Trouble in Paradise: a Life Cut Short a Creative Project
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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 -
Here Comes Television
September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business. -
Jobs and Education
Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation. -
PAF 2015 ENG.Indd
14th Festival of Film Animation 3–6 12 2015 Olomouc www.pifpaf.cz Catalogue PAF 2015 Acknowledgement: www.pifpaf.cz Danniela Arriado, Jiří Bartoník, Jana Bébarová, Petr Bilík, Petr Bielesz, Martin Blažíček, Michal Blažíček, Authors: Martin Búřil, Filip Cenek, Eva Červenková, Martin Čihák, Alexander Campaz, Martin Čihák, Eliška Děcká, David Katarína Gatialová, Marie Geierová, Vladimír Havlík, Helán, Miloš Henkrich, Alexandr Jančík, Tomáš Javůrek, Tamara Hegerová, Štěpánka Ištvánková, Jana Jedličková, Nela Klajbanová, Martin Mazanec, Marie Meixnerová, Alexandr Jeništa, Anna Jílková, Lucie Klevarová, Jiří Neděla, Jonatán Pastirčák,Tomáš Pospiszyl, Jakub Korda, Jana Koulová, Petr Krátký, Zdeňka Krpálková, Pavel Ryška, Matěj Strnad, Lenka Střeláková, Josef Kuba, Jiří Lach, Richard Loskot, Ondřej Molnár, Barbora Trnková, Veronika Zýková Hana Myslivečková, NAMU, Lenka Petráňová, Jan Piskač, Mari Rossavik, Radim Schubert, Kateřina Skočdopolová, Translators: Matěj Strnad, Barbora Ševčíková, Jan Šrámek, Petr Vlček, Magda Bělková, Nikola Dřímalová, Helena Fikerová, Kateřina Vojkůvková, FAMU Center for Audiovisual Studies, Václav Hruška, Karolina Chmielová, Jindřich Klimeš, Café Tungsram and Ondřej Pilát, Zuzana Řezníčková, Samuel Liška, Marie Meixnerová, Michaela Štaffová Audio-Video Department at the Faculty of Fine Arts of Brnu University of Technology, Department of Theatre and Film Editor: Studies at the Faculty of Arts of Palacký University Olomouc, Veronika Zýková The One Minutes, The University of J. E. Purkyně Czech proofreading: Festival -
Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
MacGillivray Freeman Films Filmography 1963 through 2018 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time. -
Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms. -
A#1140 -: Chilatenslibrarians Are Increasingly ,Aware- of The
DOCOMEMS RESUME .p)- 077237 M 011 160 47'44 Ends in Children's Programs. A Bibliography Prepared by the Film Committee of the Children's and Young* People's Services Section oftheWisconsin Library Association. INSTITUTION Wisconsin Library Association; Madison. POEDATE 72 -NOTE 39p. AVAlIAELEFROMWisconsin Library, Association, 261 West Mifflin Street,,MadleOn-, j_WiscfOnSin-53703 = EDNS-PBICE MF-$O.65HC Not Available from DESORI-PTONS Bibliographies; : CatalCgSt. *Children;4Ti lm.Libraries;1 4,E-110S; -Guides A#1140 -: ChilatenSlibrarians are increasingly ,aware- of the 'value offilmsin programing::: films -are_ attractive to _children, -they _-_-illnitinate,the familiar ,;and i suggest new areas_ of interest to .explore,- and theyc:an_.ttoii-cw -,backgroundand open new -vistas : for the 41-71i*.a11.4-401411,40t.af40-0-111.-This -t-lti-P5.1-0cliti-On.,of the liStifig, -presentS-selections for-US!:in _- - ---,.. _-prfOgraMS--With-_-Children- frObs- gtadeS- three through _Sit,- with -information _ -,-,- -.- -- - .on- xi-inning,time,_-Prcidlider, :01S4i:biltCr 0'price, Whether itS-- black-and-white or -color,: and the :content. N bibliography of aids : forlibrary:use,a-_list of sources for- the selection of films, and a-cliktor--ofdistributors for purchase andrentalare riialtidEd: ._(SH)- ,=;-:±. FILMED FROM BEST AVAILABLE COPY 434odfosts, A_= Bibliography prepared.,by the Film Coamittee-=of' and xeisig;kekiii._!ir*!t*icks Sebtion:of the; A060.-ittion- WISCONSIN LIBRARY-ASSOCIATION 1 201 West Mifflinstieet- Nadiloti,Wis.3703 FILMS! IN'tifILDNEN'SiTNOGNANS-, A :Bibliography prepared' bzittie-FilmCommittee =of the Childten_is andYoungpeoPle!s Seitides -Section-ofthe Wisconsin Library AsSociation- 1972 U.S. DEPARTMENT OF HEALTH. -
Images of Disaster in Film and Media
EADP 2700 Syllabus – Fall Semester 2006 University of North Texas Spring Semester 2006 Emergency Administration and Planning Program Dept. of Public Administration EADP 2700: Images of Disaster in Film and Media Professor: Dr. Jack L. Rozdilsky Office Location: Wooten Hall 360 E-mail: [email protected] Phone: 940-565-3786 This Course Meets on Monday Afternoons from 3:00 to 5:50pm in 222 Wooten Hall I. EADP 2700 Fall Semester 2006 Syllabus The purpose of this syllabus is to provide a course description, to state the objectives for the course, to describe course expectations, to provide the planned schedule of topics to be covered during the semester, to specify the course’s grading system, to provide grading worksheets for the semester, to specify important dates for the course, to provide a description of the meaning of grades, and to state University and Departmental polices related to disability accommodations and cheating / plagiarism. As the field of emergency management is event driven, the Professor retains the right to alter the syllabus, as needed. While alterations are not planned, if any changes are made to this document they will be clearly announced at the beginning of class periods. II. Course Description The purpose of this course is to provide a context for better understanding the relationship between filmed programs and disaster management. The course begins with the suggestion that filmed programs are an important factor in contributing to society’s perception and understanding of both emergency management and disasters themselves. As film and mass media are ubiquitous in today’s world, it can be argued that much of the basis for understanding contemporary societal issues is provided by some form of filmed programs. -
Scms 2017 Conference Program
SCMS 2017 CONFERENCE PROGRAM FAIRMONT CHICAGO MILLENNIUM PARK March 22–26, 2017 Letter from the President Dear Friends and Colleagues, On behalf of the Board of Directors, the Host and Program Committees, and the Home Office staff, let me welcome everyone to SCMS 2017 in Chicago! Because of its Midwestern location and huge hub airport, not to say its wealth of great restaurants, nightlife, museums, shopping, and architecture, Chicago is always an exciting setting for an SCMS conference. This year at the Fairmont Chicago hotel we are in the heart of the city, close to the Loop, the river, and the Magnificent Mile. You can see the nearby Millennium Park from our hotel and the Art Institute on Michigan Avenue is but a short walk away. Included with the inexpensive hotel rate, moreover, are several amenities that I hope you will enjoy. I know from previewing the program that, as always, it boasts an impressive display of the best, most stimulating work presently being done in our field, which is at once singular in its focus on visual and digital media and yet quite diverse in its scope, intellectual interests and goals, and methodologies. This year we introduced our new policy limiting members to a single role, and I am happy to say that we achieved our goal of having fewer panels overall with no apparent loss of quality in the program or member participation. With this conference we have made presentation abstracts available online on a voluntary basis, and I urge you to let them help you navigate your way through the program. -
TAG21 Mag Q1 Web2.Pdf
IATSE LOCAL 839 MAGAZINE SPRING 2021 ISSUE NO. 13 THE ANIMATION GUILD QUARTERLY GIMMIE SHELTER: CREATING CAPTIVATING SPACES IN ANIMATION GIMME SHELTER SPRING 2021 CREATING CAPTIVATING SPACES IN ANIMATION FOR YOUR CONSIDERATION BEST ANIMATED FEATURE GLEN KEANE, GENNIE RIM, p.g.a., PEILIN CHOU, p.g.a. GOLDEN GLOBE ® NOMINEE BEST ANIMATED FEATURE “ONE OF THE MOST GORGEOUS ANIMATED FILMS EVER MADE.” “UNLIKE ANYTHING AUDIENCES HAVE SEEN BEFORE.” “★★★★ VIBRANT AND HEARTFELT.” FROM OSCAR®WINNING FILMMAKER AND ANIMATOR GLEN KEANE FILM.NETFLIXAWARDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 NETFLIX: OVER THE MOON PUB DATE: 02/25/21 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 13 CONTENTS 46 11 AFTER HOURS 18 THE LOCAL FRAME X FRAME Jeremy Spears’ passion TAG committees’ FEATURES for woodworking collective power 22 GIMME SHELTER 4 FROM THE 14 THE CLIMB 20 DIALOGUE After a year of sheltering at home, we’re PRESIDENT Elizabeth Ito’s Looking back on persistent journey the Annie Awards all eager to spend time elsewhere. Why not use your imagination to escape into 7 EDITOR’S an animation home? From Kim Possible’s NOTE 16 FRAME X FRAME 44 TRIBUTE midcentury ambience to Kung Fu Panda’s Bob Scott’s pursuit of Honoring those regal mood, these abodes show that some the perfect comic strip who have passed of animation’s finest are also talented 9 ART & CRAFT architects and interior designers too. The quiet painting of Grace “Grey” Chen 46 SHORT STORY Taylor Meacham’s 30 RAYA OF LIGHT To: Gerard As production on Raya and the Last Dragon evolved, so did the movie’s themes of trust and distrust. -
The Animation Industry: Technological Changes, Production Challenges, and Global Shifts
THE ANIMATION INDUSTRY: TECHNOLOGICAL CHANGES, PRODUCTION CHALLENGES, AND GLOBAL SHIFTS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hyejin Yoon, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Edward J. Malecki, Adviser Professor Nancy Ettlinger Adviser Graduate Program in Geography Professor Darla K. Munroe ABSTRACT Animated films have grown in popularity as expanding markets (such as TV and video) and new technologies (notably computer graphics imagery) have broadened both the production and consumption of cartoons. As a consequence, more animated films are produced and watched in more places, as new “worlds of production” have emerged. The animation production system, specialized and distinct from film production, relies on different technologies and labor skills. Therefore, its globalization has taken place differently from live-action film production, although both are structured to a large degree by the global production networks (GPNs) of the media conglomerates. This research examines the structure and evolution of the animation industry at the global scale. In order to investigate these, 4,242 animation studios from the Animation Industry Database are used. The spatial patterns of animation production can be summarized as, 1) dispersion of the animation industry, 2) concentration in world cities, such as Los Angeles and New York, 3) emergence of specialized animation cities, such as Annecy and Angoulême in France, and 4) significant concentrations of animation studios in some Asian countries, such as India, South Korea and the Philippines. In order to understand global production networks (GPNs), networks of studios in 20 cities are analyzed. -
Academicism to Modernism.Pdf
Academicism to Modernism Fresh Perspectives on Historic Indiana Art Academicism to Modernism Fresh Perspectives on Historic Indiana Art October 28, 2005 – May 21, 2006 William Weston Clarke Emison Museum of Art DePauw University Foreword Kaytie Johnson Essay and acknowledgements Laurette E. McCarthy Editor Vanessa Mallory FOREWORD DePauw University is pleased to present from their collections for the show: Dr. Stephen Academicism to Modernism: Fresh Perspectives Butler and Dr. Linda Ronald; the Jack D. Finley on Historic Indiana Art, an exhibition that focuses Collection; Indiana State Museum and Historic on the lesser-known and understudied aspects of Sites; Indianapolis Public Schools; the Richmond Indiana art from the late nineteenth through early Art Museum; the Sheldon Swope Art Museum; Judy twentieth centuries. A majority of exhibitions and Waugh; and Wishard Health Services. publications that focus upon this period tend to The contributions of several individuals have concentrate primarily on what is referred to as enabled DePauw to present this exhibition. My “Hoosier Impressionism,” – most notably paintings thanks go out to my dedicated staff – Christie by artists such as T.C. Steele, John Ottis Adams Anderson and Christopher Lynn – for their tireless and William Forsyth – which has perpetuated an energy and enthusiasm in bringing this show to incomplete, and exclusive, history of the artistic fruition. My appreciation is also extended to Kelly legacy of Indiana. By introducing our audience to Graves for her design expertise and assistance with works by unfamiliar – and familiar – artists, in a wide producing this publication, and to Vanessa Mallory, range of artistic styles, we hope to emphasize, and whose editing skills are unrivaled.