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The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
“The Bride of Frankenstein” (1935) by Dr
Short Review: “The Bride of Frankenstein” (1935) by Dr. John L. Flynn Bride of Frankenstein, The (1935). Universal, b/w, 80 min. Director: James Whale. Producer: Carl Laemmle. Screenwriters: John Balderston and Willim Hurlbut. Cast: Boris Karloff, Colin Clive, Elsa Lanchester, Ernest Thesiger, Valerie Hobson, and Dwight Frye. The first of many Universal sequels following Whale’s classic, this was one of the few sequels that was actually superior to the original. After a brief prologue that pays homage to Mary and Percy Shelley, Lord Byron and their writing competition that inspired Frankenstein, the film picks up right where the original ended, with the monster (Karloff) dying in fire. But the monster did not die, and is soon out terrorizing the locals again. Dr. Praetorius (Thesiger) and his demented assistant Karl (Frye) pay Frankenstein (Clive) a visit, and soon the three are at work on a new creature (Lanchester). Not long after his “bride” is brought to life, the monster drops in to claim her, but she only has eyes for Frankenstein. Angered, the monster blows up the laboratory, and the usual conflagration consumes them all. “Bride” was clearly the most stylishly mounted production of the 1930's, and represents a high-water mark of the Golden Age of the American Horror Film. But it should be noted that the film title is really a misnomer and has contributed much to the confusion of the mad doctor's name with the monster. The title should have been "The Bride of the Monster of Frankenstein." Oh, well. Followed four years later by “Son of Frankenstein.” Copyright 2016 by John L. -
Marquetry on Drawer-Model Marionette Duo-Art
Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number -
The Horror Film Series
Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors. -
The Bbc and the 'Radio Cartoon'
Jackson, V. (2019). ‘What do we get from a Disney film if we cannot see it?’: The BBC and the “Radio Cartoon” 1934-1941. Historical Journal of Film, Radio and Television, 39(2), 290-308. https://doi.org/10.1080/01439685.2018.1522789 Publisher's PDF, also known as Version of record License (if available): CC BY-NC-ND Link to published version (if available): 10.1080/01439685.2018.1522789 Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via Taylor & Francis at https://doi.org/10.1080/01439685.2018.1522789 . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: https://www.tandfonline.com/loi/chjf20 ‘What Do We Get from a Disney Film if We Cannot See It?’: The BBC and the ‘Radio Cartoon’ 1934–1941 Victoria Jackson To cite this article: Victoria Jackson (2019): ‘What Do We Get from a Disney Film if We Cannot See It?’: The BBC and the ‘Radio Cartoon’ 1934–1941, Historical Journal of Film, Radio and Television, DOI: 10.1080/01439685.2018.1522789 To link to this article: https://doi.org/10.1080/01439685.2018.1522789 © 2018 The Author(s). -
A Reappraisal of Three Character Actors from Hollywood’S Golden Age
University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2015 Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age Candace M. Graham University of the Incarnate Word, [email protected] Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the Communication Commons, and the Film and Media Studies Commons Recommended Citation Graham, Candace M., "Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age" (2015). Theses & Dissertations. 70. https://athenaeum.uiw.edu/uiw_etds/70 This Thesis is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact [email protected]. SECOND-BILLED BUT NOT SECOND-RATE: A REAPPRAISAL OF THREE CHARACTER ACTORS FROM HOLLYWOOD’S GOLDEN AGE by Candace M. Graham A Thesis Presented to the Faculty of the University of the Incarnate Word in partial fulfillment of the requirements for the degree of MASTER OF ARTS University of the Incarnate Word December 2015 ii Copyright 2015 by Candace M. Graham iii ACKNOWLEDGEMENTS I wish to thank Dr. Hsin-I (Steve) Liu for challenging me to produce a quality thesis worthy of contribution to scholarly literature. In addition, thank you for the encouragement to enjoy writing. To Robert Darden, Baylor University communications professor, friend, and mentor whose example in humility, good spirit, and devotion to one’s passion continues to guide my pursuit as a classic film scholar. -
Steamboat Willie
Steamboat Willie By Dave Smith, Chief Archivist Emeritus, The Walt Disney Company Walt Disney, who would become the best-known producer in animation history, had very humble beginnings. Starting his fledgling company in Hollywood in 1923, he began by making two uninspired animated series, the “Alice Come- dies,” and “Oswald the Lucky Rabbit.” But it was with his third series, featuring an enduring character, Mickey Mouse, that Walt rose to fame. That series began with the release of "Steamboat Willie" at the Colony Theater in New York on November 18, 1928. Early in 1928, Walt Disney was disheartened. He had gone to New York to negotiate with his distributor, only to discover that the distributor had taken over the rights to his Oswald cartoons. Walt began thinking of a possible successor to Oswald while riding on the train on his way back to California. There have been many stories of the inception of Mickey Mouse, but on that train ride, Walt may have been recalling a playful little mouse that had made itself at home in Walt’s Kansas City Studio, where he had first started to experiment with animation. On re- turning to California, Walt met with several of his staff members, and they came up with Mickey Mouse. Ub Iwerks, Walt’s chief animator, was tasked with actually designing the character, with input from Walt. Two Mickey Mouse cartoons were made starting that This illustration, titled “Mickey Mouse inbetweener drawing no. 469 spring, “Plane Crazy” and “The Gallopin’ Gaucho.” Walt or 479 from Steamboat Willie” appears courtesy Library of Congress tried desperately to sell a distributor on a series based on Prints & Photographs Online Catalog. -
Trivia Trivia Trivia
TRIVIA TRIVIA TRIVIA In what cartoon did What was the date of In the animated short Mickey make his Mickey’s lm debut? Plane Crazy, Mickey screen debut? Mouse pretends to be what famous aviator? Steamboat Willie November 18, 1928 Charles Lindbergh TRIVIA TRIVIA TRIVIA Who provided the What Disney artist is What was the rst original voice of credited with animating merchandise item to Mickey Mouse? the rst Mickey Mouse feature Mickey Mouse? cartoons? A child’s school writing tablet Walt Disney Ub Iwerks (licensed in 1929) TRIVIA TRIVIA TRIVIA Which four Disney Name the rst full-length theatrical What year did the rst theatrically-released feature presentations Mickey Mouse comic color cartoon to were the only ones to strip appear? feature Mickey Mouse. include an animated Mickey Mouse? Fantasia (1940), 1930 (January 13th) The Band Concert Fun and Fancy Free (1947), (February 23, 1935) Who Framed Roger Rabbit (1988) and Fantasia/2000 (2000) TRIVIA TRIVIA TRIVIA On the original What is Mickey’s most What was the rst Mickey Mouse Club recent theatrical short? Mickey Mouse cartoon television show, what and what feature lm in which Mickey Speaks? day of the week was was it released with? Talent Roundup Day? Get a Horse! - with Frozen The Karnival Kid (1929) Friday (November 27, 2013) TRIVIA TRIVIA TRIVIA What voice actor took Name the theme song In Italy, Mickey Mouse over the voice of from the original 1930’s is known as: Mickey Mouse in 2009? Mickey Mouse Clubs. Topolino Bret Iwan “Minnie’s Yoo Hoo” TRIVIA TRIVIA TRIVIA What Disney Junior What 2017 digital series What nighttime show show starring Mickey follows a new class of premiered on the Mouse featured a 8 Mouseketeers as they Rivers of America at “Mystery Mouseketool?” create music, Disneyland in 1992? choreography, and friendships? The Mickey Mouse Club Mickey Mouse Fantasmic! Clubhouse. -
Quick Reference Sheet – Full Text & Batch Search
QUICK REFERENCE SHEET – FULL TEXT & BATCH SEARCH Full Text Search ➢ Searches for words or phrases contained in the text of the document. ➢ Predicate options as follows: o With all of the words – this predicate ANDs all words entered in the search box ▪ Words need to be separated by a space ▪ Ex. apple banana orange pear will be interpreted as apple AND banana AND orange AND pear ▪ Ex. “mickey mouse” disney will be interpreted as “mickey mouse” AND Disney ▪ Ex. “donald duck” w/5 scrooge disney will be interpreted as “donald duck” w/5 scrooge AND disney o With at least one of the words – this predicate ORs all words entered in the search box ▪ Words need to be separated by a space ▪ Ex. apple banana orange pear will be interpreted as apple OR banana OR orange OR pear ▪ Ex. “mickey mouse” disney will be interpreted as “mickey mouse” OR Disney ▪ Ex. “donald duck” w/5 scrooge disney will be interpreted as “donald duck” w/5 scrooge OR disney o Without the words – this predicate is the same as using NOT in front of the words entered in the search box ▪ Words need to be separated by space. ▪ Ex. without the words apple banana orange pear = does not contain apple OR banana OR orange OR pear ➢ You must use single or double quotes around a phrase for it to be highlighted as a phrase within the text of the document. E.g. “mickey and mouse” will highlight the phrase “mickey and mouse” within the text of the document. ➢ You cannot search characters such as / or & in the full text search. -
Beginnings 1902–1928 Maturity 1928 Experimentation 1929
GET STARTED In order to solve problems and meet their BEGINNINGS MATURITY EXPERIMENTATION INNOVATION NEW DIRECTIONS LOOKING TO THE FUTURE LEGACY creative goals, Walt Disney and his animators 1902–1928 1928 1929–1937 1937 1938–1955 1955–1966 1966–PRESENT and Imagineers often had to invent new tools or improve existing ones using STEAM— GALLERY 1A, 1B & 2A GALLERY 2B GALLERIES 3 & 4 GALLERY 5 GALLERIES 6, 7, 8 & 9A GALLERY 9B GALLERY 10 science, technology, engineering, art, and Walt lived in many different places during his childhood Walt gained much success in Hollywood during the 1920s. The success of Walt’s cartoons led to a revolution in the art In the 1930s, Walt pushed the art of animation forward in many Later in Walt’s career, he began to explore new and exciting With the success of Disneyland, Walt became increasingly Walt’s death in 1966 shocked and saddened the world, math. This guide includes a timeline of Walt’s and young adulthood, but wherever he went, he brought He established the Disney Bros. Cartoon Studio and created and technology of animation. The objects in these galleries ways. One example is the development of the Multiplane forms of entertainment. He ventured into live-action films, interested in city planning and design as tools for solving but his legacy continues today. with him a curiosity about the world and a love of drawing. one of his most popular animated characters: Mickey Mouse. show the creative explosion of the 1930s. Camera, which allowed for more realistic depth in animation. documentaries, television shows, and theme park design. -
Hans 1, Salter
CLASSIC SCORES OF MY~TERYAND HORROR BY FRANK SU1WNER 4' HANS 1, SALTER SLOVAK RADIO SYMP+IONY ORCHES7RA (BRA~ISLAVA) WILLIAM 7. STROMBERCi Hans J. Salter 1896-1 994 .Frank Slcinner 1897-1 968 UNIVERSAL'S CLASSIC SCORES OF MYSTERY AND HORROR Reconstructed and orchestrated by John Morgan except 'Man Made Monster' (25-26)' orchestrated by William T. Stromberg The Ghost of Frankenstein Halls 3. Salter (1942) Universal signature (Jinznzy McHrcglz) Main Title Blowing up the Castle Freeing the Monster Renewed Life Frankenstein's Castle Arrival at Vasaria [81 Erik's Dilemma Baron Frankenstein's Diary The Monster's Trial Elsa's Discovery Dr. Kettering's Death Ygor's Scheme Baron Frankenstein's Advice A New Brain Searching the Castle Monster Kidnaps Child / Monster's Desire Brain Transfer Mob Psychology Monster Talks Death of the Unholy Three End Cast Son of Dracula Hnizs J. Snlfer (1943) Main Title Blaclc Friday Hails Salter; Cl~arlesHenderson, Cltm'les Previn (1940) Hypnosis Man Made Monster Hails J. Snlter (1941) Corlzy Electro-Biology Sherloclc Holmes and the Voice of Terror Frailk Skilzner (1942) Main Title Limehouse Christopher Doclts Voice of Terror The Spider No Time to Lose March of Hate End Title Two years before his death, celebrated Chicago newspaper columnist Mike Royko, in a sentimental gesture aimed at his seven-year-old son, merrily decided one weekend to mount a mini-festival at home highlighting the old Universal horror pictures he had enjoyed so much during his own youthful days. In a Clricogo Tribrrrre column headlined, "Horrors of the Past are G-rated Today," Royko wrote of renting videos of Universal's Drncrrlo, Frnrrker~steirrand Frorrkerrstehr Meets tlre ll'o(fA4or1, then each night viewing one of the classic horror films alongside his son. -
Bride of Frankenstein
Frankenstein and The Bride of Frankenstein Richard T. Jameson “The A List: The National Society of Film Critics 100 Essential Films, ” 2002 Reprinted by permission of the author In 1931, the director Robert Florey lived in a Los Ange- les apartment with a view of a Dutch-style bakery and its logo, a windmill complete with turning vanes. Flo- rey had just been assigned by Carl Laemmle Jr. to di- rect a production of “Frankenstein” for Universal, and as he mused on a possible look for the film, he found himself considering a windmill as a key location— perhaps the site of the scientist’s secret laboratory. As it happened, it would be James Whale, not Florey, who directed “Frankenstein,” and Henry Frankenstein would set up shop in “an abandoned watchtower.” But that windmill got lodged in the collective brain of the filmmaking team (also in one line of dialogue absent- mindedly retained from an early script draft), and fi- nally made it on screen as an opportunistic but aptly crazed-Gothic setting for the film’s fiery climax. It’s all very well to talk about aesthetically unified mas- terpieces and posit them as the definition of film art. But movies are a messy business, and the irksome (glorious?) truth is that some landmark films have be- Poster from the 1953 re-release of the ‘30s horror classic come utterly indispensable and culturally pervasive Courtesy Library of Congress Prints & Photographs Online Collection despite being created by committee and riddled with imperfections. In the case of Frankenstein, the imper- fections include half-baked sequences, tedious subsidi- ture he’d assembled from parts of dead bodies.