MICHAEL RICHARD PLOWMAN, Composer for Film, Television & Games
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Annual Report 2004Shaw Television Broadcast Fund Shaw Television Broadcast Fund
Annual Report 2004Shaw Television Broadcast Fund Shaw Television Broadcast Fund 2004 Shaw Television Broadcast Fund 2004 was a milestone year at the Shaw Television Broadcast Fund, investing over $9.5 million in original Canadian children’s programming. We had a quantum leap in our funding Since 1998, the Fund has invested over enabling us to impact the children’s $35 million and supported 173 original television industry in a very big way productions. The Shaw Television Broadcast and we could not have done it without Fund is pleased to continue to finance the significant contributions from Shaw Canadian children’s television productions Communications, Star Choice Television based on their quality and innovation, Network and EastLink Cablesystems. As supported by a sound business plan. important and very key to our success this year, we welcomed two new contributors The success of this year is truly the start to Delta Cable Communications and Shaw something big for years to come. Pay Per View Ltd., a division of Shaw Cablesystems G.P. With the addition of our new contributors, we were able to increase our investments into the production of Canadian children’s and youth programming by 40% this year! 2004 Annual Report | 3 Investing in Canadian Children’s Television By Genre In Every Age Group Variety 6% Variety Magazine 3% Pre-School $2,707,500 Documentary 5% Primary (6-9) $452,800 Elementary (9-12) $4,397,950 Drama 86% Youth $1,218,650 Family $821,220 Across Canada British Columbia $397,200 Newfoundland $350,000 Nova Scotia $1,310,000 -
Klassics for Kids: the Reception of Antiquity in Children's
Klassics for Kids: The Reception of Antiquity in Children’s Entertainment Many, if not most, of today’s children will not get their first exposure to the ancient world from an ancient source, or even from a myth compendium like the justly famous D’Aulaire’s Book of Greek Myths. Instead, they are more likely to meet people from Zeus to Caesar in their favorite picture book, Saturday morning cartoon, or PG rated movie. These sources are often what draws people to the Classics in the first place, and even more often provide the foundation of their understanding of the ancient world. Indeed, large numbers of students young and old are shocked to find that Ovid’s Hercules is not the same as the man they knew from Disney movies. Understanding antiquity’s status in the modern world therefore requires us to study the materials that craft the lens through which new generations will see it. This panel hopes to be a first step in that direction. Taking their cue from CAMWS’ recent thought provoking special panels on Classical Reception in Westerns, Sword and Sandal films, and other media, this panel will approach Greece and Rome’s role in children’s entertainment from both scholarly and pedagogical perspectives. The nature and significance of divergences from ancient sources will be discussed, as will strategies to maximize the benefits children’s television, books and films provide to the classroom while minimizing the potential problems they can cause. While this panel will be focused on children’s entertainment generally, the multiform nature of this entertainment provides a vantage point by which to combine multiple genres of reception analysis into a single panel. -
Video Game Composers Apm's Adam Taylor Nathan Barr
FILM MUSIC pdalnkbaooekj]hrke_akbiqoe_bknbehi]j`pahareoekj VIDEO GAME COMPOSERS TOP GAME COMPOSERS ON THE ART, CRAFT AND BUSINESS OF VIDEO GAMES APM’S ADAM TAYLOR MUSIC LIBRARIES AND VIDEO GAME MUSIC NATHAN BARR SCORING HORROR AND HOSTEL: PART II ALF CLAUSEN THE SIMPSONS’ 400TH EPISODE JEFF & MYCHAEL THE FIRST BROTHERS OF FILM SCORING DANNA FINALE TIPS FOR COMPOSERS RKHQIA3JQI>AN/ 2*1,QO 4*1,?=J=@= + PLUS THE BUSINESS OF BUYOUTS RE@AKC=IA?KILKOANO 5GD8NQKCNE (".& $0.104*/( BY PETER LAWRENCE ALEXANDER WITH GREG O’CONNOR-READ 14 ! filmmusicmag.com In a rapidly changing technological environment that’s highly competitive, composers the world over are looking for new opportunities that enable them to score music, and for a livable wage. One of the emerging arenas for this is game scoring. Originally the domain of all synth/sample scores, game music now uses full orchestras, along with synth/sample libraries. To gain a feel for this industry, and to help you, the reader, decide if game scoring is something you want to pursue, Film Music Magazine has established an unprecedented panel in print: six top video game composers with varying styles and musical tastes, plus top game composer agent Bob Rice of Four Bars Intertainment. As you read the interviews, it will become quickly apparent that while there are many Let’s pretend that you’ve started a new music school course just for game composers. Given your experience, similarities between film and TV, and game what would you insist every student learn to master, and scoring, one major difference arises that is why? Rod Abernethy and Jason Graves:E^Zkgrhnklmk^g`mal literally within the mind of the composer. -
Happily Ever Ancient
HAPPILY EVER ANCIENT Visions of Antiquity for children in visual media HAPPILY EVER ANCIENT This work is subject to an International Creative Commons License Attribution- NonCommercial-ShareAlike 4.0, for a copy visit: http://creativecommons.org/licenses/by-nc-sa/4.0/ Visions of Antiquity for children in visual media First Edition, December 2020 ...still facing COVID-19. Editor: Asociación para la Investigación y la Difusión de la Arqueología Pública, JAS Arqueología Plaza de Mondariz, 6 28029 - Madrid www.jasarqueologia.es Attribution: In each chapter Cover: Jaime Almansa Sánchez, from nuptial lebetes at the National Archaeological Museum of Athens, Greece. ISBN: 978-84-16725-32-8 Depósito Legal: M-29023-2020 Printer: Service Pointwww.servicepoint.es Impreso y hecho en España - Printed and made in Spain CONTENTS INTRODUCTION: A CONTEMPORARY ANTIQUITY FOR CHILDREN AND YOUNG AUDIENCES IN FILMS AND CARTOONS Julián PELEGRÍN CAMPO 1 FAMILY LOVE AND HAPPILY MARRIAGES: REINVENTING MYTHICAL SOCIETY IN DISNEY’S HERCULES (1997) Elena DUCE PASTOR 19 OVER 5,000,000.001: ANALYZING HADES AND HIS PEOPLE IN DISNEY’S HERCULES Chiara CAPPANERA 41 FROM PLATO’S ATLANTIS TO INTERESTELLAR GATES: THE DISTORTED MYTH Irene CISNEROS ABELLÁN 61 MOANA AND MALINOWSKI: AN ANTHROPOLOGICAL APPROACH TO MODERN ANIMATION Emma PERAZZONE RIVERO 79 ANIMATING ANTIQUITY ON CHILDREN’S TELEVISION: THE VISUAL WORLDS OF ULYSSES 31 AND SAMURAI JACK Sarah MILES 95 SALPICADURAS DE MOTIVOS CLÁSICOS EN LA SERIE ONE PIECE Noelia GÓMEZ SAN JUAN 113 “WHAT A NOSE!” VISIONS OF CLEOPATRA AT THE CINEMA & TV FOR CHILDREN AND TEENAGERS Nerea TARANCÓN HUARTE 135 ONCE UPON A TIME IN MACEDON. -
Soundtrack Booklet BOII.Pdf
CALL OF DUTY®: BLACK OPS II ORIGINAL SOUNDTRACK TRACK LIST 1. Theme from Call of Duty® Black Ops II 25. DeFalco’s Theme 2. Alex and David 26. Symphony No. 40 in Gminor, Mozart K550 (Allegro Molto) 3. Savimbi’s Pride 27. Dockside 4. You Can’t Kill Me 28. Go Home Gringos 5. Hidden 29. The Invasion of Panama 6. Catch Me If You Can 30. Nexus Target 7. Flying Squirrels 31. Panic Attack/P.T.S.D. 8. Future Wars 32. Cordis Die 9. Rare Earth Elements 33. Farid 10. Desert Ride 34. Mason Enters/Yemenite Fight 11. Sand and Camels 35. War Machine 12. Suicide Ride/Kravchenko Interrogation/Anvil Again 36. Guerra Precioso 13. Afghanistan 2025 37. Chasing a Ghost 14. The Search for Josefina 38. On Deck 15. Niño Precioso (Feat. Kamar de los Reyes) 39. Prom Night 16. Rivers and Rain 40. Dark Skies 17. Searchlights 41. Sniper on the 110 18. Anthem 42. Streetcar Named Fire 19. Anthem (Tuey Remix) 43. Escort 20. Escape from Anthem 44. Dogfight 21. Pakistan Run (Feat. Azam Ali) 45. Adrenaline 22. Shadows (Outer Club Solar) 46. Judgment Day 23. Spider Bot 47. Hero’s Theme 24. Colossus 48. Raul Menendez Theme (“Niño Precioso” – orch. version feat. Rudy Cardenas) 49. Theme from Call of Duty® Black Ops II (Orchestral Mix) CALL OF DUTY®: BLACK OPS II ORIGINAL SOUNDTRACK CREDITS Composed, Conducted and Produced by Jack Wall Orchestrated by Neal Desby & Edward Trybek Music Editor / Assistant to Jack Wall Alex Hemlock Additional Music Jimmy (Big Giant Circles) Hinson, Sergio Jiménez Lacima Additional Editing Brian DiDomenico Tracks 1 & 49 Composed by Trent Reznor Orchestral -
DHX Media Ltd
A YEAR OF MILESTONES July 2007 November 2007 March 2008 Secured the worldwide television Issued 9,815,000 Units from Production began for Kid vs. Kat and home entertainment treasury at $1.80 per unit for total Season I, Animal Mechanicals distribution rights to My Spy Family. proceeds of $17,667,000. A Unit Season II, Canada’s Super Spellers consisted of one common share and Season I and Poppets Town Season August 2007 one-half of one common share I. Signed up a UK licensing agent for purchase warrant. Franny’s Feet. Canada’s Super Spellers launched Completed a strategic investment in online qualifying website. This Hour Has 22 Minutes Season Tribal Nova, an on-line game XIV was nominated for 4 Gemini developer and operator of gaming Acquired Halifax-based Bulldog Awards. and video-on-demand broadband Interactive Fitness Inc., a developer channels for children. of children’s entertainment centers. September 2007 Posted year end results for 2007 December 2007 April 2008 with revenues up 65%. Acquired Vancouver-based Studio B Signed a Canadian-Singaporean Productions Inc. with a library of collaboration with Scrawl Studios for Award-winning hit comedy series 400 half-hours of children’s new animated series RPG High. This Hour Has 22 Minutes returned programming and a current for its 15th season. production slate of seven shows The Guard was renewed for a including Kid vs. Kat for YTV, Ricky second season by Global Television. Production began on The Guard Sprocket – Showbiz Boy for Season I. Teletoon and Nickelodeon Networks May 2008 and Martha Speaks, a co-production Canada’s Super Spellers began local Shake Hands with the Devil with WGBH Boston. -
Spiritual Odysseys in Children's Television
Spiritual Odysseys in Children’s Television The story of Odysseus’ wanderings is part of North American story telling to the point that it can be classified as modern folklore. (Hardwick 2007). Although other aspects of Homer’s Odyssey, such as the Telemachiad and the Phaeacians, have fallen by the wayside, the dangers, temptations, and adventures that Odysseus encounters on his journey home are interwoven throughout much of children’s literature (Norton 2003, Huck & Kiefer 2004). Unsurprising, visually appealing encounters with sirens, Cyclopes, and sentient whirlpools often appear in children’s television. However, these exciting encounters are only the superficial focus of their stories. Instead, children’s television often transforms the myth of Odysseus’ journey into a journey of personal growth for the shows’ young protagonists. It is not uncommon for televised adaptations of the wanders of Odysseus to relegate Odysseus to a secondary role or outright replace him with a younger character. To give a few examples, Duck Tales’ episode “Homer Sweet Homer” sends Odysseus’s nephew, Homer, to retrace his famous relative’s steps with the help of the McDuck family, and Odie, a descended of Odysseus in Class of the Titans, encounters Calypso, Scylla, and Aeolus in the episode “Odie- sey.” These youthful characters act as stand-ins for the young viewers. As a result, Odysseus becomes older relative or father-figure to the young travelers and an object of inspiration. As the heroes make their journeys, they also struggle with their own personal feelings of weakness, failure, or inferiority and aspire to match Odysseus’ accomplishments. Rather than exploring all instances of this phenomenon, the paper will seek to illuminate the personal growth aspects of Television Odysseys through one example, an episode of Martha Speaks called “Truman and the Deep Blue Sea.” Martha Speaks is a television show aimed at children from ages 4 to 7. -
INDEPENDENT PRODUCTION AGREEMENT ("Agreement")
-·- ·· -·--- ---------- INDEPENDENT PRODUCTION AGREEMENT ("Agreement") covering FREELANCE WRITERS of THEATRICAL FILMS TELEVISION PROGRAMS and OTHER PRODUCTION between The WRITERS GUILD OF CANADA (the "Guild") and The CANADIAN FILM AND TELEVISION PRODUCTION ASSOCIATION ("CFTPA") and THE ASSOCIATION DES PRODUCTEURS DE FILMS ET DE TELJ~:VISION DUQUEBEC ("APFTQ") (the "Associations") January 1, 2010 to December 31, 20 II © 2010 WRITERS GUILD OF CANADA and CANADIAN FILM AND TELEVISION PRODUCTION ASSOCIATION AND THE ASSOCIATION DES PRODUCTEURS DE FILMS ET DE TELEVISION DU QUEBEC. TABLE OF CONTENTS Section A: General -AU Productions p. Article AI Recognition, Application and Term p. Article A2 Definitions p. 4 Article A3 General Provisions p. 14 Article A4 No Strike and Unfair Declaration p. 16 Article AS Grievance Procedures and Resolution p. 16 Article A6 Speculative Writing, Sample Pages and Unsolicited Scripts p.22 Article A7 Copyright and Contracts; Warranties, Indemnities and Rights p.24 Article A8 Story Editors and Story Consultants p.29 Article A9 Credits p. 30 Article AIO Security for Payment p.42 Article All Payments p.44 Article Al2 Administration Fee p.52 Article Al3 Insurance and Retirement Plan, Deductions from Writer's Fees p. 52 Article Al4 Contributions and Deductions from Writer's Fees in the case of Waivers p.54 Section 8: Conditions Governing Engagement p.55 Article 81 Conditions Governing Engagement for all Program Types p.55 Article 82 Optional Bibles, Script/Program Development p. 61 Article 83 Options p.62 Section C: Additional Conditions and Minimum Compensation by Program Type p.63 Article Cl Feature Film p.63 Article C2 Optional Incentive Plan for Feature Films p. -
Video Games As Digital Audiovisual Performance
University of Huddersfield Repository d©Escrivan, Julio Videogames as digital audiovisual performance Original Citation d©Escrivan, Julio (2014) Videogames as digital audiovisual performance. In: xCoAx 2014 Proceedings of the Second Conference on Computation Communication Aesthetics and X Porto, Portugal. xcoax.org, pp. 248-259. ISBN 9789897460364 This version is available at http://eprints.hud.ac.uk/21931/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ VIDEO GAMES AS DIGITAL AUDIOVISUAL PERFORMANCE JULIO D’ESCRIVÁN University of Huddersfield Huddersfield, England [email protected] Keywords: Audiovisual Performance, Digital Media, Improvisation, Soundpainting, Video Game Video games are an ideal medium for creating a live-cin- ema experience because of their potential for cinematic narrative and their open structure. ‘Performing digital media’ as opposed to ’performing with digital media’ or using digital media in performance means to ‘play the media’ like a musical instrument as much as possible. -
Sound Track Cologne
EUROPE’S LEADING EVENT ON MUSIC AND SOUND IN FILM, TV, GAMES AND MEDIA Wilbert Roget, II • Workshop Discussion Reality Check/Sync • Catherine Grieves Reality Check • Challenges for the implementation of the Working with Virtual Instruments • Chris Hein Carmine Street Guitars Davíð Þór Jónsson • Workshop Discussion Ever After • Case Study Creating the Soundscape of Anno 1800 Lolita Ritmanis • Workshop Discussion Diego Baldenweg with Nora Baldenweg and Sound Design & Music • Kraftwerk 3D – An FILMFORUM NRW Wilbert Roget, II has written diverse scores with Catherine Grieves is an experienced music su - Creative.Composers.Connection EU Copyright Directive Christian Hein and Bernd Keul demonstrate Official German Cinema Premiere Pianist, musician and composer Davíð Þór Germany, after the zombie apocalypse: In this talk Stefan Randelshofer, Audio Director EMMY Award -winning Lolita Ritmanis is one of Lionel Baldenweg • Workshop Discussion Immersive Audio Adventure IM MUSEUM memorable themes, including Call of Duty: pervisor and composer agent. Recent music Members of the track15 female composers The new EU Copyright Directive, finally the MIDI production of a beautiful orchestral Doc., D: Ron Mann, CA 2019, 80’ Jónsson is this year’s winner of the HARPA Weimar and Jena stand as last bastions of hu - at Ubisoft Blue Byte, will offer an in-depth look the most sought-after composers for animated The siblings also known as GREAT GARBO, Tom Ammermann has created Kraftwerk’s com - LUDWIG CONSILIUM WWII, Mortal Kombat 11, Lara Croft and the supervision credits include the BAFTA nomi - collective speak about composer teams. The adopted in April 2019, provides - next to re - composition: Christian explains techniques A small, inconspicuous guitar shop in Green - Nordic Film Composers Award , the joint Film manity. -
The Holy Grail: Searching for the Perfect Accent Psychometric Testing: We Know What You Are Thinking
ČASOPIS ZA UČENJE ENGLESKOG JEZIKA magazine June / July 2012 No. 2 price 35 kn ON THE ROAD London Olympics NATIVE VIEW EXPERT VIEW The Holy Grail: Psychometric testing: searching for the we know what you are perfect accent thinking Learn more Educational, fun and interactive headlines Lecture time How to... OPENVIEW TO1 2 EDITORIAL The summer is upon us and what a summer it is set to be! The Queen’s Diamond Jubilee, Euro 2012, the Olympic Games, magazine maybe the comeback of the Greek drachma, and the second is- sue of View Magazine. Let’s be honest though, the most impor- View – časopis za učenje tant event of the summer is your first appearance on the beach engleskog jezika and what to wear, and we have that covered in How To. Mihanovićeva 20, 10000 Zagreb Tel: 01 457 6639 Thank you for all your correspondence following the first issue. Fax: 01 457 6450 We really appreciate your comments and suggestions and take E-mail: [email protected] them seriously; as a result, you will find a section dedicated to Izdavač: music. We hope you enjoy it! Another new feature is the com- Lingua Media izdavaštvo d.o.o. petition page where you can win some great prizes to develop Tisak: your English further. Tiskara Velika Gorica d.o.o. Trg kralja Tomislava 38, 10410 Velika Gorica Developing and improving a language is no easy thing - there is no magic formula, no quick fix. Hard work is usually the key. Direktorica: Ivana Lieli However, reading in any language has been proven one of the [email protected] most effective ways of increasing vocabulary, improving spell- Glavni urednik: ing, and ingraining good grammar practice. -
Q&A with Thq's Gary Rosenfeld
US$7.95 in the U.S. CA$8.95 in Canada US$9.95 outside of CanadaJuly/August & the U.S. 2007 1 ® Q&A WITH THQ’S GARY ROSENFELD CCARSARS GGAINSAINS TTRACTIONRACTION IINN LLICENSEDICENSED GGAMEAME BBIZIZ NUMBER 40050265 40050265 NUMBER ANADA USPS Approved Polywrap ANADA AFSM 100 CANADA POST AGREEMENT POST CANADA C IN PRINTED 001editcover_July_Aug07.indd1editcover_July_Aug07.indd 1 77/19/07/19/07 77:00:43:00:43 PMPM KKS.4562.Cartoon.inddS.4562.Cartoon.indd 2 77/20/07/20/07 55:06:05:06:05 PMPM KKS.4562.Cartoon.inddS.4562.Cartoon.indd 3 77/20/07/20/07 55:06:54:06:54 PMPM #8#+.#$.'019 9 9 Animation © Domo Production Committee. Domo © NHK-TYO 1998. [ZVijg^c\I]ZHiVg<^gah Star Girls and Planet Groove © Dianne Regan Sean Regan. XXXCJHUFOUUW K<C<M@J@FEJ8C<J19`^K\ek<ek\ikX`ed\ek%K\c%1)()$-'+$''-+\ok%)'(2\dX`c1iZfcc`ej7Y`^k\ek%km C@:<EJ@E>GIFDFK@FEJ19`^K\ek<ek\ikX`ed\ek%K\c%1)()$-'+$''-+\ok%)'-2\dX`c1idXippXe\b7Y`^k\ek%km KKS4548.BIGS4548.BIG TTENT.inddENT.indd 2 77/19/07/19/07 66:54:45:54:45 PMPM 1111 F3 to mine MMOG space for TV concepts 114Parthenon4 Kids: Geared up and ready to invest 1177 Will Backseat TV boost Nick’s in-car profile? 225Storm Hawks5 goes jjuly/augustuly/august viral with Guerilla 0077 HHighlightsighlights ffromrom tthishis iissuessue 10 up front 24 marketing France TV to invest in Chrysler and Nick hope more content and global to get more mileage out Special Reports web presence of the minivan set with 29 RADARSCREEN backseat TV feature Fred Seibert’s Frederator Films 13 ppd tries a fresh approach to Parthenon Kids offers 26 digital