORIES (television), 278-281, 401 Amblimation, 327, 335-336, 338, 409-410
    [Show full text]
  • Spanish Animation in 2012
    English Information 173 · Molecular Zombi and Pablo Llorens’ · Spanish Animation in 2012 · Martian Parenthood · Keywords Key words Animation, crisis, change, funding, short films, Pablo Llorens, clay, Valencia, Molecular Zombi, feature films. stop-motion. Biography Biography Samuel Viñolo Locuviche (Almeria, 1978) has a Rosa Torres Pujol studied Audiovisual Communi- degree in Communication Studies from the Univer- cation at the University of Valencia (UV). She is in- sidad de Sevilla, and has worked as an animator in terested in the possibilities of animation to approach Germany and Spain. After finishing his Master The- social taboos, subject she has explored in the Artistic sis in Castellon de la Plana (Spain), he is currently Production Master she finished at Universitat Poli- preparing a PhD about CGI Catalonian Animation tècnica de València. She has been a speaker at the at the Universitat of Barcelona (Spain). He also has Seminar on ICT in the UV (2008) and cooperating- been responsible for the animation blog Animaholic teacher offering a class about “The annihilating ani- Magazine since 2005. mation of the stereotypes”, from the Master’s Degree in Languages and Literatures (2010). Her short film Imperfecta was shown at the 26th edition of Cinema · Coffee with Guillermo García Carsí (El Jove, and nowadays she is about to make an animated Señor Studio) · video installation. Key words El Señor Studio, animation, characters’ creation, · O Apostolo, by Fernando Cortizo · 2D, 3D, series, coproduction. Biography Key words Sara Álvarez Sarrat is Senior Lecturer at the Stop-motion, puppets, Spanish film, Paul Naschy, Department of Design, Universitat Politècnica de Galicia. València, and PhD in Fine Arts from 2002.
    [Show full text]
  • ANNEX IV ISLA CARTOON, a SUCCESSFUL CASE Annex IV
    Ibero-American Animation Quirino White Paper ANNEX IV ISLA CARTOON, A SUCCESSFUL CASE Annex IV Isla Cartoon, a successful case The Animation lives in a sweet moment in Tenerife, both for the studios of the island and for professionals and students looking to make a career in this exciting industry. Companies like 3 Doubles, BWater, La Casa Animada and Mondo TV Iberoamérica develop from Tenerife millionaire productions that compete in international markets and have become success stories of what is now known as Isla Cartoon. Long before the boom of animation came to Tenerife, the largest of the eight Canary Islands, practically all the Hollywood majors had already discovered the wonders of this overseas territory: an unusual variety of landscapes, stable weather all year round, pool of local talent and one of the biggest tax incentives in Europe. Tenerife has hosted big shootings. However, it was in 2015 when the island included the animation sector in its commitment to strategic and complementary sectors to the more than 4 decades successful tourism sector. Strong institutional support, increasing fiscal incentives and a strategy designed to facilitate the establishment of companies were decisive, so that in just 3 years, Tenerife managed to go from 2 local animation studios and thirty jobs to the current 7 studios. and its more than 300 jobs. During this period, this Cartoon Island has also positioned itself as a meeting point for Ibero-American animation by becoming promoter and the main sponsor as well as host of the Quirino Awards and the international animation lab Bridging the Gap, that join to the existing ones as MiradasDoc with thirteen editions to his credit.
    [Show full text]
  • Dreamworks Animation SKG, Inc
    DreamWorks Animation SKG, Inc. Website dreamworksanimation.com DreamWorks Animation SKG, Inc. (NASDAQ: DWA) is an American animation studio based in Glendale, California that creates animated feature films, television program and online virtual worlds. They have released a total of 22 feature films, including Shrek, Madagascar, Kung Fu Panda and How to Train Your Dragon series. Although the studio also made traditionally animated films about serious subjects earlier, such as The Prince of Egypt, Joseph: King of Dreams, The Road to El Dorado, Spirit: Stallion of the Cimarron, and Sinbad: Legend of the Seven Seas, most of their computer-generated films and television series have now gained the studio a reputation for being focused on popular culture and satire. The studio was formed by the merger of the feature animation division of DreamWorks and Pacific Data Images (PDI). Originally formed under the banner of DreamWorks in 1997 by some of Amblin Entertainment's former animation branch Amblimation alumni, it was spun off into a separate public company in 2004. DreamWorks Animation currently maintains two campuses: the original DreamWorks feature animation studio in Glendale, California and the PDI studio in Redwood City, California. Films produced by DreamWorks Animation are currently distributed worldwide by Paramount Pictures, a subsidiary of Viacom, who acquired the DreamWorks live-action studio in February 2006, spinning it off again in 2008. History The PDI/DreamWorks Studio in Redwood City, California 1994–2004 On October 12, 1994, DreamWorks SKG was formed and founded by a trio of entertainment players, director and producer Steven Spielberg, music executive David Geffen, and former Disney executive Jeffrey Katzenberg.
    [Show full text]
  • The Neverhood Doug Tennapel and Mike Dietz Take Us on a Full Tour of the Neverhood, a Cutting-Edge Studio Which Uses Claymation to Create Interactive Games
    Vol.Vol. 22 IssueIssue 99 December 1997 Gaming!Gaming! JetJet PilotPilot ReviewsReviews FlightFlight SimsSims GamesGames onon thethe WebWeb ToolsTools 101101 Multimedia Down Under InsideInside TheThe Plus: A Conversation NeverhoodNeverhood with Jerzy Kucia and Piotr Dumala Table of Contents December 1997 Vol. 2, . No. 9 4 Editor’s Notebook It’s getting to be time to pay attention... 5 Letters: [email protected] GAMING! 7 Welcome To The Neverhood Doug TenNapel and Mike Dietz take us on a full tour of The Neverhood, a cutting-edge studio which uses claymation to create interactive games. 11 Plus: Mike Dietz explains The Neverhood’s unique stop-motion animation process in detail. 13 Multimedia Down Under Mark Morrison gives us the lowdown on the Australian multimedia world. Despite government support and eager talent, distance and distribution remain two challenges. 18 PlayStation:An Unassuming Jack Why is the Sony PlayStation becoming the most popular home gaming console? Joseph Szadkowski sheds light on their shrewd, and simple, business plan. 22 Tools of the Trade:What Do I Need to Create Interactive Games? Interactive producer Tim Samoff describes his favorite tools for making interactive games. 25 Online Gaming: From Avatars to Wizards Christopher Harz explains how to get started in the new world of cyberspace. 29 MIPCOM Meets MILIA MIPCOM consultant Frederique Doumic answers her most frequently asked questions regarding the merging of the gaming and animation industries. 34 Russia: Gaming for Everybody Natalya Loukinykh gives us an inside look at the potential of Russia’s digital future. 37 1997 Gaming Report:The Best of the Bunch Animation World Magazine’s picks for the top animated games of 1997.
    [Show full text]
  • PRESSBOOK ITALIANO Di CATTIVISSIMO ME
    UNIVERSAL PICTURES Presenta Una Produzione CHRIS MELEDANDRI STEVE CARELL in JASON SEGEL RUSSELL BRAND KRISTEN WIIG MIRANDA COSGROVE WILL ARNETT DANNY MCBRIDE JACK MCBRAYER e JULIE ANDREWS Produttori Esecutivi NINA ROWAN SERGIO PABLOS Basato sul racconto SERGIO PABLOS Sceneggiatura di CINCO PAUL & KEN DAURIO Prodotto da CHRIS MELEDANDRI JANET HEALY JOHN COHEN Diretto da CHRIS RENAUD PIERRE COFFIN Ufficio Stampa Universal Pictures International Italy Cristina Casati: [email protected] Marina Caprioli: [email protected] Riccardo Tinnirello: [email protected] Uscita italiana: 15 Ottobre 2010 CATTIVISSIMO ME - Pressbook SINOSSI In un ridente quartiere di periferia, circondato da steccati bianchi e cespugli di rose in fiore, si erge una casa nera, su un prato desolato. Ad insaputa del vicinato, dietro questa casa, c’è un grande rifugio segreto. Lì, in mezzo a un piccolo esercito di schiavi, scopriamo Gru (doppiato da Steve Carell), che sta progettando il più grande colpo della storia del mondo: rubare la luna! (si, proprio la luna) Gru adora ogni genere di misfatti. Armato di un arsenale di razzi che restringono o congelano e di veicoli in grado di combattere via terra e via aria, Gru travolge e conquista tutto ciò che trova sulla sua strada. Ma tutto questo cambia il giorno in cui si imbatte in tre ragazzine orfane molto determinate, che gli daranno filo da torcere e che vedono in lui qualcosa che nessun altro ha mai visto prima: un potenziale papà. Un cast di celebrità guidato da Steve Carell (Ortone e il mondo
    [Show full text]
  • ANNEX I WOMEN DIRECTORS in IBERO-AMERICAN ANIMATION: the FUTURE WILL BE FEMINIST of WILL NOT HAPPEN Annex I
    Ibero-American Animation Quirino White Paper ANNEX I WOMEN DIRECTORS IN IBERO-AMERICAN ANIMATION: THE FUTURE WILL BE FEMINIST OF WILL NOT HAPPEN Annex I Women Directors in Ibero-American Animation: The Future Will Be Feminist or Will Not Happen Ibero-American animated films - like all others - are told by men. Of the nearly 300 premieres* in the Ibero-American region, less than 20 have been directed by women, and less than ten are co-directed by at least one woman and one man. These figures help us focus on gender representativeness and the types of worlds and characters that are portrayed in animated films aimed at children and young and adult audiences, highlighting the gender gap in the industry. The figures in terms of premieres and projects in development call for a change that can’t be just lectures and meetings- proactive measures are needed to achieve a much-desired gender equality. By Marta García Since the launch of the first animated feature film in history, “The Apostle” by Quirino Cristiani in 1917, about 60 animated features have been released in Argentina, according to data from INCAA (Instituto de Cine y Artes Audiovisuales de Argentina); of which only ten were directed by women. In 2002, María Valentini led the way with “Bahía mágica”, a co-production by Cine Media Group, Naya Films, Cinecolor, JZ y Asociados and Mundo Marino with MDA Films from Spain, about a female biologist with a passion for animals. In 2007, Liliana Romero co-directed “Martín Fierro, la película” with Norman Ruiz (Aleph Media, Argentina/ Maíz Producciones, Spain).
    [Show full text]
  • 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.
    [Show full text]
  • The Animated Movie Guide
    THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues.
    [Show full text]
  • Animation-Insiders-Ebook-Web.Pdf
    ANIMATION INSIDERS W orkflow e dition ACKNOWLEDGEMENT/ 5 INTRODUCTION/ 7 MIKE NGUYEN 8 EMILE GHORAYEB 12 PABLO NAVARRO 16 JASON RYAN 40 JASON MORTINSEN 46 ANA MARIA ALVARADO 50 RENO ARMANET 54 JASON SCHLEIFER 70 PEDRO BLUMENBAUM 76 ANTHEA KEROU 88 GABRIELE PENNACCHIOLI 92 MATT STRANGIO 94 VICTOR NAVONE 102 CONCLUSION/ 107 LIST OF CONTENT SPECIAL THANKS/ 109 ACKNOWLEDGEMENT/ 5 INTRODUCTION/ 7 MIKE NGUYEN 8 EMILE GHORAYEB 12 PABLO NAVARRO 16 JASON RYAN 40 JASON MORTINSEN 46 ANA MARIA ALVARADO 50 RENO ARMANET 54 JASON SCHLEIFER 70 PEDRO BLUMENBAUM 76 ANTHEA KEROU 88 GABRIELE PENNACCHIOLI 92 MATT STRANGIO 94 VICTOR NAVONE 102 CONCLUSION/ 107 LIST OF CONTENT SPECIAL THANKS/ 109 I would like to extend our most sincere thanks to the extraordinary ani- mators who were involved with this book. You generously shared with us your knowledge and vision about animation. Your passion for what you do easily shows, and without you, Animation Insiders would never have seen the light of day. Thank you PATRICK BEAULIEU ACKNOWLEDGEMENTS ANIMATION INSIDERS / ANIMATION LEDGEMENTS ACKNOW- 4 5 I would like to extend our most sincere thanks to the extraordinary ani- mators who were involved with this book. You generously shared with us your knowledge and vision about animation. Your passion for what you do easily shows, and without you, Animation Insiders would never have seen the light of day. Thank you ACKNOWLEDGEMENTS PATRICK BEAULIEU ACKNOWLEDGEMENTS ANIMATION INSIDERS / ANIMATION LEDGEMENTS ACKNOW- LEDGEMENTS 4 5 When I was in school, it was very difficult to get valuable learning mate- It is still incumbent on you to formulate good ideas for your shots.
    [Show full text]
  • SIGGRAPH 2007 Computer Animation Festival Final Report 3/26/2008
    SIGGRAPH 2007 Computer Animation Festival Final Report 3/26/2008 SIGGRAPH 2007 Computer Animation Festival Final Report Paul Debevec USC Institute for Creative Technologies SIGGRAPH 2007 Computer Animation Festival Chair [email protected] Last Update: March 26, 2008 This document presents the final report for the SIGGRAPH 2007 Computer Animation Festival. It provides relevant information about decisions made and work executed for the various aspects of putting on the show, and suggestions for improvements for future years. If you have any questions about this report – especially if you are in the process of organizing a SIGGRAPH Computer Animation Festival or similar event yourself – please feel free to contact me at [email protected]. Paul Debevec, USC ICT Page 1 SIGGRAPH 2007 Computer Animation Festival Final Report 3/26/2008 Contents Chairing a successful SIGGRAPH Computer Animation Festival was enormously rewarding but a huge amount of work. It required recruiting a skilled and dedicated CAF committee and anticipating, planning, and executing hundreds of tasks efficiently and effectively. This document describes the most significant tasks with an eye toward helping future CAF chairs learn from both the successes and lessons learned from putting on the SIGGRAPH 2007 Computer Animation Festival. The organization is as follows: Writing the Call for Participation ....................................................................................... 4 Setting the submission deadline.....................................................................................
    [Show full text]