Happily Ever After
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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. -
Spatial Design Principles in Digital Animation
Copyright by Laura Beth Albright 2009 ABSTRACT The visual design phase in computer-animated film production includes all decisions that affect the visual look and emotional tone of the film. Within this domain is a set of choices that must be made by the designer which influence the viewer's perception of the film’s space, defined in this paper as “spatial design.” The concept of spatial design is particularly relevant in digital animation (also known as 3D or CG animation), as its production process relies on a virtual 3D environment during the generative phase but renders 2D images as a final product. Reference for spatial design decisions is found in principles of various visual arts disciplines, and this thesis seeks to organize and apply these principles specifically to digital animation production. This paper establishes a context for this study by first analyzing several short animated films that draw attention to spatial design principles by presenting the film space non-traditionally. A literature search of graphic design and cinematography principles yields a proposed toolbox of spatial design principles. Two short animated films are produced in which the story and style objectives of each film are examined, and a custom subset of tools is selected and applied based on those objectives. Finally, the use of these principles is evaluated within the context of the films produced. The two films produced have opposite stylistic objectives, and thus show two different viewpoints of applying the toolbox. Taken ii together, the two films demonstrate application and analysis of the toolbox principles, approached from opposing sides of the same system. -
A Totally Awesome Study of Animated Disney Films and the Development of American Values
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2012 Almost there : a totally awesome study of animated Disney films and the development of American values Allyson Scott California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Scott, Allyson, "Almost there : a totally awesome study of animated Disney films and the development of American values" (2012). Capstone Projects and Master's Theses. 391. https://digitalcommons.csumb.edu/caps_thes/391 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Social and Behavioral Sciences Department Senior Capstone California State University, Monterey Bay Almost There: A Totally Awesome Study of Animated Disney Films and the Development of American Values Dr. Rebecca Bales, Capstone Advisor Dr. Gerald Shenk, Capstone Instructor Allyson Scott Spring 2012 Acknowledgments This senior capstone has been a year of research, writing, and rewriting. I would first like to thank Dr. Gerald Shenk for agreeing that my topic could be more than an excuse to watch movies for homework. Dr. Rebecca Bales has been a source of guidance and reassurance since I declared myself an SBS major. Both have been instrumental to the completion of this project, and I truly appreciate their humor, support, and advice. -
07 Resume Pg 2.Qxd
RESUME 2007 Apr 97 - Mar 99: Walt Disney Feature Animation Eric Hanson • Digital Supervisor- Lead Visual Development Artist for “Interstitials” segment of 12818 Dewey Street “Fantasia 2000”. Concept and design development of digital and live-action orchestra Los Angeles CA 90066 set. Worked closely with director Don Hahn. Use of Alias PA. • Senior Technical Director- Technical Director and Visual Development Artist for 310 . 391 . 7564 “Atlantis”. Concept and design development of cityscape and other CG backgrounds and www.visuraimaging.com elements. Use of Maya. [email protected] Mar 96 - Mar 97: Digital Domain • Senior Digital Artist - Supervising artist for digital cityscape elements on “Fifth Element”. Responsible for design and production of digital cityscape portraying futuristic Manhattan. Worked closely w/ Mark Stetson. Use of Alias PA, Prisms, Track, Moco/ Kuper, Nuke. Education 1986: Bachelor of Architecture, University of Texas/ Austin. Five year professional program with concentration on design, computer graphics. Awards 1995: Honorable Mention, 1995 Computer Deliniation Awards, Architectural Record. 1993: Best of Show, First Place, and Second Place Architectural Animation / 1993 Intergraph International Computer Graphics Competition. 1992: First Place, Second Place Architectural Animation / 1992 Intergraph International Computer Graphics Competition. 1991: First Place Architectural Animation / 1991 Intergraph International Computer Graphics Competition. Teaching 2002 - present: Adjunct Professor, USC School of Cinema-TV, “Introduction to Visual Effects”. 2002 - present: Adjunct Professor, USC School of Cinema-TV, “Creative Visual Effects”. 2002 - present: Adjunct Professor, USC School of Cinema-TV, “Visual Effects & Story”. 1997 - present: Instructor, “Digital Sets for Visual Effects”, Gnomon. 2006: Speaker/ Co-Organizer, NFU Digital Sets Conference featured speaker, Oslo, Norway. 2005: Speaker, Syntesis School featured speaker, San Sebastian, Spain. -
Kom Tillbaka Med Hennes Hjärta!”1 En Studie Om Hur Våld Skildras I Disneyfilmer Ur Ett Genusperspektiv
Kandidatuppsats ”Kom tillbaka med hennes hjärta!”1 En studie om hur våld skildras i Disneyfilmer ur ett genusperspektiv Författare: Frida Göstasson 1 Disney (1937) Snövit [Film] Producent: Walt Disney. Examinator: Hans Hägerdal Handledare: Cecilia Trenter Termin: VT17 1 Ämne: Historia Kurskod: 2HIÄ2E ”Return with her heart!”: A study about how violence are depicted in Disney movies from a gender perspective. Abstract This study examines the depiction of violence in Disney films by investigating the relation between violence and the characters from the 1930’s until today with focus on a gender perspective. The films are Snow White and the Seven Dwarfs, Sleeping Beauty, Beauty and the Beast, Pocahontas, Tangled and Frozen. The theoretical framework is based on the works of Devin McKinney, Henry Giroux and Slavoj Zizeks categorizations of violence. The results of the study show that the hyperreal form of violence have increased substantially, while the structural violence, such as detention, has been reduced and made visible in the narrative. There has also been a change in how the female characters relate to violence. In the earlier movies they took on a passive role, but later on they used violence in a more defensive way. In terms of the antagonists, a difference could be seen between the male and female characters. The female characters more often used other people to help them exercise violence, whilst the male characters did it themselves. The physical violence was more commonly used by the male characters, and the psychological violence was more common among the female characters. Nyckelord: Disney, våld, genus, barnfilm, stereotyper, innehållsanalys Keywords: Disney, violence, gender, children’s films, stereotypes, content analysis 2 Innehållsförteckning Abstract .................................................................................................................................................. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Keeping the Tradition by Marilyn Lester © 2 0 1 J a C K V
AUGUST 2018—ISSUE 196 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM P EE ING TK THE R N ADITIO DARCY ROBERTA JAMES RICKY JOE GAMBARINI ARGUE FORD SHEPLEY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2018—ISSUE 196 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : ROBERTA GAMBARINI 6 by ori dagan [email protected] Andrey Henkin: [email protected] Artist Feature : darcy james argue 7 by george grella General Inquiries: [email protected] ON The COver : preservation hall jazz band 8 by marilyn lester Advertising: [email protected] Encore : ricky ford by russ musto Calendar: 10 [email protected] VOXNews: Lest We Forget : joe shepley 10 by anders griffen [email protected] LAbel Spotlight : weekertoft by stuart broomer US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 31 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, Event Calendar 32 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Mathieu Bélanger, Marco Cangiano, Ori Dagan, George Grella, George Kanzler, Annie Murnighan Contributing Photographers “Tradition!” bellowed Chaim Topol as Tevye the milkman in Fiddler on the Roof. -
With Don Hahn, Executive Producer of Disney's Beauty and the Beast
BEYOND THE (BEAST’S) CASTLE with Don Hahn, Executive Producer of Disney’s Beauty and the Beast Don Hahn is the producer behind the 1991 classic Beauty and the Beast, the first animated film nominated for a Best Picture Oscar.® In 1994, he followed that with The Lion King, the most successful traditionally-animated film ever until Finding Nemo swam into the scene in 2003. His most recent accomplishment is executive producing the live-action filmBeauty and the Beast, which as of this interview has become the top grossing PG film of all time. As if that wasn’t enough, he’s just an irresistibly lovable guy. A Midwesterner by birth, Don happened to be the drum major in the marching bands of his high school and one of the colleges he attended. This man knows how to get a large group marching to the same beat! Today, he leads gifted artists of all kinds in the magic-making that stirs the hearts of audiences worldwide. Don was kind enough to talk with us recently about his critically acclaimed work. See if you don’t agree—he’s a prince among men. DON, YOUR ABILITY TO VISUALIZE, AND THEN BRING THE CHARACTERS, STORIES, AND AMAZING SETTINGS TOGETHER SEEMS JUST MAGICAL. WHAT’S THE INGREDIENT THAT MAKES IT ALL WORK? It’s all about empathy. If we can understand a character and what he or she wants, and then understand the obstacles in the way, then we can empathize with that character. We had a tough story meeting once and Michael Eisner came in and said: “Just tell me this. -
Print This Article
The Child Voice as Social Construct Ardelle Ries University of Alberta, Alberta, Canada Sociology provides a contextual milieu for pedagogy and provides a cultural explanation for pedagogical motives and method. In the world of sociology, the figurative voices of women and other minority groups have been thoroughly examined via feminist theory dealing with the oppressor and the oppressed. Within the last 20 years, children's voices are now included in the same paradigm providing much research and writing that focuses on the agency and empowerment of children, adult control, and the plasticity of children's behaviour. From a musician's perspective, I was curious about the correlation between the figurative and literal notion of voice prompting many questions pertaining to the true nature of the child singing voice. What social attitudes exist concerning children's singing voices? Who defines the child singing voice? Who decides and what controls the acceptable nature of the child singing voice? The following logic is used to place the child singing voice within a social context: • The human singing voice embodies and reflects the society and culture that surrounds it. • The human singing voice can be creative and original, but it also imitates and mirrors the predominant society or culture in which it resides. • Because childhood is a stage or time of life created within a societal and cultural framework, the child singing voice can consequently be considered a reflection of childhood within society. • As Western society changes, so do attitudes toward children and their childhoods; therefore, perceptions of the child singing voice change alongside shifting attitudes toward children and childhood within society. -
Songs by Title
Songs by Title Title Artist Versions Title Artist Versions #1 Crush Garbage SC 1999 Prince PI SC #Selfie Chainsmokers SS 2 Become 1 Spice Girls DK MM SC (Can't Stop) Giving You Up Kylie Minogue SF 2 Hearts Kylie Minogue MR (Don't Take Her) She's All I Tracy Byrd MM 2 Minutes To Midnight Iron Maiden SF Got 2 Stars Camp Rock DI (I Don't Know Why) But I Clarence Frogman Henry MM 2 Step DJ Unk PH Do 2000 Miles Pretenders, The ZO (I'll Never Be) Maria Sandra SF 21 Guns Green Day QH SF Magdalena 21 Questions (Feat. Nate 50 Cent SC (Take Me Home) Country Toots & The Maytals SC Dogg) Roads 21st Century Breakdown Green Day MR SF (This Ain't) No Thinkin' Trace Adkins MM Thing 21st Century Christmas Cliff Richard MR + 1 Martin Solveig SF 21st Century Girl Willow Smith SF '03 Bonnie & Clyde (Feat. Jay-Z SC 22 Lily Allen SF Beyonce) Taylor Swift MR SF ZP 1, 2 Step Ciara BH SC SF SI 23 (Feat. Miley Cyrus, Wiz Mike Will Made-It PH SP Khalifa And Juicy J) 10 Days Late Third Eye Blind SC 24 Hours At A Time Marshall Tucker Band SG 10 Million People Example SF 24 Hours From Tulsa Gene Pitney MM 10 Minutes Until The Utilities UT 24-7 Kevon Edmonds SC Karaoke Starts (5 Min 24K Magic Bruno Mars MR SF Track) 24's Richgirl & Bun B PH 10 Seconds Jazmine Sullivan PH 25 Miles Edwin Starr SC 10,000 Promises Backstreet Boys BS 25 Minutes To Go Johnny Cash SF 100 Percent Cowboy Jason Meadows PH 25 Or 6 To 4 Chicago BS PI SC 100 Years Five For Fighting SC 26 Cents Wilkinsons, The MM SC SF 100% Chance Of Rain Gary Morris SC 26 Miles Four Preps, The SA 100% Pure Love Crystal Waters PI SC 29 Nights Danni Leigh SC 10000 Nights Alphabeat MR SF 29 Palms Robert Plant SC SF 10th Avenue Freeze Out Bruce Springsteen SG 3 Britney Spears CB MR PH 1-2-3 Gloria Estefan BS SC QH SF Len Barry DK 3 AM Matchbox 20 MM SC 1-2-3 Redlight 1910 Fruitgum Co. -
The Walt Disney Studios Presents Upcoming Film Slate from Disney, Pixar, Marvel, and Lucasfilm at D23 Expo 2017
THE WALT DISNEY STUDIOS PRESENTS UPCOMING FILM SLATE FROM DISNEY, PIXAR, MARVEL, AND LUCASFILM AT D23 EXPO 2017 ‘Celebration of an Animated Classic: The Lion King’ Event Announced BURBANK, Calif., June 27, 2017 – The Walt Disney Studios presents an exclusive look at its unparalleled film slate at D23 Expo 2017 in Anaheim, California, taking place July 14–16. At two marquee Hall D23 presentations, the Studio will give fans a behind-the-scenes glimpse at its upcoming releases, with animated films from Walt Disney Animation Studios and Pixar Animation Studios showcased on Friday, July 14, and live-action projects from Disney, Marvel Studios, and Lucasfilm taking the stage on Saturday, July 15. Disney, Pixar, Marvel, and Lucasfilm are responsible for some of the world’s biggest movie hits, including recent blockbusters such as Disney’s Beauty and the Beast, Pirates of the Caribbean: Dead Men Tell No Tales, and The Jungle Book; Walt Disney Animation Studios’ Zootopia and Moana; Pixar Animation Studios’ Inside Out, Finding Dory, and Cars 3; Marvel Studios’ Guardians of the Galaxy Vol. 2, Doctor Strange, and Captain America: Civil War; and Lucasfilm’s Star Wars: The Force Awakens and Rogue One: A Star Wars Story. While the films to be featured in Hall D23 will remain under wraps until showtime, the Studio’s upcoming slate includes Pixar’s Coco; Marvel Studios’ Thor: Ragnarok, Black Panther, and Avengers: Infinity War; Lucasfilm’s Star Wars: The Last Jedi; Disney’s A Wrinkle in Time and Mary Poppins Returns; Walt Disney Animation Studios’ Ralph Breaks the Internet: Wreck-It Ralph 2; and more. -
Board of Directors, Advisory Committee Update
PRESS RELEASE The Walt Disney Family Museum Leadership Updates: Board of Directors, Advisory Committee Update San Francisco, June 26, 2018—The Walt Disney Family Museum is proud to announce the addition of two new members to the museum’s Board of Directors and two new members of the Advisory Committee. President of the Sharon D. Lund Foundation and granddaughter of Walt Disney Michelle Lund and San Francisco management consultant Pat Gallagher join the Board of Directors while veteran Muppets puppeteer Dave Goelz and Disney Legend Glen Keane join the Advisory Committee. Lund and Gallagher join President of the Board Ron Miller and board members Christopher Miller, Joanna Miller, Tamara Diane Miller, Jennifer Miller Goff, Danielle Durham, Sam Goff, and Executive Director of The Walt Disney Family Museum, Kirsten Komoroske. The museum’s Advisory Committee is made up of extraordinary individuals, each with uniquely impressive professional and personal achievements. Their combined insight, experience, and vision provide important strategic guidance for the museum in carrying out its mission and expanding its outreach and impact. Originally constituted in April 2015 to complement the museum’s Board of Directors, Goelz and Keane join fellow Committee members Nancy Hellman Bechtle, Andreas Deja, Don Hahn, Chris Kelly, John Lasseter, Michelle Lund, Leonard Maltin, Cynthia Rowland, Tom Sebastian, and Bob Weis. The museum is also happy to announce the appointment of Kirsten Komoroske, Executive Director of The Walt Disney Family Museum, to the Board of Directors of San Francisco Travel, a private, not-for-profit, 501(c)6 membership organization. Kirsten joins a panel of 39 business leaders from various Bay Area companies, elected by the membership, to SF Travel’s Board of Directors.