Cartoon Forum 2019 List of Participants (Dated 16 September)
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Sara Daddy Writer, Children's, Preschool, 6+ Years, Animation, Live Action, Head Writer, Series Developer, Showrunner Agent: Jean Kitson - [email protected]
Sara Daddy Writer, Children's, Preschool, 6+ years, Animation, Live Action, Head Writer, Series Developer, Showrunner Agent: Jean Kitson - [email protected] Sara is a Head Writer/Screenwriter/Development Producer with over 16 years’ experience in children’s television, working for 8 years in the BBC’s children’s department, covering both CBeebies and CBBC, and for the past 8 years as a freelance scriptwriter and developer working for a range of companies including Nickelodeon, Disney Jnr, Sprout, Netflix, The Jim Henson Company, Sesame Workshop, Penguin, Sixteen South and Cartoon Saloon. Sara has a proven track record in the development of children’s programmes, including Broadcast Award winner and BAFTA-nominated Lily’s Driftwood Bay and RTS and Kidscreen-winner, Puffin Rock. She was nominated for a Manimation Industry Excellence Award: Writing for Animation and Best Writing in a Pre-school Programme award at Dingle Animation Festival for Puffin Rock. Sara was Head Writer on ‘Claude‘ which won the Royal Television Society NI Award for Best Children’s / Animated Series, and was nominated for three awards at the Irish Animation Awards 2019 and for Best Preschool Show at the Broadcast Awards 2019. Work Current Sol Paper Owl / S4C / BBC 22′ animated special, with funding from the first YACF fund award, launched simultaneously on CITV, CITV’s VOD ITV Hub, Channel 4’s VOD service All 4, and Channel 5’s VOD My 5 on 21st December 2020. Watch it in Irish, Welsh or Scots Gaelic with English subtitles on All 4 here. Winner: Children’s Award at the Sandford St Martin Awards for excellence in religious and ethics programmes, 2021 Untitled Maramedia Lead Writer, writing 8 episodes of exciting new live-action / animated property Puffin Rock (Feature) Dog Ears Ltd / Cartoon Saloon Animated feature film in production, based on the Emmy- nominated series. -
The Role of Irish-Language Film in Irish National Cinema Heather
Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall A Thesis in the PhD Humanities Program Presented in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada August 2012 © Heather Macdougall, 2012 ABSTRACT Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall, Ph.D. Concordia University, 2012 This dissertation investigates the history of film production in the minority language of Irish Gaelic. The objective is to determine what this history reveals about the changing roles of both the national language and national cinema in Ireland. The study of Irish- language film provides an illustrative and significant example of the participation of a minority perspective within a small national cinema. It is also illustrates the potential role of cinema in language maintenance and revitalization. Research is focused on policies and practices of filmmaking, with additional consideration given to film distribution, exhibition, and reception. Furthermore, films are analysed based on the strategies used by filmmakers to integrate the traditional Irish language with the modern medium of film, as well as their motivations for doing so. Research methods included archival work, textual analysis, personal interviews, and review of scholarly, popular, and trade publications. Case studies are offered on three movements in Irish-language film. First, the Irish- language organization Gael Linn produced documentaries in the 1950s and 1960s that promoted a strongly nationalist version of Irish history while also exacerbating the view of Irish as a “private discourse” of nationalism. Second, independent filmmaker Bob Quinn operated in the Irish-speaking area of Connemara in the 1970s; his fiction films from that era situated the regional affiliations of the language within the national context. -
Rapport Financier Annuel
ANIMATION 2014 Rapport Financier Annuel Xilam Animation - Société anonyme au capital de 446 500 € Siège social : 86/90, rue Notre-Dame de Nazareth 75003 PARIS RCS Paris 423 784 610 Sommaire Responsable de l’information .......................................................................................................................................... 3 Rapport de gestion ............................................................................................................................................................ 5 Responsabilité sociétale des entreprises ....................................................................................................................... 31 Gouvernement d’entreprise ........................................................................................................................................... 45 Comptes consolidés ......................................................................................................................................................... 68 Comptes sociaux ........................................................................................................................................................... 113 Le sommaire détaillé des chapitres figure au début de chaque chapitre. Xilam Animation – Rapport financier annuel 2014 2 Responsable de l’information Xilam Animation – Rapport financier annuel 2014 3 Responsable de l’information Responsable du document Monsieur Marc du Pontavice, Président du Conseil d’Administration de Xilam Animation -
L'animation Stylisée
Universite Paris 8 Master Creation Numerique parcours : Arts et Technologies de l'Image Virtuelle L’animation stylisée Clea Gonay Memoire de Master 2 2019 - 2020 1 résumé Le cinema d’animation est un medium propice a* l’abstraction du reel, a* la simplification des formes et du mouvement. Gra0ce a* un language visuel et une esthetique qui lui sont propre, l’animation stylisee reussit a* conserver le sens tout en amplifiant les emotions du spectateur. Pourquoi et comment realise t-on un film en animation stylisee ? En se basant sur la litterature disponible, mes experiences et une serie d’interviews realisees aupre*s d’acteurs de l’industrie, ce memoire propose une approche philosophique, anthropologique et technique des principes et codes de l’animation stylisee. Il cherche a* mettre en lumie*re les raisons qui poussent un realisateur a* choisir ce medium et explore les possibilites offertes par les outils disponibles a* travers des exemple d’oeuvres 2D, 3D et hybrides. Enfin, pour illustrer mon propos, j’y presente mes mises en pratiques realisees lors de mon etude du sujet. abstract Animation is a perfect medium to abstract reality and to simplify forms and movements. Thanks to its own visual language and aesthetical values, stylised animation conveys meaning as well as amplifies the spectator’s emotions. Why and how are stylized animated movies made ? Using available literature, my own experiences and a series of interviews made with people involved with the industry, this thesis takes a philosophical, anthropological and technical approach to the principles and codes of stylized animation. It highlights the reasons why a director would choose this route and explores the possibilities of the available tools while presenting related 2D, 3D and hybrid works. -
The Finance and Production of Independent Film and Television in the UK: a Critical Introduction
The Finance and Production of Independent Film and Television in the UK: A Critical Introduction Vital Statistics General Population: 64.1m Size: 241.9 km sq GDP: £1.9tr (€2.1tr) Film1 Market share of UK independent films in 2015: 10.5% Number of feature films produced: 201 Average visits to cinema per person per year: 2.7 Production spend per year: £1.4m (€1.6) TV2 Audience share of the main publicly-funded PSB (BBC): 72% Production spend by PSBs: £2.5bn (€3.2bn) Production spend by commercial channels (excluding sport): £350m (€387m) Time spent watching television per day: 193 minutes (3hrs 13 minutes) Introduction This chapter provides an overview of independent film and television production in the UK. Despite the unprecedented levels of convergence that characterise the digital era, the UK film and television industries remain distinct for several reasons. The film industry is small and fragmented, divided across the two opposing sources of support on which it depends: large but uncontrollable levels of ‘inward-investment’ – money invested in the UK from overseas – mainly from the US, and low levels of public subsidy. By comparison, the television industry is large and diverse, its relative stability underpinned by a long-standing infrastructure of 1 Sources: BFI 2016: 10; ‘The Box Office 2015’ [market share of UK indie films] ; BFI 2016: 6; ‘Exhibition’ [cinema visits per per person]; BFI 2016: 6; ‘Exhibition’ [average visits per person]; BFI 2016: 3; ‘Screen Sector Production’ [production spend per year]. 2 Sources: Oliver & Ohlbaum 2016: 68 [PSB audience share]; Ofcom 2015a: 3 [PSB production spend]; Ofcom 2015a: 8. -
Adding Value Report Vol.1
ADDING VALUE a report by Northern Ireland Screen NORTHERN BOOSTING CELEBRATING ENHANCING CONTENTS THE THE THE IRELAND OUR OUR OUR CHILDREN'S ECONOMIC CULTURAL EDUCATIONAL SCREEN ECONOMY CULTURE EDUCATION VALUE VALUE VALUE 08 Large-scale Production 44 Writers 84 Creative Learning Centres 18 Independent Film 46 Short Film 90 Moving Image Arts (MIA) 22 Animation 48 ILBF / CCG 92 After School FilmClub 26 Factual / Entertainment 56 USBF 30 Television Drama 64 Film Culture 34 Gaming and Mobile 74 Heritage and Archive 38 Skills Development 78 Awards 04 05 INTROduCTION As the government-backed lead Of course certain activity intersects In a similar vein, the work of the agency in Northern Ireland for the film, more than one area and the inter- Education Department, with regard to television and digital content industry, connectivity of the agency’s work will its intervention through FilmClub, has Northern Ireland Screen is committed become apparent. For example, the value in both education and culture; as to maximising the economic, cultural development and production funding for children learn through film in a pure and educational value of the screen indigenous projects made in Northern educational sense as well as gain a wider industries for the benefit of Northern Ireland by Northern Ireland film-makers appreciation of film culture and of the Ireland. This goal is pursued through our and shown at a Northern Ireland festival, culture of Northern Ireland through mission to accelerate the development will have value in all areas. An obvious watching content-relevant films. of a dynamic and sustainable screen case in point is the feature film Good industry and culture in Northern Ireland. -
Review of the Scottish Animation Sector
__ Review of the Scottish Animation Sector Creative Scotland BOP Consulting March 2017 Page 1 of 45 Contents 1. Executive Summary ........................................................................... 4 2. The Animation Sector ........................................................................ 6 3. Making Animation ............................................................................ 11 4. Learning Animation .......................................................................... 21 5. Watching Animation ......................................................................... 25 6. Case Study: Vancouver ................................................................... 27 7. Case Study: Denmark ...................................................................... 29 8. Case Study: Northern Ireland ......................................................... 32 9. Future Vision & Next Steps ............................................................. 35 10. Appendices ....................................................................................... 39 Page 2 of 45 This Report was commissioned by Creative Scotland, and produced by: Barbara McKissack and Bronwyn McLean, BOP Consulting (www.bop.co.uk) Cover image from Nothing to Declare courtesy of the Scottish Film Talent Network (SFTN), Studio Temba, Once Were Farmers and Interference Pattern © Hopscotch Films, CMI, Digicult & Creative Scotland. If you would like to know more about this report, please contact: Bronwyn McLean Email: [email protected] Tel: 0131 344 -
Annexe 2 – Le Marché De L'animation En 2018
les études du CNC Le marché juin 2019 de l’animation en 2018 Cette étude a été réalisée conjointement par la Direction de l’audiovisuel et de la création numérique et la Direction des études, des statistiques et de la prospective. Les données sur l’emploi sont reprises de l’étude publiée par Audiens sur la production de films d’animation et d’effets visuels. Centre national du cinéma et de l’image animée 12, rue de Lübeck 75784 Paris cedex 16 Tél : 01.44.34.38.26 Fax : 01.44.34.34.55 www.cnc.fr Nicolas Besson, Sophie Cheynet, Benoît Danard, Sylvain Dandine, Sophie Jardillier, Laurence Peyré, Ivan Piccon, Cindy Pierron, Danielle Sartori, Jérôme Tyl, Linda Zidane. 2 Le marché de l’animation en 2018 Sommaire Synthèse .............................................................................................................................. 5 1. Cinéma ............................................................................................................................. 8 1.1. La production française de longs métrages d’animation ............................................. 9 1.2. La distribution............................................................................................................17 1.3. Les résultats des films d’animation en salles .............................................................25 1.4. Le public des films d’animation en salles ...................................................................30 2. Audiovisuel ....................................................................................................................34 -
Cartoon Forum 2014 List of Participants (Dated 9 Sep)
Cartoon Forum 2014 List of participants (dated 9 Sep) BROADCASTERS Bayerischer Rundfunk (BR) Gröller Monika Germany BBC Worldwide Hurford-Jones Henrietta UK BBC Worldwide Waddington Nathan UK CANAL+ Boé Sophie France CANAL+ Blaevoet Laurence France CANAL+ Soto Géraldine France CBBC - BBC Children's Muller Sarah UK CBBC - BBC Children's Pryke Lucy UK CBeebies - BBC Children’s Edwards Jackie UK CBeebies - BBC Children’s Stewart Alison UK Channel 5 - milkshake! Grierson Josie UK Croatian Television (HRT) Zubčić Krešimir Croatia Czech Television (CT) Lukešová Lenka Czech Rep. Disney Channels Worldwide Miller Karen K. USA Estonian Television (ETV) Tüür Tiivi Estonia France Télévisions Barnabe-Creiche Sophie France France Télévisions Canault Lucile France France Télévisions Chesnay Céline France France Télévisions De Raguenel Tiphaine France France Télévisions Guertzon Carole France France Télévisions Heinrich Claire France France Télévisions Jabrane David France France Télévisions Jacquet Joseph France France Télévisions Lamotte Jean-Baptiste France France Télévisions Lanet Kerrand Chantal France France Télévisions Marteau Hélène France France Télévisions Peyrissac Nathalie France France Télévisions Pflimlin Rémy France France Télévisions Portail Kernel Vicky France France Télévisions Reinaudo Christine France France Télévisions Siracusa Pierre France France Télévisions / France 3 Borde Julien France Hessischer Rundfunk (HR) Vasapollo Patricia Germany Ketnet / VRT De Vriese Franceska Belgium Ketnet / VRT Klaï Telidja Belgium KI.KA Debertin -
Tbivision.Com April/May 2017
Kids TBIvision.com April/May 2017 KidspOFC AprMay17.indd 1 15/03/2017 18:01 LAGARDERE_SONIC_TBICOVER_0317_def.indd 1 15/03/2017 17:20 TBI KODY KAPOW FULL PAGE.pdf 1 13/03/2017 17:58:07 C M Y CM MY CY CMY K KidspIFC Zodiak AprMay17.indd 1 14/03/2017 14:45 CONTENTS INSIDE THIS ISSUE This issue 2 6 2 TBI Kids interview: Dan Povenmire and Jeff ‘Swampy’ Marsh The Phineas and Ferb creators tell Stewart Clarke about their new showMilo Murphy’s Law, and their take on the animation business 4 Kids Matrix What’s going on in kids TV, from digital to linear, and live-action to animated, at a glance 6 Kids OTT tidal wave 10 The people behind the growing number of kid-focused streaming services open up about their strategies and goals, and how younger consumers are enagaging with content 10 Emerging studios 14 Several kids studios are evolving from work-for-hire shops into content-creation hubs. Jane Marlow speaks to the wave of emerging studios about balancing service work with origination 14 Hot Picks The best new kids shows launching at MIPTV, from a newMr Magoo, to a live-action ballet series, to a princess knight 20 TBI Kids interview: Christina Miller, Boomerang The president of Cartoon Network, Adult Swim and Boomerang talks SVOD Editor Stewart Clarke • [email protected] • @TBIstewart Television Business International (USPS 003-807) is published bi-monthly (Jan, Mar, Apr, Jun, Aug and Oct) by KNect365 TMT, Maple House,149 Tottenham Court Road, London, W1T 7AD, United Kingdom. -
Adherents Angoa Au 31 Decembre 2020
ADHERENTS ANGOA AU 31 DECEMBRE 2020 MARIE LE SOMPTIER ACONCAGUA FILMS ALTER FILMS 13 PRODUCTIONS ACROBATES FILMS ALTEREGO 17 JUIN MEDIA ACT 4 PRODUCTIONS AM PROD 2 MINUTES ACTARUS FILMS ANDA MEDIA 24 IMAGES AD ASTRIA FILMS ANEMOS 247 FILMS ADAMIS PRODUCTIONS ANGELS FILMS 25 MARS DISTRIBUTION ADRENALINE ANIMALS PRODUCTION 2PG PICTURES LTD ADVA FILMS ANONYMA PROD 3B PRODUCTIONS ADVENTURE LINE PRODUCTIONS ANTIPODE 31 JUIN FILMS AFAVA ANTOINE MARTIN PRODUCTIONS 412 FILMS AGAT FILMS & CIE AOMYS 504 PRODUCTIONS AIMV APACHES FILMS 5EME ETAGE PRODUCTION AIR PRODUCTIONS API CORP ADL AJ FILMS API PRODUCTIONS A.A.A. ALANDRA FILMS APPOLOFILM A.M.I.P. ALBERTINE PRODUCTIONS APRES AB PRODUCTIONS ALEGRIA ARCHES FILMS AB DROITS AUDIOVISUELS ALICELEO ARCHIPEL 33 AB THEMATIQUES ALIZES FILMS ARENA FILMS ABACARIS FILMS ALTER EGO PRODUCTIONS ARGOS FILMS ARKEPIX PRODUCTIONS BANIJAY STUDIO FRANCE BONNE PIOCHE CINEMA ARTIMON FILMS BATHYSPHERE PRODUCTIONS BONNE PIOCHE TELEVISION ARTISANS DU FILM BBC WORLDWIDE FRANCE BOUT A BOUT PRODUCTION ARTLINE FILMS BC WALL SAS BREAKOUT FILMS ARTURO MIO BEALL PRODUCTIONS BROADSTER ASSOCIATION POUR LA DIVERSITE CULTURELLE BEAUBOURG AUDIOVISUEL BROTHER FILMS (3 FRERES PRODUCTIONS) ASSOCIATION PRIX CONSTANTIN BEE FILMS BUFFALO CORP ASTHARTE ET CIE BEL OMBRE FILMS BUS FILMS ATIX FILM PRODUCTION BELAVOX FILMS C TON FILM PRODUCTIONS ATMOSPHERE FILMS BELLOTA FILMS C.A.P.A. AGENCE DE PRESSE ATOPIC BETA STUDIO C.E.A. FILMS AURORA FILMS BETHSABEE MUCHO CALLE CARMEN AUTOUR DE MINUIT PRODUCTION BETULA PRODUCTIONS CALT STUDIO AVALON BIEN SUR PRODUCTIONS CAMERA 16 AVENUE B PRODUCTIONS BIENVENUE ! CAMERA LUCIDA B. PRODUCTIONS BIENVENUE SARL CAMERA ONE BABEL PRODUCTIONS BIGLO PRODUCTIONS CAMERA SUBJECTIVE BACHIBOUZOUK BIX FILMS CAPI FILMS BAGAN FILMS BIZIBI CARTEL PRESSE BAIKAL PRODUCTION BLACK MASK PRODUCTIONS CARTHAGO FILMS BALINA FILMS BLEU KOBALT CASADEI PRODUCTIONS BAM ANIMATION BLUE MONDAY PRODUCTIONS CAT ET CIE BANGOR FILMS BONNE COMPAGNIE CHABRAQUE PRODUCTIONS CHAPKA FILMS D.E.M.D. -
FOR19-Liste Participants-9Aout
Cartoon Forum 2019 List of participants (dated 9 August) INVEST 3D Wire (Games) Farias José Luis Spain Aardman Animations Taylor Alison United Kingdom About Premium Content (APC) / APC Kids Marty Lionel France Atlantyca Sacchi Niccolò Italy Atlantyca Vacchi Caterina Italy Atmosphere Media Voelkle Peter Germany Auzou Publishing Auzou Gauthier France Auzou Publishing Quiblier Adelaïde France BBC Studios Hurford-Jones Henrietta United Kingdom BBC Studios Waddington Nathan United Kingdom Beta Film Schmitt-Klein Claudia Germany Blue Zoo Rights Warner Alison United Kingdom Boat RocKer Studios Paolucci Olivia United Kingdom BroWn Bag Films / 9 Story Media Group Stacey Jennie Ireland BroWn Bag Films / 9 Story Media Group Wiseman Alix Ireland CAKE Entertainment SicKinghe Odilia United Kingdom CAKE Entertainment Whinnett Emily United Kingdom CAKE Entertainment Van Waveren Tom United Kingdom Capstone Global Library Nunn Dan United Kingdom Casterman LeVie Sophie Belgium CelAction Blazdell Andy United Kingdom Centre du Cinéma de la Fédération Wallonie-Bruxelles (CFWB) Brunfaut Jeanne Belgium Centre du Cinéma de la Fédération Wallonie-Bruxelles (CFWB) Gustin Justine Belgium CITIA Marin MicKaël France Clover Press Robbins Robbie USA CNC (Centre national du cinéma et de l'image animée) Blanch David France CNC (Centre national du cinéma et de l'image animée) Cherot-Tremblay Lizy France CNC (Centre national du cinéma et de l'image animée) Cheynet Sophie France CNC (Centre national du cinéma et de l'image animée) Delalande Alice France CNC (Centre national