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Abandoning the Girl Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation
AN ABSTRACT OF THE THESIS OF Adam C. Hughes for the degree of Master of Arts in Applied Ethics presented on July 15, 2013 Title: Abandoning the Girl's Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation Abstract approved: Flora L. Leibowitz In regards to animation created and aimed at them, girls are largely underserved and underrepresented. This underrepresentation leads to decreased socio-cultural capital in adulthood and a feeling of sacrificed childhood. Although there is a common consensus in entertainment toward girls as a potentially deficient audience, philosophy and applied ethics open up routes for an alternative explanation of why cartoons directed at young girls might not succeed. These alternative explanations are fueled by an ethical contract wherein producers and content creators respect and understand their audience in return for the privilege of entertaining. ©Copyright by Adam C. Hughes July 15, 2013 All Rights Reserved Abandoning the Girl Show Ghetto: Introducing and Incorporating Care Ethics to Girls' Animation by Adam C. Hughes A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented July 15, 2013 Commencement June 2014 Master of Arts thesis of Adam C. Hughes presented on July 15, 2013 APPROVED: Major Professor, representing Applied Ethics Director of the School of History, Philosophy, and Religion Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries. My signature below authorizes the release of my thesis to any reader upon request. Adam C. Hughes, Author ACKNOWLEDGEMENTS This author expresses sincere respect for all animators and entertainers who strive to create a better profession for themselves and their audiences. -
Touchstones of Popular Culture Among Contemporary College Students in the United States
Minnesota State University Moorhead RED: a Repository of Digital Collections Dissertations, Theses, and Projects Graduate Studies Spring 5-17-2019 Touchstones of Popular Culture Among Contemporary College Students in the United States Margaret Thoemke [email protected] Follow this and additional works at: https://red.mnstate.edu/thesis Part of the Higher Education and Teaching Commons Recommended Citation Thoemke, Margaret, "Touchstones of Popular Culture Among Contemporary College Students in the United States" (2019). Dissertations, Theses, and Projects. 167. https://red.mnstate.edu/thesis/167 This Thesis (699 registration) is brought to you for free and open access by the Graduate Studies at RED: a Repository of Digital Collections. It has been accepted for inclusion in Dissertations, Theses, and Projects by an authorized administrator of RED: a Repository of Digital Collections. For more information, please contact [email protected]. Touchstones of Popular Culture Among Contemporary College Students in the United States A Thesis Presented to The Graduate Faculty of Minnesota State University Moorhead By Margaret Elizabeth Thoemke In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Teaching English as a Second Language May 2019 Moorhead, Minnesota iii Copyright 2019 Margaret Elizabeth Thoemke iv Dedication I would like to dedicate this thesis to my three most favorite people in the world. To my mother, Heather Flaherty, for always supporting me and guiding me to where I am today. To my husband, Jake Thoemke, for pushing me to be the best I can be and reminding me that I’m okay. Lastly, to my son, Liam, who is my biggest fan and my reason to be the best person I can be. -
AIM Awards Level 3 Certificate in Creative and Digital Media (QCF) Qualification Specification V2 ©Version AIM Awards 2 – 2014May 2015
AIM Awards Level 3 Certificate in Creative and Digital Media (QCF) AIM Awards Level 3 Certificate In Creative And Digital Media (QCF) Qualification Specification V2 ©Version AIM Awards 2 – 2014May 2015 AIM Awards Level 3 Certificate in Creative and Digital Media (QCF) 601/3355/7 2 AIM Awards Level 3 Certificate In Creative And Digital Media (QCF) Qualification Specification V2 © AIM Awards 2014 Contents Page Section One – Qualification Overview 4 Section Two - Structure and Content 9 Section Three – Assessment and Quality Assurance 277 Section Four – Operational Guidance 283 Section Five – Appendices 285 Appendix 1 – AIM Awards Glossary of Assessment Terms 287 Appendix 2 – QCF Level Descriptors 290 3 AIM Awards Level 3 Certificate In Creative And Digital Media (QCF) Qualification Specification V2 © AIM Awards 2014 Section 1 Qualification Overview 4 AIM Awards Level 3 Certificate In Creative And Digital Media (QCF) Qualification Specification V2 © AIM Awards 2014 Section One Qualification Overview Introduction Welcome to the AIM Awards Qualification Specification. We want to make your experience of working with AIM Awards as pleasant as possible. AIM Awards is a national Awarding Organisation, offering a large number of Ofqual regulated qualifications at different levels and in a wide range of subject areas. Our qualifications are flexible enough to be delivered in a range of settings, from small providers to large colleges and in the workplace both nationally and internationally. We pride ourselves on offering the best possible customer service, and are always on hand to help if you have any questions. Our organisational structure and business processes enable us to be able to respond quickly to the needs of customers to develop new products that meet their specific needs. -
HA10 HA18 Bonne Sortie Du HLK Spectacle Kidsport
1976 - 2007 Le Nord LeLVol. 31 e No 43 HearstNordN On ~ Le mercredio 10r janvierd 2007 1,25$ + T.P.S. À érieur Entente Columbia ................HA03 Recrutement ................HA10 Les Élans au Sault ................HA19 Pensée de la semaine Félicitations ! En opposant la Kreison Wabano est notre pre- haine on ne mier bébé de l’année! Kreison fait que la est né par césarienne le 3 janvier 2007 à 21 h 30 à l’Hôpital répandre, en Sensenbrenner de Kapuskasing. surface Il pesait 7 livres et 2 onces à la naissance. Il est le fils de Tim comme en Wabano et Tina Bluff de Constance Lake. Photo profondeur. disponible au journal Le Nord/CP Ghandi Spectacle Kidsport Bonne sortie du HLK HA10 HA18 Mercredi Jeudi Vendredi Samedi Dimanche Lundi Ensoleillé avec Généralement passages nuageux Faible neige Ciel variable Plutôt nuageux Ciel variable Max 2 Min -12 Max -11 Min -19 ensoleillé Max 10 Max -20 Min -20 Max -13 PdP 80% PdP 20% Max -17 Min -23 PdP 10% PdP 0% PdP 60% PdP 20% Nouveau conseil municipal Mattice nomme ses représentants au sein des comités MATTICE (FB) – Le conseil d’administration de l’Association le comité local des citoyens de la représentant municipal sur le la région de Hearst. municipal de Mattice-Val Côté a de recyclage de Cochrane- Forêt de Kapuskasing. Il a aussi Comité de financement du La trésorière Manon Leclerc a nommé ses représentants sur Temiscamingue. M. Tanguay a été désigné représentant du con- Collège Boréal, campus de été désignée comme représen- divers comités ou organismes aussi été désigné maire-adjoint seil au sein du Conseil de Hearst. -
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
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. -
Achieving a Global Reach on Children's Cultural Markets
Achieving a global reach on children’s cultural markets: managing the stakes of inter-textuality in digital cultures Valérie-Inés de LA VILLE European Center for Children’s Products Institut d’Administration des Entreprises Université de Poitiers, France [email protected] and Laurent DURUP Project Manager and Game Designer Ouat Entertainment, France [email protected] The aim of this chapter is to shed light on the formation of children’s cultures in a digital global marketplace by developing the idea that, in such a context, inter-textuality consists of a complex intertwining of cultural references partially shaped by commercial strategies. The chapter draws on recent and successful experiences by French animation producers on global cultural markets. Indeed, in order to achieve a global reach on children’s cultural markets, the managerial stakes that producers have to face include making decisions that take into account the competitive positioning of their clients (TV channels or cable broadcasters, internet service providers or web portals), and their programming choices. Moreover, content producers have to deal with inter-textual subtleties also when they design spin-offs policies and consider their potential spread, as well as when they engage their properties in bounded promotional campaigns… Part 1 – The global reach of recent French animation productions 1.1 – Some evidence1 Today, the French animation industry is ranked third in the world and first in Europe, producing each year around 300 new hours of animation. French producers benefit from efficient governmental subsidies designed to support creativity in this industry. Partly due to this unique and enviable system, French productions globally gather more than 50% of their budget on the national territory since 2000. -
Creating New Animated TV Series for Girls Aged 6-12 in Britain
Creating New Animated TV Series for Girls Aged 6-12 in Britain Lindsay Watson This article focuses on the development and marketing of animated female lead charac- ters on television for an audience of girls aged 6-12 in Britain. Using strategic marketing theory it asks the questions: “What do girls want (to see on screen)?” “How do they get it?” and “How do we (the animation industry) sell it?” The paper reviews 87 starring fe- male lead characters worldwide and finds that most are: 2D in design, feature characters with American accents, have a cast of either group or independent characters and are of either a ‘dramatic’ or ‘dramatic/comedic’ genre. The article concludes that the types of television shows girls are watching could be improved to better meet their needs. It encourages content creators to be brave and test new ideas and offers practical tips to executives, producers and commissioners on development and positioning of new ani- mated television series that will engage their audiences. Personal Preface As an animation producer, academic, and campaigner for indie animation and women’s rights I decided in 2013 that I wanted to answer the question: Why aren’t there more animated female characters on British children’s TV? That year also happened to be the year I launched Animated Women UK – since then a lot has changed! The 1980s was a great time for empowered animated female leads in TV series as merchandisers recognised audience buying power (Perea, 2014). This didn’t translate to the big screen as from 1995 to 2012 most of Pixar’s films featured male leads. -
LEVY-MASTERSREPORT-2017.Pdf (7.541Mb)
Copyright by Dylan Olim Levy 2017 The Report Committee for Dylan Olim Levy Certifies that this is the approved version of the following report: Animating History and Memory: the Productions and Aesthetics of Waltz with Bashir and Tower APPROVED BY SUPERVISING COMMITTEE: Supervisor: Lalitha Gopalan Charles Ramìrez Berg Animating History and Memory: the Productions and Aesthetics of Waltz with Bashir and Tower by Dylan Olim Levy, B.A. Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2017 Abstract Animating History and Memory: the Productions and Aesthetics of Waltz with Bashir and Tower Dylan Olim Levy, M.A. The University of Texas at Austin, 2017 Supervisor: Lalitha Gopalan Films like Waltz with Bashir (2008) and Tower (2016) are unique in that they not only fit within accepted frameworks of documentary filmmaking, but they also use animation as their primary method of storytelling. Anabelle Honess Roe thoroughly explores animated documentaries in her book Animated Documentary, arguing that animation is used in these kinds of films to either “substitute” for traditional means to represent the real world (24), such as live action footage, or to “evoke” the psychology, emotional states, and other subjective experiences of an individual (25). Ultimately, Roe argues that animation is a suitable “representational strategy for documentary” filmmaking because of its “visual dialectic of absence and excess” (39). This report applies Roe’s arguments to the analysis of the aesthetics and roles of animation in Waltz with Bashir and Tower. -
Animation 1 Animation
Animation 1 Animation The bouncing ball animation (below) consists of these six frames. This animation moves at 10 frames per second. Animation is the rapid display of a sequence of static images and/or objects to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program, although there are other methods. This type of presentation is usually accomplished with a camera and a projector or a computer viewing screen which can rapidly cycle through images in a sequence. Animation can be made with either hand rendered art, computer generated imagery, or three-dimensional objects, e.g., puppets or clay figures, or a combination of techniques. The position of each object in any particular image relates to the position of that object in the previous and following images so that the objects each appear to fluidly move independently of one another. The viewing device displays these images in rapid succession, usually 24, 25, or 30 frames per second. Etymology From Latin animātiō, "the act of bringing to life"; from animō ("to animate" or "give life to") and -ātiō ("the act of").[citation needed] History Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting Five images sequence from a vase found in Iran to convey the perception of motion. A 5,000 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides.