Generic Cartoon Toon World
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Resume-08-12-2021
Mike Milo Resume updated 08-12-2021 • OBJECTIVE: • To create stories, characters and animation that move the soul and make people laugh. CREDITS: • DIRECTOR- Warner Bros. Animation-HARLEY QUINN (current) • WRITER and PUNCH-UP on unannounced Netflix/ Universal- WOODY WOODPECKER movie • Supervising DIRECTOR- Age of Learning/Animasia- YOUNG THINKER’S LABORATORY • Story Artist- Apple TV- THE SNOOPY SHOW • Story Artist- Warner Bros. Animation SCOOBY DOO HALLOWEEN • DIRECTOR- Bento Box/ Apple TV- WOLFBOY AND THE EVERYTHING TREE • Freelance Animation DIRECTOR for Cartoon Network/HBO Max’s TIG ‘n’ SEEK • SHOWRUNNER/DIRECTOR- Universal’s WOODY WOODPECKER • DIRECTOR-Warner Bros. Animation- SCOOBY DOO AND GUESS WHO • Freelance Animation DIRECTOR for Warner Bros. Animation LOONEY TUNES 1000-ongoing • Freelance Animation DIRECTOR for Cartoon Network's CRAIG OF THE CREEK • Story Artist- CURIOUS GEORGE- Universal/DreamWorks • Creator, Writer, Director, Designer, Story Artist- GENIE HUNTERS- Cartoon Network • Freelance Animation DIRECTOR for Cartoon Network's UNCLE GRAMPA • Freelance Animation DIRECTOR for Cartoon Network's Justice League Action • Freelance Animation DIRECTOR for Netflix’s STRETCH ARMSTRONG • Storyboard Supervisor/Director/Teacher/Technology consultant: storyboards, writing, animation, design, storyboard direction and timing- RENEGADE ANIMATION • Freelance Storyboards and writing- THE TOM AND JERRY SHOW- Renegade Animation Freelance Animation DIRECTOR for Cartoon Network's BEN 10 • Freelance Flash cartoons for PEOPLE MAGAZINE and ESSENCE MAGAZINE • Flash storyboards, Direction, animation and design- Education.com on BRAINZY • Freelance Exposure Sheets for Marvel Entertainment- AVENGERS ASSEMBLE • Flash storyboards for Amazon pilot: HARDBOILED EGGHEADS • •Character Design and Development- Blackspot Media NYC- IZMOCreator, Writer, Director, Designer, Story Artist- Nickelodeon development BORIS OF THE FOREST with BUTCH HARTMAN • •Story Artist at Nickelodeon Animation Studios- FAIRLY ODD PARENTS • •Freelance Character Design at Animae Studios- LA FAMILIA P. -
Media Release the Perth Mint Reaches the Stars With
Monday 5 February 2018 MEDIA RELEASE THE PERTH MINT REACHES THE STARS WITH WARNER BROS. CONSUMER PRODUCTS AGREEMENT BRINGS COIN COLLECTIONS TO FANS OF BELOVED FILM AND TV ANIMATED ICONS The Perth Mint under licencing agreement with Warner Bros. Consumer Products, a division of Warner Bros. Entertainment, will deliver a range of coin programs celebrating some of the world’s most loved movies and television icons. The second of many coins to be launched under this exciting licencing agreement features Bugs Bunny, one of the most iconic characters in Animation. Struck from 1/2oz of 99.99% pure silver and issued with a strict worldwide mintage of just 5,000, this coloured coin provides a rare opportunity for Looney Tunes fans to secure a unique piece of pop culture memorabilia. The beloved Bugs Bunny coin unveiled by The Perth Mint this month will be followed later this year by other Looney Tunes characters including Daffy Duck, Tweety, Sylvester and the Tasmanian Devil. Each 1/2oz coin will be issued as Tuvalu legal tender and individually housed in a clear acrylic case to view both sides with ease. The Perth Mint Group Manager Minted Products Neil Vance said the venture was a shining example of the Mint’s innovative approach to developing new markets for Australian-made coins. “This latest alliance will significantly expand our range of licenced commemoratives and introduce the world of coin collecting to fans of classic Warner Bros. movies and cartoons in Australia and internationally,” Mr Vance said “Having issued limited edition licensed coin products for more than 10 years in collaboration with entertainment industry leaders and independent estates, we have seen their popularity grow.” The first release in the Warner Bros. -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
HBO Max Will Be More Expensive Than Netflix, Disney Or Apple
HBO Max will be more expensive than Netflix, Disney or Apple. Does that mean it'll be a tough sell? 31 October 2019, by Jefferson Graham Now try $14.99 monthly for HBO Max. That's not a misprint. The most popular tier on Netflix, which has been streaming since 2013 and is the undisputed leader in the field, is $12.99. For your $15, Warner is giving you a lot: Some 10,000 hours of content, new and old fare from the libraries of Warner Bros., HBO, CNN, TNT, TBS, the Cartoon Network, Adult Swim, Turner Classic Movies and DC Comics. Warner announced a giant slate of projects, including a prequel to HBO's Game of Thrones, Credit: CC0 Public Domain new movies with Reese Witherspoon and Meryl Streep, revivals of the classic Looney Tunes (Bugs Bunny, Porky Pig) cartoons and a new series featuring the Hanna Barbera characters (The Welcome to the hard sell. Flintstones, Jetsons, Yogi Bear, Mr. Jinx) called "Jellystone." HBO Max won't debut until May, but AT&T's Warner Media wanted to get a quick attention grab The complete seasons of "South Park," "Friends" on consumers during a week that will see Apple and "The Big Bang Theory" are coming to HBO enter the streaming wars and Disney join two Max, along with dozens of movies from the Warner weeks later. Bros. library, everything from the "Joker" and "Batman" movies to "Casablanca" and both the HBO staged a giant presentation on a historic Judy Garland and Lady Gaga versions of "A Star Is soundstage at the Warner Bros. -
Dukal Looney Tunes
Looney Tunes Adhesive Bandages Item # Description Packaging 1073737 Bugs Bunny & Tasmanian Devil, 100/bx, 12 bx/cs Featuring kid’s favorite characters including Bugs Bunny, Stat Strip®, ¾” x 3” Tazmanian Devil, Tweety, Daffy Duck, Wile E. Coyote, Road 1074737 Tweety, Spot*, 7/8” 100/bx, 24 bx/cs Runner and Sylvester. Long-lasting adhesive helps ban- dage stay on, to keep cuts clean. The unique, easy-open- 1075737 Bugs Bunny & Daffy Duck, 100/bx, 12 bx/cs ing Stat Strip® wrapper allows for aseptic Stat Strip®, ¾” x 3” application. 1076737 Wile E. Coyote & Road Runner, 100/bx, 12 bx/cs Stat Strip®, ¾” x 3” • Perforated, breathable bandage 1079797 Tweety and Taz, Spot*, 7/8” 100/bx, 24 bx/cs • Absorbent, non-stick pad for easy removal 1083737 Tweety Assortment, Stat 100/bx, 12 bx/cs • Multi-purpose family protection for cuts and scrapes Strip®, ¾” x 3” • Not made with natural rubber latex 1084737 Assorted Characters*, 2” x 3” 50/bx, 12 bx/cs • Sterile Patch 1085737 Bugs Bunny & Assorted 100/bx, 12 bx/cs Characters, Stat Strip®, ¾” x 3” Stat Strip® Opening Technology 1086737 Bugs Bunny and Sylvester, 100/bx, 12 bx/cs Stat Strip®, ¾” x 3” • Unique Stat Strip LOONEY TUNES and all related characters and elements are wrapper opening trademarks and © Warner Bros. Entertainment Inc. (s21). technology • Patented, easy opening process Find our full line of products at www.Dukal.com Dukal Corporation Phone: 1 631 656 3800 Email: [email protected] 2 Fleetwood Ct, Ronkonkoma, NY 11779 Toll Free: 1 800 243 0741 To Place Orders: [email protected] ART-00100-DOC Rev 1 Effective Date: 05/14/2021 1073737 1074737 1075737 Bugs Bunny & Tasmanian Devil Tweety Spot* Bugs Bunny & Daffy Duck ¾” x 3” 7/8” ¾” x 3” 100/bx, 12 bx/cs 100/bx, 24 bx/cs 100/bx, 12 bx/cs 1076737 1076737 1083737 Wile E. -
Animation:Then,Now,Next
Fall 2020 FYI, section 093 is a 2nd half of the semester course. If you wish to enroll in the full-semester version please email instructor FILM1600 : Then|Now|Next [email protected] for permission code. (August 17,2020) What you need to know! Designed to be online (asynchronous – anytime during the week) since 2016. It is not a zoom/IVC adaptation because of COVID. The course incorporates extensive visual media that make up the majority of the course content (no required book to purchase). It is now 99% Closed Captioned (spring 2020). Updated each semester with newest advances in the field. This course is 8 weeks long, which means things move a bit faster to fit everything in but is very manageable with good organization. What is different about this course… this is not a history course but reveals the people, processes and future changes in how animation is used in digital media. The content of the course draws directly from the professor’s experience and insights working at Disney Feature Animation and Electronic Arts (games). Weekly Modules are structured to emulate regular in-person classes. The modules contain each week's opening animations, lectures, readings, and quizzes. You can access the material several weeks before due dates. Course Content Animation techniques have evolved from simple cartoon drawings to 3D VFX. Today this evolution continues as it is Link to Sample Lecture Class rapidly being integrated into XR. From Animation's beginnings, (2 lectures per week) each new technological innovation extended the creative possibilities for storytelling (e.g. -
Generic Cartoon Toon World Introduction Cartoons, in Most Places They Are Just Viewed As Comedic Shows and Are Just Watched As Entertainment
Generic Cartoon Toon World Introduction Cartoons, in most places they are just viewed as comedic shows and are just watched as entertainment. However, here in this reality “Toons” are people, a minority group with strange powers who generally work as actors and entertainers producing the various shows that people love. Through cartoon shows such as Bonkers, Animaniacs, Tiny Toons and the Looney Tunes show, you get a glimpse of “the real” world behind the scenes where Toons are people and have there own problems. Unfortunately, the reality is that Toon’s were badly treated for most of their history and for most of the early nineteen hundreds Toons were considered to be nuisances or treated as property to be locked away in their own segregated area. (This is an attempt at covering a wide-variety of cartoons, shows and movies that displayed or had episodes that showed a similar Toons-are-actors-in-a-world-with-humans “behind the scenes”) Animaniacs, Harvey Birdman: Attorney at law, Bonkers, Disney’s house of mouse, Drawn together, Freakazoid, Looney Tunes, Looney Tunes back in action, The Looney Tunes Show, Pinky and the Brain, Space Jam, Space Ghost: Coast to Coast, Son of Zod, Tiny Toons, Who framed Roger rabbit. Sections available Race Companions Background Perks Items Drawbacks Scenarios -contains starting year, tasks, scenarios Timeline - history of this world and some of the major events inside of it Start with: 1000cp Race Human: (free) You start off as a human, you're a boring human. Pick how you look and your sex for free. -
Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism. -
Daffy Duck and Allegorical Violets: Inane Voices Asking Philosophical Questions in the Poetry of Louise Glück and John Ashbery
Trinity College Trinity College Digital Repository Trinity Publications (Newspapers, Yearbooks, The Trinity Papers (2011 - present) Catalogs, etc.) 2018 Daffy Duck and Allegorical Violets: Inane Voices Asking Philosophical Questions in the Poetry of Louise Glück and John Ashbery Louisa Mahoney Trinity College, Hartford Connecticut Follow this and additional works at: https://digitalrepository.trincoll.edu/trinitypapers Part of the Arts and Humanities Commons Recommended Citation Mahoney, Louisa, "Daffy Duck and Allegorical Violets: Inane Voices Asking Philosophical Questions in the Poetry of Louise Glück and John Ashbery". The Trinity Papers (2011 - present) (2018). Trinity College Digital Repository, Hartford, CT. https://digitalrepository.trincoll.edu/trinitypapers/64 Mahoney 1 Daffy Duck and Allegorical Violets: Inane Voices Asking Philosophical Questions in the Poetry of Louise Glück and John Ashbery Poetry has always been used to pose questions, ranging from the mundane to the extraordinary, from highly specific personal enquiries to broad existential uncertainties. Where did we come from? Why are we alive, what does being alive mean? Existential questions have attracted the curiosity of intellectuals for millennia. Furthermore, in a global culture inherently tied to religion, these questions have often been posed or dedicated to a divine figure. Although the appearance of these god figures has changed and developed over time and across cultures, their symbolism and importance have remained constant. Drawing from traditions started in early religious texts and classical works of prose and poetry, many writers have appealed to a higher power in their work. From Virgil and Sophocles to Whitman and Dickenson, from Homer and Dante to Plath and Collins, poets have used their lines, stanzas and syllables to grapple with existence and perhaps even reach out to God. -
Perceptual Evaluation of Cartoon Physics: Accuracy, Attention, Appeal
Perceptual Evaluation of Cartoon Physics: Accuracy, Attention, Appeal Marcos Garcia∗ John Dingliana† Carol O’Sullivan‡ Graphics Vision and Visualisation Group, Trinity College Dublin Abstract deformations to real-time interactive physics simulations e.g. Cel Damage by Pseudo Interactive R and Electronic Arts R . A num- People have been using stylistic methods in classical animation for ber of papers have been published on simulating cartoon physics many years and such methods have also been recently applied in 3D using a range of different approaches from simple geometrical de- Computer Graphics. We have developed a method to apply squash formations to complex physically based models of elasticity. In this and stretch cartoon stylisations to physically based simulations in paper we present the results of a number of experiments that were real-time. In this paper, we present a perceptual evaluation of this performed to address the question of whether and to what degree approach in a series of experiments. Our hypotheses were: that styl- stylisation contributes to the quality of a real-time interactive simu- ised motion would improve user Accuracy (trajectory prediction); lation. that user Attention would be drawn more to objects with cartoon physics; and that animations with cartoon physics would have more 1.1 Contributions Appeal. In a task that required users to accurately predict the tra- jectories of bouncing objects with a range of elasticities and vary- Our main contribution in this paper is to validate some well known ing degrees of information, we found that stylisation significantly assumptions that stylised behaviour has the potential to signifi- improved user accuracy, especially for high elasticities and low in- cantly affect a user’s perception and response to a scene. -
Incongruous Surrealism Within Narrative Animated Film
University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2021 Incongruous Surrealism within Narrative Animated Film Daniel McCabe University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation McCabe, Daniel, "Incongruous Surrealism within Narrative Animated Film" (2021). Electronic Theses and Dissertations, 2020-. 529. https://stars.library.ucf.edu/etd2020/529 INCONGRUOUS SURREALISM WITHIN NARRATIVE ANIMATED FILM by DANIEL MCCABE B.A. University of Central Florida, 2018 B.S.B.A. University of Central Florida, 2018 A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Fine Arts in the School of Visual Arts and Design in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2021 © Daniel Francis McCabe 2021 ii ABSTRACT A pop music video is a form of media containing incongruous surrealistic imagery with a narrative structure supplied by song lyrics. The lyrics’ presence allows filmmakers to digress from sequential imagery through introduction of nonlinear visual elements. I will analyze these surrealist film elements through several post-modern philosophies to better understand how this animated audio-visual synthesis resides in the larger world of art theory and its relationship to the popular music video. -
July 26, 2013 Bugs Bunny and the NSO Come to Wolf Trap
July 26, 2013 Bugs Bunny and the NSO come to Wolf Trap By Roger Catlin For a generation of Americans, the earliest love of classical music came not through shared family symphony experiences or early childhood music appreciation classes, but through mayhem-laced TV cartoons, often involving a bunny in drag. Walt Disney may have taken the high road to classical music interpretation through some early Silly Symphony cartoons and “Fantasia” (which in its first run was a flop). But it was Warner Bros. and particularly the animators behind Bugs Bunny who may have been the most successful in drumming key classical passages into the heads of impressionable audiences when the studio’s theatrical cartoons of the 1940s and ’50s were incessantly replayed on TV in the ’60s. Warner Bros. - Still image from the 1950's Merrie Melodies short, “What's Opera, Doc?” Even today, the most serious gray-haired music lover, sitting in the world’s most august concert halls, may be listening to the timeless refrains of Rossini or Wagner only to have the phrase “Kill the Wabbit!” come to mind. Conductor George Daugherty has embraced this meld of classical knowledge and pop-culture conditioning and celebrates it in his “Bugs Bunny at the Symphony.” Its first tour, in 1990, was such a success that it spawned, as most successes in Hollywood do, a sequel. “Bugs Bunny at the Symphony II” comes to Wolf Trap on Thursday and Friday, with Daugherty conducting the National Symphony Orchestra. In its honor, we pause to hail the greatest uses of classical music by Warner Bros.