Dexter's Laboratory Ego Trip
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Creative Arts Emmy® Awards for Programs and Individual Achievements at the Nokia Theatre L.A
FOR IMMEDIATE RELEASE August 16, 2014 7:00 PM PT The Television Academy tonight (Saturday, August 16, 2014) presented the 2014 Creative Arts Emmy® Awards for programs and individual achievements at the Nokia Theatre L.A. LIVE in Los Angeles. This first ceremony of the 66th Emmy Awards honored guest performers on television dramas and comedy series, as well as the many talented artists and craftspeople behind the scenes to create television excellence. Produced for the 20th year by Spike Jones, Jr., this year’s Creative Arts Awards featured an array of notable presenters, among them Jane Lynch, Tony Hale, Amy Schumer, Allison Janney, Tim Gunn and Heidi Klum, Comedy Central’s Key & Peele, Fred Armisen and Carrie Brownstein, Morgan Freeman, Tony Goldwyn, Aisha Tyler, Joe Manganiello and Carrie Preston. Highlights included Jon Voight’s moving posthumous presentation of the Academy’s prestigious Governors Award to casting icon, Marion Dougherty. Voight was one of Dougherty’s discoveries. The awards, as tabulated by the independent accounting firm of Ernst & Young LLP, were distributed as follows: Program Individual Total HBO 4 11 15 NBC 1 9 10 PBS 2 6 8 Fox 1 6 7 Netflix - 7 7 CBS 1 5 6 ABC 1 4 5 Discovery Channel 2 2 4 Disney Channel 1 3 4 FOX/NatGeo - 4 4 Showtime 1 3 4 Cartoon Network - 3 3 FX Networks - 3 3 Comedy Central - 2 2 Starz - 2 2 Adult Swim - 1 1 AMC - 1 1 CartoonNetwork.com - 1 1 CNN 1 - 1 comcast.com 1 - 1 ESPN 1 - 1 FunnyOrDie.com 1 - 1 justareflektor.com 1 - 1 Nat Geo WILD - 1 1 National Geographic Channel 1 - 1 pivot.tv 1 - 1 TNT 1 - 1 TELEVISION ACADEMY 2014 CREATIVE ARTS EMMY AWARDS This year’s Creative Arts telecast partner is FXM; a two-hour edited version of the ceremony will air Sunday, August 24 at 8:00 PM ET/PT with an encore at 10:00 PM ET/PT on FXM. -
Spongebob Squarepants
DIPLOMARBEIT Titel der Diplomarbeit “Missing Identity” - The Queer Politics of SpongeBob SquarePants Verfasserin Beatrice Frasl angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin: ao. Univ. Prof. Dr. Monika Seidl TO MY SISTERS, SARA-YVONNE AND GEORGINA, WHO INTRODUCED ME TO THE WISDOM AND THE KNOWLEDGE OF SPONGEBOB SQUAREPANTS THANKS TO DR. MONIKA SEIDL for her support and agreement to supervise a thesis with a rather unorthodox topic in a rather short period of time. MY PARENTS for your continuous financial and emotional support and for believing in me. GINA AND SARA for general awesomeness. This thesis is dedicated to you. ANDI for too many things to mention, but, most importantly, for being my best friend. MY FRIENDS old and new, for your patience, encouragement and support; for open hearts, ears and minds. especially to JO for last minute technical troubleshooting and for disciplining me into writing my thesis with threats of physical violence – like any decent friend would. MARIE, CATI, NICOLE AND MICHI the team of fellow sufferers, for critical input, our crisis meetings, and for making the thesis-writing-process a little less unpleasant and a lot more entertaining. Together we took the meaning of the word “procrastination” to a whole new level. NICOLE for your supportive, comforting and encouraging words and your kindness. MICHI for your support throughout the process of writing this thesis, productive disagreement, coffee breaks (“coffee” “breaks”) and for sabotaging my panicky despair with your serenity and spongebobesque optimism. TABLE OF CONTENTS INTRODUCTION ............................................................................................................................ -
Free-Digital-Preview.Pdf
THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop. -
Third Wave Feminism and the Powerpuff Girls Evie Kendal Introduction the Popular Children's
There’s No One Perfect Girl: Third Wave Feminism and The Powerpuff Girls Evie Kendal Introduction The popular children’s television series, The Powerpuff Girls, was originally conceived by animator Craig McCracken under the name The Whoopass Girls in 1992.1 Following a name change and three alternative pilot epi- sodes, the series was picked up by the Cartoon Network and ran from 1995 through to 2005. During this time the show won several awards, including two Primetime Emmy awards for Outstanding Individual Achievement in Animation (2000 and 2005), and two Annie awards for Production Design and Musical Score in an Animated Series (2001).2 In this article I will be exploring The Powerpuff Girls from a feminist perspective, focusing on what is unique about this series and where it is positioned in popular media culture, before addressing some of the common criticisms of the show and identifying some of its major strengths. It will be my contention that The Powerpuff Girls embraces third-wave feminist ideology, with its focus on “Girl Power” and consumerism, while also abandoning the more individual- istic aspects of this brand of feminism by exploring the meaning of sister- hood and female empowerment through community. COLLOQUY text theory critique 24 (2012). © Monash University. www.arts.monash.edu.au/ecps/colloquy/journal/issue024/kendal.pdf ░ Third Wave Feminism and The Powerpuff Girls 235 Background: The relationship between the second and third waves of feminism According to Lise Shapiro Sanders, one of the major distinguishing features of third-wave feminism is the privileging of the “diversity of women’s experi- ence over the similarities amongst women,” with a particular focus on ad- dressing the inadequacies of second-wave ideology to deal with women’s experience beyond its “white, middle-class biases.”3 In this way, women of colour and those from the developing world were recruited into the fight for equality, while at the same time a radical reclamation of the symbols asso- ciated with traditional femininity was initiated. -
Introduction
Introduction th My superhero creator is Genndy Tartakovsky, born in Russia on January 17 , 1970 to Boris and Miriam Tartakovsky. Genndy moved with his family to Italy, and from there to Chicago, Illinois. He attended Lane Technical College Prep High School, where he developed an interest in animation. He went on to pursue that interest at the California Institute of the Arts. There he met animators Craig McCracken and Bob Renzetti. His time at Cal Arts set him on his career. His first job in animation was in the country of Spain, where he worked on Batman: The Animated Series. But the decisive turning point in his career was when he was hired by the famed animation studio Hanna-Barbera, for whom Tartakovsky created his first and signature animated series, Dexter’s Laboratory, the story of a smart-alecky boy genius. Tartakovsky then served as Animation Director and Cinematographer for The Powerpuff Girls Movie, working with his good friend, the director, Craig McCracken. Nominated for several Emmy awards, The Powerpuff Girls TV series proved to be prelude to Tartakovsky’s greatest work, Samurai Jack, for which he won several Emmy and other awards. Major Works and Influences Samurai Jack is a story about a samurai warrior who experiences time travel in his effort to defeat the shape-shifting, demon wizard Aku, who had imprisoned Jack’s father. Like most superheroes, Jack has a secret identity, an identity so secret that we never discover his true name. Like most superheroes, Jack also has access to magic, in the form of his katana, a Japanese sword with special powers. -
Nomination Press Release
Brian Boyle, Supervising Producer Outstanding Voice-Over Nahnatchka Khan, Supervising Producer Performance Kara Vallow, Producer American Masters • Jerome Robbins: Diana Ritchey, Animation Producer Something To Dance About • PBS • Caleb Meurer, Director Thirteen/WNET American Masters Ron Hughart, Supervising Director Ron Rifkin as Narrator Anthony Lioi, Supervising Director Family Guy • I Dream of Jesus • FOX • Fox Mike Mayfield, Assistant Director/Timer Television Animation Seth MacFarlane as Peter Griffin Robot Chicken • Robot Chicken: Star Wars Episode II • Cartoon Network • Robot Chicken • Robot Chicken: Star Wars ShadowMachine Episode II • Cartoon Network • Seth Green, Executive Producer/Written ShadowMachine by/Directed by Seth Green as Robot Chicken Nerd, Bob Matthew Senreich, Executive Producer/Written by Goldstein, Ponda Baba, Anakin Skywalker, Keith Crofford, Executive Producer Imperial Officer Mike Lazzo, Executive Producer The Simpsons • Eeny Teeny Maya, Moe • Alex Bulkley, Producer FOX • Gracie Films in Association with 20th Corey Campodonico, Producer Century Fox Television Hank Azaria as Moe Syzlak Ollie Green, Producer Douglas Goldstein, Head Writer The Simpsons • The Burns And The Bees • Tom Root, Head Writer FOX • Gracie Films in Association with 20th Hugh Davidson, Written by Century Fox Television Harry Shearer as Mr. Burns, Smithers, Kent Mike Fasolo, Written by Brockman, Lenny Breckin Meyer, Written by Dan Milano, Written by The Simpsons • Father Knows Worst • FOX • Gracie Films in Association with 20th Kevin Shinick, -
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007. -
HISC 104, UCSD, SPRING 2009 the History of Popular Science: Pop Science and Popularizations of Science
Clark, Hist of Popular Science: 1 HISC 104, UCSD, SPRING 2009 The History of Popular Science: Pop Science and Popularizations of Science William Clark / [email protected] / Office: 2302 HSS, East Wing / Hours: Tues+Thurs 12-1, 3:45-4:15, 6:30-7:30 Tuesday-Thursday 2-3:20 PM, Peterson 104 Grading: Take-Home Essay Midterm 40% + Take-Home Essay Final 60%. Class Description: This class is an “alpha” version: first time taught by me, thus still undergoing construction. The class is on the history of popular science, and much more, especially on the popularization of science and “pop science,” or science as seen by popular culture. Each session will be structured as about 50 minutes of lecture, followed by 30 minutes of discus- sion. The list of readings and films below is provisional – there is too much listed below, so we’ll discuss as a group, eventually, how much and what to do. Except for the first four books listed below, readings will be posted on the class website as pdfs, and are mostly articles or chapters from books – not whole books. Most of the films listed below will also be posted on the class website (in mp4 format) – the films will be posted in a timely way during the term. Books (at UCSD Bookstore) Kathleen Krull, Marie Curie: Giants of Science #4 (Giants of Science / Viking Juvenile). Steven Levy, Hackers: Heroes of the Computer Revolution (Penguin, Non-Classics). Mary Wollstonecraft Shelley, Frankenstein (Norton Critical Editions, W. W. Norton). James D. Watson, The Double Helix: A Personal Account of the Discovery of the Structure of DNA (Touchstone). -
Looking Back at the Creative Process
IATSE LOCAL 839 MAGAZINE SPRING 2020 ISSUE NO. 9 THE ANIMATION GUILD QUARTERLY SCOOBY-DOO / TESTING PRACTICES LOOKING BACK AT THE CREATIVE PROCESS SPRING 2020 “HAS ALL THE MAKINGS OF A CLASSIC.” TIME OUT NEW YORK “A GAMECHANGER”. INDIEWIRE NETFLIXGUILDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 REVISION 1 NETFLIX: KLAUS PUB DATE: 01/30/20 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 09 CONTENTS 12 FRAME X FRAME 42 TRIBUTE 46 FRAME X FRAME Kickstarting a Honoring those personal project who have passed 6 FROM THE 14 AFTER HOURS 44 CALENDAR FEATURES PRESIDENT Introducing The Blanketeers 46 FINAL NOTE 20 EXPANDING THE Remembering 9 EDITOR’S FIBER UNIVERSE Disney, the man NOTE 16 THE LOCAL In Trolls World Tour, Poppy MPI primer, and her crew leave their felted Staff spotlight 11 ART & CRAFT homes to meet troll tribes Tiffany Ford’s from different regions of the color blocks kingdom in an effort to thwart Queen Barb and King Thrash from destroying all the other 28 styles of music. Hitting the road gave the filmmakers an opportunity to invent worlds from the perspective of new fabrics and fibers. 28 HIRING HUMANELY Supervisors and directors in the LA animation industry discuss hiring practices, testing, and the realities of trying to staff a show ethically. 34 ZOINKS! SCOOBY-DOO TURNS 50 20 The original series has been followed by more than a dozen rebooted series and movies, and through it all, artists and animators made sure that “those meddling kids” and a cowardly canine continued to unmask villains. -
Perfect Little Feminists? Young Girls in the US Interpret Gender, Violence, and Friendship in Cartoons
University of South Carolina Scholar Commons Faculty Publications Communication Department 11-2010 Perfect Little eF minists? Young Girls in the US Interpret Gender, Violence, and Friendship in Cartoons Spring-Serenity Duvall University of South Carolina - Aiken, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/ aiken_communications_facpub Part of the Communication Commons Publication Info Postprint version. Published in Journal of Children and Media, Volume 4, Issue 4, 2010, pages 402-417. Duvall, S. (2010). Perfect little feminists? Young girls in the US interpret gender, violence, and friendship in cartoons. Journal of Children and Media, 4(4), 402-417. © Journal of Children and Media, 2010, Taylor and Francis. This is an Author's Accepted Manuscript of an article published in The Journal of Children and Media, 2010, © Taylor & Francis, available online at: http://www.tandfonline.com/10.1080/17482798.2010.510007 DOI:10.1080/17482798.2010.510007 This Article is brought to you by the Communication Department at Scholar Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Perfect little feminists?: Young girls interpret gender, violence, and friendship in cartoons 1 Perfect little feminists?: Young girls in the U.S. interpret gender, violence, and friendship in cartoons Abstract Girls’ studies has emerged as a dynamic area of scholarship that examines the cultural construction of girlhood, the role that girls play in society, their identity formation, and their representation in media. This paper extends previous research by interviewing young girls about their interactions with each other as they view and interpret animated cartoons. -
Outstanding Animated Program (For Programming Less Than One Hour)
Keith Crofford, Executive Producer Outstanding Animated Program (For Corey Campodonico, Producer Programming Less Than One Hour) Alex Bulkley, Producer Douglas Goldstein, Head Writer Creature Comforts America • Don’t Choke To Death, Tom Root, Head Writer Please • CBS • Aardman Animations production in association with The Gotham Group Jordan Allen-Dutton, Writer Mike Fasolo, Writer Kit Boss, Executive Producer Charles Horn, Writer Miles Bullough, Executive Producer Breckin Meyer, Writer Ellen Goldsmith-Vein, Executive Producer Hugh Sterbakov, Writer Peter Lord, Executive Producer Erik Weiner, Writer Nick Park, Executive Producer Mark Caballero, Animation Director David Sproxton, Executive Producer Peter McHugh, Co-Executive Producer The Simpsons • Eternal Moonshine of the Simpson Mind • Jacqueline White, Supervising Producer FOX • Gracie Films in association with 20th Century Fox Kenny Micka, Producer James L. Brooks, Executive Producer Gareth Owen, Producer Matt Groening, Executive Producer Merlin Crossingham, Director Al Jean, Executive Producer Dave Osmand, Director Ian Maxtone-Graham, Executive Producer Richard Goleszowski, Supervising Director Matt Selman, Executive Producer Tim Long, Executive Producer King Of The Hill • Death Picks Cotton • FOX • 20th Century Fox Television in association with 3 Arts John Frink, Co-Executive Producer Entertainment, Deedle-Dee Productions & Judgemental Kevin Curran, Co-Executive Producer Films Michael Price, Co-Executive Producer Bill Odenkirk, Co-Executive Producer Mike Judge, Executive Producer Marc Wilmore, Co-Executive Producer Greg Daniels, Executive Producer Joel H. Cohen, Co-Executive Producer John Altschuler, Executive Producer/Writer Ron Hauge, Co-Executive Producer Dave Krinsky, Executive Producer Rob Lazebnik, Co-Executive Producer Jim Dauterive, Executive Producer Laurie Biernacki, Animation Producer Garland Testa, Executive Producer Rick Polizzi, Animation Producer Tony Gama-Lobo, Supervising Producer J. -
“The Spongebob Squarepants Movie”
“THE SPONGEBOB SQUAREPANTS MOVIE” Production Information Ah, the simple, quiet life of Bikini Bottom, where home is a pineapple and a Krabby Patty is always served hot and fresh just around the corner at the Krusty Krab...... But starting on November 19th, the world is going to see just how wild things can get in the underwater paradise that SpongeBob SquarePants calls home. When he and his dimwitted best friend Patrick set out on an epic quest, SpongeBob finds himself driving a sandwich on a road trip where he’ll discover new worlds, dangerous monsters, and that being a kid isn’t such a bad thing after all. Sporting a fleet of famous voice talent that includes Alec Baldwin as Dennis the hit man, Scarlett Johansson as Mindy the mermaid and Jeffrey Tambor as King Neptune, not to mention a surprise appearance by David Hasselhoff as none other than himself, “The SpongeBob SquarePants Movie” is a cleverly drawn expansion of what has become the most watched kids’ show in television history. Co-written/storyboarded by SpongeBob creator Stephen Hillenburg, and featuring the original voice talent from the beloved series, this full-length animated feature is destined to float into the collective consciousness of moviegoers of all ages. Paramount Pictures presents a Nickelodeon Movies Production in association with United Plankton Pictures, “The SpongeBob SquarePants Movie.” Produced and directed by Stephen Hillenburg, written and storyboarded by Derek Drymon & Tim Hill & Stephen Hillenburg & Kent Osborne & Aaron Springer & Paul Tibbitt, the full-length animated feature is based on a story and the series created by Stephen Hillenburg.