Walt Disney and Animation
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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 -
Digital Surrealism: Visualizing Walt Disney Animation Studios
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns. -
The Animated Roots of Wildlife Films: Animals, People
THE ANIMATED ROOTS OF WILDLIFE FILMS: ANIMALS, PEOPLE, ANIMATION AND THE ORIGIN OF WALT DISNEY’S TRUE-LIFE ADVENTURES by Robert Cruz Jr. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Science and Natural History Filmmaking MONTANA STATE UNIVERSITY Bozeman, Montana April 2012 ©COPYRIGHT by Robert Cruz Jr. 2012 All Rights Reserved ii APPROVAL of a thesis submitted by Robert Cruz Jr. This thesis has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage, format, citation, bibliographic style, and consistency and is ready for submission to The Graduate School. Dennis Aig Approved for the School of Film and Photography Robert Arnold Approved for The Graduate School Dr. Carl A. Fox iii STATEMENT OF PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it available to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis in whole or in parts may be granted only by the copyright holder. Robert Cruz Jr. April 2012 iv TABLE OF CONTENTS 1. INTRODUCTORY QUOTES .....................................................................................1 -
Original Material from Bambi and Other Disney Films in Exhibition of Animated Film Majcing
^"MUSEUM OF MODERN ART W£ST 53RD STREET, NEW YORK E: CIRCLE 5-8900 TEUTON FOR IMMEDIATE RELEASE MUSEUM OF MODERN ART SHOWS ORIGINAL MATERIAL FROM BAMBI AND OTHER DISNEY FILMS IN EXHIBITION OF ANIMATED FILM MAJCING The complicated process of making a Disney animated sound pic ture will be shown in the Young People's Gallery of the Museum of Modern Art, 11 West 53 Street, in an exhibition entitled Walt Disney1s Bambi; The Making of an Animated Sound Picture. It will open to the public Wednesday, July 15, and remain on view through August 17. The exhibition will consist of original drawings, photographs, backgrounds and painted "eels" (pictures on celluloid used to carry the action forward), not only from Disney's newest picture Bambi which will be released soon, but also from Fantasia and The Reluctant Dragon. Also included will be photographs of the Disney staff at work, exposure sheets, production schedules, the instruments and gadgets with which they produce sound effects, and even a three-dimen sional block model of the huge Disney studio in Burbank, California. To complete the visitor's excursion into the land of animated film magic a two-and-a-half-minute sequence from Bambi will be.screened before his eyes in the galleries at the touch of a button. Walt Disney was one of the first donors to the Museum of Modern Art Film Library. In the fall of 1935 he presented the Film Library with his first Mickey Mouse, Plane Crazy, never commercially released; his first Silly Symphony, Skeleton Dance; and his first cartoon in technicolor, Flowers and Trees. -
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation. -
M Usic Cel E Bra Tion Sund
May 2019 Vol. 37 No. 5 The monthly newsletter of Christ Church United Church of Christ Music celebration Sunday Music celebration “Be filled with the Spirit, addressing one another in psalms and hymns and spiritual songs, singing and making melody to the Lord with all your heart” -Eph. 5:18-19 The arrival of May ushers in nature’s full flush of flowers and trees, and the A very special worship service designed and earth rejoices with the bursting forth of new life. led by Christ Church’s high school youth. Creation is humming again with the joyous Experience worship unlike anything you’ve sound of the season! What better way to experienced before! celebrate than through music! As the birds sing their joy-filled songs, we offer our praises to God Youth Sunday is a one worship Sunday at with song during Music 10:00 a.m. Faith Formation hour from Celebration Sunday! 9 - 9:45 a.m. Join all the wonderful musical ensembles of Christ Church Sunday, May 5th for Music Celebration Sunday! 1 The NET Monthly Newsletter of Christ Church United Church of Christ FAITH FORMATION & YOUTH Older Youth Summer Book Study is coming! We will be reading Lysa TerKeurst’s book Uninvited. Stay tuned for MAY 17-18 more information! Sign-up on the Youth Board BRING YOUR FRIENDS! May 12th, 11:00 a.m. BAKE SALE hosted by our Middle School youth is set after Youth Sunday, on May 12th. Proceeds benefit our Youth Fund. Parents interested in do- nating a baked good should call or text Amy Addams (717) 371-6105 or email [email protected]. -
Bob Iger Kevin Mayer Michael Paull Randy Freer James Pitaro Russell
APRIL 11, 2019 Disney Speakers: Bob Iger Chairman and Chief Executive Officer Kevin Mayer Chairman, Direct-to-Consumer & International Michael Paull President, Disney Streaming Services Randy Freer Chief Executive Officer, Hulu James Pitaro Co-Chairman, Disney Media Networks Group and President, ESPN Russell Wolff Executive Vice President & General Manager, ESPN+ Uday Shankar President, The Walt Disney Company Asia Pacific and Chairman, Star & Disney India Ricky Strauss President, Content & Marketing, Disney+ Jennifer Lee Chief Creative Officer, Walt Disney Animation Studios ©Disney Disney Investor Day 2019 April 11, 2019 Disney Speakers (continued): Pete Docter Chief Creative Officer, Pixar Kevin Feige President, Marvel Studios Kathleen Kennedy President, Lucasfilm Sean Bailey President, Walt Disney Studios Motion Picture Productions Courteney Monroe President, National Geographic Global Television Networks Gary Marsh President & Chief Creative Officer, Disney Channel Agnes Chu Senior Vice President of Content, Disney+ Christine McCarthy Senior Executive Vice President and Chief Financial Officer Lowell Singer Senior Vice President, Investor Relations Page 2 Disney Investor Day 2019 April 11, 2019 PRESENTATION Lowell Singer – Senior Vice President, Investor Relations, The Walt Disney Company Good afternoon. I'm Lowell Singer, Senior Vice President of Investor Relations at THe Walt Disney Company, and it's my pleasure to welcome you to the webcast of our Disney Investor Day 2019. Over the past 1.5 years, you've Had many questions about our direct-to-consumer strategy and services. And our goal today is to answer as many of them as possible. So let me provide some details for the day. Disney's CHairman and CHief Executive Officer, Bob Iger, will start us off. -
SCENE 6: VANYA WE LICKED POSTAGE STAMPS! We Didn't Have
SCENE 6: VANYA WE LICKED POSTAGE STAMPS! We didn't have answering machines. You had to call people back. (MASHA moves away.) , We ate Spam, just like the soldiers in World War II did. (to SPIKE) Have you heard of World War II? We played Scrabble and Monopoly. We didn't play video games, in some virtual reality, where we would kill policeman and prostitutes as if that was some sort of entertainment. The popular entertainment wasn't so insane back then. It was sometimes corny, but sincere. We all saw the movie "Davy Crockett" and wore coonskin caps. That may not sound sane, wearing those caps, but it was very innocent. And we all did it, there was a solidarity about it, unlike being alone in your room killing prostitutes in a video game. We followed The Adventures of Ozzie and Harriet. Which starred the real life Ozzie and Harriet Nelson.But "Adventures" was a strange word for the show because it was extremely uneventful. They did things like ...make popcorn in the kitchen. Or ...Iook for missing socks. In retrospect they seemed medicated. It was a stupid show, but it was calming. You didn't feel it was stirring people up and creating serial killers. I'm sorry I'm getting off the point. But my point is the 50s were idiotic but I miss parts of them. When I was 13 I saw Goldfingerwith Sean Connery as James Bond, and I didn't get the meaning of the character name of "Pussy Galore." Went right over my head. -
The Walt Disney Silly Symphony Cartoons and American Animation in the 1930S
Exploration in Imagination: The Walt Disney Silly Symphony Cartoons and American Animation in the 1930s By Kendall Wagner In the 1930s, Americans experienced major changes in their lifestyles when the Great Depression took hold. A feeling of malaise gripped the country, as unemployment rose, and money became scarce. However, despite the economic situation, movie attendance remained strong during the decade.1 Americans attended films to escape from their everyday lives. While many notable live-action feature-length films like The Public Enemy (1931) and It Happened One Night (1934) delighted Depression-era audiences, animated cartoon shorts also grew in popularity. The most important contributor to the evolution of animated cartoons in this era was Walt Disney, who innovated and perfected ideas that drastically changed cartoon production.2 Disney expanded on the simple gag-based cartoon by implementing film technologies like synchronized sound and music, full-spectrum color, and the multiplane camera. With his contributions, cartoons sharply advanced in maturity and professionalism. The ultimate proof came with the release of 1937’s Snow White and the Seven Dwarfs, the culmination of the technical and talent development that had taken place at the studio. The massive success of Snow White showed that animation could not only hold feature-length attention but tell a captivating story backed by impressive imagery that could rival any live-action film. However, it would take nearly a decade of experimentation at the Disney Studios before a project of this size and scope could be feasibly produced. While Mickey Mouse is often solely associated with 1930s-era Disney animation, many are unaware that alongside Mickey, ran another popular series of shorts, the Silly Symphony cartoons. -
Goldwyn-Mayer Studios Inc., Paramount Pi
Before the Federal Communications Commission Washington, D.C. 20554 __________________________________________ ) Implementation of Section 304 of the ) Telecommunications Act of 1996 ) CS Docket No 97-80 ) Commercial Availability of Navigation Devices ) ) Compatibility Between Cable Systems and ) Consumer Electronics Equipment ) PP Docket No. 00-67 __________________________________________) PETITION FOR RECONSIDERATION OF THE MOTION PICTURE ASSOCIATION OF AMERICA, INC., METRO- GOLDWYN-MAYER STUDIOS INC., PARAMOUNT PICTURES CORPORATION, SONY PICTURES ENTERTAINMENT INC., TWENTIETH CENTURY FOX FILM CORPORATION, UNIVERSAL CITY STUDIOS LLLP, AND THE WALT DISNEY COMPANY Jon A. Baumgarten Bruce E. Boyden Proskauer Rose LLP 1233 Twentieth Street NW, Suite 800 Washington, DC 20036 (202) 416-6800 Counsel for the Petitioners February 27, 2004 Before the Federal Communications Commission Washington, D.C. 20554 __________________________________________ ) Implementation of Section 304 of the ) Telecommunications Act of 1996 ) CS Docket No 97-80 ) Commercial Availability of Navigation Devices ) ) Compatibility Between Cable Systems and ) Consumer Electronics Equipment ) PP Docket No. 00-67 __________________________________________) PETITION FOR RECONSIDERATION OF THE MOTION PICTURE ASSOCIATION OF AMERICA, INC., METRO- GOLDWYN-MAYER STUDIOS INC., PARAMOUNT PICTURES CORPORATION, SONY PICTURES ENTERTAINMENT INC., TWENTIETH CENTURY FOX FILM CORPORATION, UNIVERSAL CITY STUDIOS LLLP, AND THE WALT DISNEY COMPANY The Motion Picture Association of America, -
Robert A. Iger Executive Chairman and Chairman of the Board the Walt Disney Company
Robert A. Iger Executive Chairman and Chairman of the Board The Walt Disney Company Robert A. Iger is Executive Chairman of The Walt Disney Company and Chairman of the Board of Directors. He assumed the role of Executive Chairman in February 2020, having served as Chief Executive Officer since 2005. As Executive Chairman, Mr. Iger directs the Company’s creative endeavors, while leading the Board and providing the full benefit of his experience, leadership and guidance. Over his 15 years leading the Company, Mr. Iger built Disney into one of the world’s largest and most admired media and entertainment companies, while focusing on the three fundamental pillars of his strategic vision: generating the best creative content possible; fostering innovation and utilizing the latest technology; and expanding into new markets around the world. As CEO, Mr. Iger expanded on Disney’s rich history of unforgettable storytelling with the acquisitions of Pixar (2006), Marvel (2009), Lucasfilm (2012) and 21st Century Fox (2019), as well as the landmark 2016 opening of Disney’s first theme park and resort in Mainland China, Shanghai Disney Resort; and the release of a number of record-setting films including Marvel’s Avengers: Endgame, Disney’s Frozen and Frozen 2, and the groundbreaking movie Marvel’s Black Panther. Always one to embrace new technology, Mr. Iger has made Disney an industry leader through its creative content offerings across multiple platforms, most recently leveraging cutting edge direct-to-consumer technology with the highly successful launch of the Disney+ streaming service in November 2019 and ESPN+ in 2018. During Mr. -
The Walt Disney Company and Pixar Inc.: to Acquire Or Not to Acquire?
9-709-462 REV: JANUARY 15, 201 0 J U A N A L C Á CER DAVID COLLIS M A R Y F U R E Y The Walt Disney Company and Pixar Inc.: To Acquire or Not to Acquire? In November 2005, Robert Iger, the newly appointed CEO of the Walt Disney Company, eagerly awaited the box office results of Chicken Little, the company’s second computer-generated (CG) feature film. He knew that, for Disney as a whole to be successful, he had to get the animation business right, particularly the new CG technology that was rapidly supplanting hand-drawn animation.1 Yet the company had been reliant on a contract with animation studio Pixar, which had produced hits such as Toy Story and Finding Nemo, for most of its recent animated film revenue. And the co-production agreement, brokered during the tenure of his predecessor, Michael Eisner, was set to expire in 2006 after the release of Cars, the fifth movie in the five-picture deal. Unfortunately, contract renewal negotiations between Steve Jobs, CEO of Pixar, and Eisner had broken down in 2004 amid reports of personal conflict. When he assumed his new role, Iger reopened the lines of communication between the companies. In fact, he had just struck a deal with Jobs to sell Disney- owned, ABC-produced television shows—such as “Desperate Housewives”—through Apple’s iTunes Music Store.2 Iger knew that a deal with Pixar was possible; it was just a question of what that deal would look like. Did it make the most sense for Disney to simply buy Pixar? Walt Disney Feature Animation Walt Disney Feature Animation began with the production of Snow White and the Seven Dwarfs in 1934.