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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. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
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. -
2010 Program
FESTIVAL PASS $40 (DCAS members/seniors and students), $50 (general public) Note: A festival pass does not guarantee entry into a screening. Please arrive 15 minutes prior to a screening to ensure entry. PASSES & TICKETS SINGLE SCREENING ADMISSION The Dawson City International Short Film Festival is presented by the $6 (DCAS members/seniors & students), $7 (general public) KLONDIKE INSTITUTE OF ART AND CULTURE. We gratefully acknowledge the support of KIAC’s funding agencies and partners for making this possible. DCAS (Dawson City Arts Society) membership: $15 For further information on KIAC and its programs, All events take place at The Odd Fellows Hall, please visit our website at www.kiac.ca 2nd & Princess unless otherwise noted. www.dawsonfilmfest.com Festival Producer: Dan Sokolowski Programming: Dan Sokolowski, Kerry Barber, Tara Rudnickas Projectionists: Florian Boulais, Megan Graham, Aaron Burnie Executive Director: Karen DuBois Front of House Manager: Karen MacKay Programs Manager: Tara Rudnickas Concession Manager: Georgia Fraser Programs Coordinator: Jenna Roebuck Cover and Poster Artworks: Veronica Verkley Administrative Assistant: Kerry Barber Program Design: Dan Sokolowski Gallery Director: Lance Blomgren Festival Committee Klondike Institute of Art and Culture Lulu Keating: Chair, Florian Boulais, Gail Calder, Suzanne Crocker, Box 8000, Dawson City, Yukon Y0B 1G0 Canada Stephanie Davidson, Kit Hepburn, Bill Kendrick, Gord MacRae, tel: 867 993 5005 Daisyanne Maguire, John Overell, Evelyn Pollock, Meg Walker fax: 867 993 5838 [email protected] www.kiac.ca 2010 DAWSON CITY INTERNATIONAL SHORT FILM FESTIVAL 1 ALL SCREENINGS and EVENTS in the ODD FELLOWS HALL BALLROOM unless otherwise noted. Thursday, 7 pm — Thursday, 9:30 pm Feature film by artists in residence Stefan Popescu and Katherine Berger. -
Mon Sept 27 | 8:30 Pm Jack H. Skirball Series $9 [Students $7, Calarts $5]
FILM AT REDCAT PRESENTS Mon Sept 27 | 8:30 pm Jack H. Skirball Series $9 [students $7, CalArts $5] THE BEST OF OTTAWA 2009 This selection of 12 outstanding films from the Ottawa International Animation Festival 2009, most of which are Los Angeles premieres, reflects the vitality of experimental animation today and includes work from Canada, England, Estonia, France, Germany, Poland, and the United States. Each filmmaker demonstrates a passion for telling stories, whether abstract or figurative, and the works showcase the rich possibilities of animation as personal art. Films include Eric Dyer’s mesmerizing The Bellow’s March, Diego Maclean’s haunting The Art of Drowning, and David OReilly’s sci-fi drama Please Say Something, as well as works by Jake Armstrong, Bastien Dubois, Julian Grey, Rao Heidmets, Stephen Irwin, Gary Leib, Ian Miller, Marv Newland, and Michal Socha. Two new films by American animators who continue to delight, disturb, and enlighten— Myth Labs by Martha Colburn and Presentation Theme by Jim Trainor—will also be screened. In person: Suzan Pitt, Ottawa International Animation Festival jury member “Martha Colburn’s animations charge the frame with such ferocity that it almost hurts to watch… Tacitly these unconscious imaginings give rise to strikingly clear associations, which is why the work is so illuminating—not just for its ideational and aesthetic lushness but for its approach.” – Dena Beard, Berkeley Art museum/Pacific Film Archive Program (TRT 81 min.) Julian Grey: OIAF 2009 Signal Film Head Gear Animation | Canada | 2009 | 0:45 The bouncing ball leads the audience to the 2009 edition of the Ottawa International Animation Festival. -
2012–2013 NFB Annual Report
Annual Report T R L REPO A NNU 20 1 2 A 201 3 TABLE 03 Governance OF CONTENTS 04 Management 01 Message from 05 Summary of the NFB Activities 02 Awards Received 06 Financial Statements Annex I NFB Across Canada Annex II Productions Annex III Independent Film Projects Supported by ACIC and FAP Photos from French Program productions are featured in the French-language version of this annual report at http://onf-nfb.gc.ca/rapports-annuels. © 2013 National Film Board of Canada ©Published 2013 National by: Film Board of Canada Corporate Communications PublishedP.O. Box 6100,by: Station Centre-ville CorporateMontreal, CommunicationsQuebec H3C 3H5 P.O. Box 6100, Station Centre-ville Montreal,Phone:© 2012 514-283-2469 NationalQuebec H3CFilm Board3H5 of Canada Fax: 514-496-4372 Phone:Internet:Published 514-283-2469 onf-nfb.gc.ca by: Fax:Corporate 514-496-4372 Communications Internet:ISBN:P.O. Box 0-7722-1272-4 onf-nfb.gc.ca 6100, Station Centre-ville Montreal, Quebec H3C 3H5 4th quarter 2013 ISBN: 0-7722-1272-4 4thPhone: quarter 514-283-2469 2013 GraphicFax: 514-496-4372 design: Oblik Communication-design GraphicInternet: design: ONF-NFB.gc.ca Oblik Communication-design ISBN: 0-7722-1271-6 4th quarter 2012 Cover: Stories We Tell, Sarah Polley Graphic design: Folio et Garetti Cover: Stories We Tell, Sarah Polley Cover: Soldier Brother Printed in Canada/100% recycled paper Printed in Canada/100% recycled paper Printed in Canada/100% recycled paper 2012–2013 NFB Annual Report 2012–2013 93 Independent film projects IN NUMBERS supported by the NFB (FAP and ACIC) 76 Original NFB films and 135 co-productions Awards 8 491 New productions on Interactive websites NFB.ca/ONF.ca 83 33,721 Digital documents supporting DVD units (and other products) interactive works sold in Canada * 7,957 2 Public installations Public and private screenings at the NFB mediatheques (Montreal and Toronto) and other community screenings 3 Applications for tablets 6,126 Television broadcasts in Canada * The NFB mediatheques were closed on September 1, 2012, and the public screening program was expanded. -
11 APRILAPRIL -- 33 AUGUSTAUGUST 20142014 Celebrating the Centenary of Animator Norman Mclaren Screenings, Exhibitions, Workshops, Performances Around the UK
` 1111 APRILAPRIL -- 33 AUGUSTAUGUST 20142014 Celebrating the Centenary of Animator Norman McLaren Screenings, Exhibitions, Workshops, Performances around the UK Stirling • Glasgow • Edinburgh and events around the UK McLaren 2014 is an official Culture 2014 event and www.mclaren2014.com part of Homecoming Scotland 2014 celebrations. The McLaren 2014 Programme is produced by the Centre for the Moving Image in partnership with the @mclaren2014 /mclaren2014 National Film Board of Canada. www.mclaren2014.com WELCOME hen it occurred to me, back in 2007, Wthat Norman McLaren’s centenary was approaching, I wanted to ensure Scotland recognised this internationally renowned artist – one that most people in his country of origin hadn’t heard of. McLaren 2014 will narrate the progress of Norman’s life in Scotland, starting in April where we relive his childhood days in Stirling. We will then go to The Glasgow School of Art in May to screen his student films. In June, we will witness his legacy afresh in Edinburgh, with an exhibition of his artwork and a premiere event at the 68th Edinburgh International Film Festival. During the whole McLaren 2014 programme, you will be able to attend exhibitions, screenings, workshops and performances in Scotland and in the rest of the UK. This amassed wealth of cultural activity has all been inspired by one modest Scotsman, and over the past five years of developing this festival, I have frequently had to consider: ‘What would Norman do?’ Given Norman’s unassuming opinion of himself, he probably wouldn’t have orchestrated four months of events dedicated to his legacy, and most certainly would have shied away of the accumulated enthusiasm I’ve encountered bringing this programme together, with the invaluable contribution of McLaren’s friend, fellow film maker Don McWilliams. -
Jeux D'images
1 jeux d’images (petite forme) programme de 5 courts métrages de Norman McLaren Volatile McLaren Le point de vue de Emmanuel Siety Sérieux et pas sérieux - portrait de l’artiste en poule Une poule, voilà qui ne fait pas très sérieux. Une poule c’est amu- sant, un peu ridicule dans une cour de ferme… Caquètements et petits Auteur d’un documentaire sur Norman McLaren, Donald McWil- coups de bec pour picorer, elle est presque une icône de la sottise liams rapporte cette anecdote plaisante et éclairante : quand tant d’autres oiseaux incarnent la grâce, la fragilité, la légè- reté… Volatile balourd dont les ailes ne lui permettent pas de voler, « J’ai fait la connaissance de McLaren en 1968 et j’ai vite compris mais tout au plus de soulever un nuage de poussière dans une course que la présence fréquente d’oiseaux, de poules et de pattes de poules affolée quand un chien s’avise de la poursuivre. Est-il bien raison- dans ses films ne tenait pas du hasard : le cinéaste s’identifiait aux nable de penser à Fred Astaire en dessinant une poule ? Dans La Ruée volatiles, en particulier aux poules. Perplexe, j’en ai glissé un mot vers l’or, Chaplin déguisé en poule fait rire et aussi un peu peur. Peut- à son amie Evelyn Lambart. Elle m’a regardé avec étonnement. on prendre au sérieux un artiste qui se prend pour une poule ? Un « Chacun de nous est un animal. Moi, je suis un cheval. Et vous, albatros, passe encore, mais une poule ? qu’est-ce que vous êtes? » Je suis resté sans voix durant peut-être une minute. -
The Inside‑Out Character : Strategies for Animating Inner States of Mind
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. The inside‑out character : strategies for animating inner states of mind Wee, Mark Nai De 2017 Wee, M. N. D. (2017). The inside‑out character : strategies for animating inner states of mind. Master's thesis, Nanyang Technological University, Singapore. http://hdl.handle.net/10356/70251 https://doi.org/10.32657/10356/70251 Downloaded on 02 Oct 2021 20:58:43 SGT The Inside-Out Character: Strategies for Animating Inner States of Mind Thesis, M.A. (Research) - Revision Wee Nai De, Mark Supervisor: Asst. Professor Kathrin Albers Co-Supervisor: Assoc. Professor Hans Martin Rall Nanyang Technological University, School of Art, Design and Media 13th March 2017 Acknowledgements I would first begin by thanking my research supervisors, Asst. Professor Kathrin Albers and co-supervisor, Assoc. Professor Hans Martin Rall for their strict guidance, guarding, and infinite patience during my learning. They have given me the strength to continue when things seem at their bleakest, in both my journeys through academia and the animation practice. For that, I am eternally grateful to be able to have them as mentors, and friends. I would also like to thank Professor Ishu Patel for his unwavering support that first put me onto the road of academia, and now, keeping me on it; For making me love animation, and more importantly, for his allegories on life that have humbled me in my days of being wild and still is humbling to me now, as a student of animation. I would like to thank Miss Hong Bee Kuen, whose infinite patience I sincerely appreciate. -
NORMAN MCLAREN RETROSPECTIVE at Moma
The Museum of Modern Art 50th Anniversary NO. 7 no FOR IMMEDIATE RELEASE NORMAN MCLAREN RETROSPECTIVE AT MoMA As part of NATIONAL FILM BOARD OF CANADA: A RETROSPECTIVE, Norman McLaren, master animator and founder of the Board's an imation unit in 1941, will be honored with a retrospective of virtually all the films he made at NFBC. Part One of MoMA's NFBC Retrospective, ANIMATION, runs from January 22 through February 16, and presents a survey of 150 animated films. Five programs of the extraordinary and influential work of Norman McLaren will be presented from February 12 through 16. "Animation came to the National Film Board of Canada in 1941 with the person of Norman McLaren. In 1943, after having recruited George Dunning, Jim MacKay and Grant Munro, it was McLaren who was put in charge of the first animation workshop. The earliest films were craftsmanlike, having a more utilitarian than aesthetic character. After the war the time of the artist came about. The spirit and goals of the animation unit changed; the styles and techniques became more and more refined leading to today's sophisticated animation." —Louise Beaudet, Head of Animation Department, Cinematheque quebecoise, Montreal "Norman McLaren (Stirling, Scotland, 1914) completed his first abstract films in 1933 while a student at the Glasgow School of Art, Here he attracted the attention of John Grierson, who invited the young man upon graduation to make promotional films for the General Post Office in London. McLaren worked for the GPO from 1936 until 1939 when, at the onset of war, he moved to New York. -
Norman Mclaren Reflections on a Life
ANIM ATrOTT NARCISSUS Norman McLaren Reflections on a life ''So I'm for Norman McLaren. I don't think we can appreciate tiim enougii" - British artist and filmmaker Len Lye Septemtwr 1983 - Cinema Canada / 21 AMIMAiroW with the sparse resources of the time by Gordon Martin They established McLaren's well-deser ved reputation for economy both mate Learned volumes have been wTitten in rially and creatively. dozens of languages about Canada's In 1944 McLaren formed an animation best-known filmmaker, Norman McLa studio at NFB and worked with other ren. Yel it is in the simple but elegant young artists such as Grant Munro, Ren6 tribute of his friend and colleague Guy Jodoin, Evelyn Lambert, George Dun Glover, that both the most succinct and ning, and Jim McKay, as well as musi the most poetic description of the artist- cians Maurice Blackburn and Louis Ap- animator's work is to be found : plebaum. It was a period during which "Far from the talking picture - that enduring principles of animated film vast province of the Cinema that making were established. McLaren perspectives borders, indeed overlaps, on the Chief amongst these is McLaren's pre Realm of Language - there exists yet occupation with movement rather than another province of the Cinema the slick static imagery and story line where talk is limited and which tou which characterize popular cartoons. The task ot the filmmaker ches on the firontiers of Music and Perhaps because he has created directly Dance. with pen and ink on film stock, his total "/ahvay.s have the audience in the back of my mind. -
GRANADA TELEVISION Film Funding to Match with Private Investment for the Pro Duction of Overnight from a Screenplay H E Wrote Himself
• elM E MA~ • chopper and Beaver aircraft in ities for 16mm, 35mm, inter lating film library. the series. locking systems, slide shows, With the intention of be VANCOUVER VISTAS Vancouver crews predo professional Super 8 and Dolby coming a focal point of access by Rona Gilbertson minate, but the d irectorship sound, a production studio, a for local filmmakers and the • • will be split b e tween east and film studies library and a eircu- The National Film Board is in screen test." Written by Ka west talent. So far, only half have been selected. John M. - pre-production on a series of threen Neilson, the first 20 six one-hour programs to air minutes were shot in February Eckert of Toronto w ill act as nationally which explores the of this year. From h e re, the the new line producer and Harold Tichenor of Vancouver, historical upheaval in the edited version w ill serve to global economy since the In petition for Telefilm and private as the production manager. dustrial Revolution. funding. The WI'iter's Department will again rely on the consulting The Political Economy Series Th e first draft of the feature length screenplay will be fi and contributing expertise of challenges Canadians with an John Dugan, who will coordi nished by May 31, and Sandy unlaundered look at the issues nate from Los Angeles. Hopes Flanagan of the Reel West that mark the new world order are to make the series more Digest will team with Schmidt and options for making Canada action and adventure oriented.