Animation for Extremely Smart Grownups
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Hayao Miyazaki: Exploring the Early Work of Japan’S Greatest Animator
Greenberg, Raz. "Bringing It All Together: Studio Ghibli." Hayao Miyazaki: Exploring the Early Work of Japan’s Greatest Animator. New York: Bloomsbury Academic, 2018. 107– 126. Animation: Key Films/Filmmakers. Bloomsbury Collections. Web. 1 Oct. 2021. <http:// dx.doi.org/10.5040/9781501335976.ch-005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 09:34 UTC. Copyright © Raz Greenberg 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. C h a p t e r 5 B RINGING IT A LL T OGETHER : S TUDIO G HIBLI Several months aft er the Nausicaa of the Valley of the Wind manga started its run in 1982, Miyazaki was hired, along with his colleagues Isao Takahata, Yasuo Ō tsuka, and Yoshifumi Kond ō , to take part in the production of Little Nemo: Adventures in Slumberland . Th e ambitious American/Japanese coproduction adapted the classic comic strip by cartoonist and animation pioneer Winsor McCay about a boy who, each night, goes on a strange adventure in his dreams. McCay’s work had many fans on both sides of the Pacifi c: in fact, the project was initiated by Japanese producer Yutaka Fujioka, the president of Tokyo Movie Shinsha, the studio that previously employed Miyazaki and Takahata on Moomins , the Panda! Go Panda! fi lms, and the Lupin productions. Many other notable fi gures have been involved with diff erent stages of the production including Jean Giraud, renowned science fi ction author Ray Bradbury, and screenwriter Chris Columbus (future director of the early Harry Potter fi lms). -
OFF-RAMP Saturday 12-1 P.M.; Sunda with J Support All the Great Programming on KPCC, Including Off-Ramp
OFF-RAMP Saturday 12-1 p.m.; Sunda with J Support all the great programming on KPCC, including Off-Ramp. SHARE THIS: Facebook (16) Twitter (8) Google+ Email Print 1 Comments Add your comments Listen Now [5 min 17 sec] • Download Off-Ramp Charles Solomon reviews The Animation Show of Shows Off Ramp animation critic Charles Solomon | Off-Ramp | January 9th, 2013, 10:33am Frédéric Back Still from "The Man Who Planted Trees" (1987) by Frédéric Back. Almost since the art form began, there's been a split between animation as a studio product and animation as a vehicle for individual expression. The enormous succe features and TV shows has kept the work of the major animation studios uppermost in the minds of American audiences recently. But beginning with the pioneer cartoonist and filmmaker Winsor McCay - - back in the early 1900's -- independent artists have treated animation as an art as personal, flexible and immediate as painting or sculpture. Their work is an entirely different vision of what an animated film can be, as the new DVD box set The Animation Show of Shows richly proves. Volume 3 just came out. The artists who create these films may teach or support themselves with other jobs or work at a government-sponsored body, like the National Film Board of Canada. Some are students, and some are professionals pursuing their visions in their spare time. They're united by a commitment to the art of animation. M any of the films in Show of Shows use techniques that are too impractical or personal for large scale production. -
Animation for Extremely Smart Grownups of All Ages
Animation for Extremely Smart Grownups of All Ages Prof. Russell Merritt Summer 2018 [email protected] Thursdays 1-3 University Hall Room 150 Week 1 [June 7]: The Language of Animation, from Slash and Tear to Chroma Keys Home Screening Ben Sharpsteen and Hamilton Luske, Pinocchio (Disney/ R.K.O. Radio, 1940) 90 mins. Chuck Jones, Duck Amuck (WB, 1953) 7 mins. Readings: OLLI Animation Glossary; Thomas & Johnston; Paul Week 2 [June 14]: How to Make a Cartoon Look Good: Art Nouveau, Art Deco, and Surrealism, and Cartoon Modern Home Screening Lotte Reiniger, Die Abenteuer des Prinzen Achmed [The Adventures of Prince Achmed] (Comenius Film, 1926). 65 mins/ 80 mins. Anthony Gross & Hector Hoppin Joie de Vivre (Paris, 1934) 9 mins. Len Lye, Rainbow Dance (GPO Film Unit for GPO Savings Bank, 1936) 4 mins Tex Avery, Paging Miss Glory (WB, 1936) 7 mins. Robert Cannon, Gerald McBoing Boing (UPA, 1951) 8 mins. Reading: “Magic Horse;” “Fisherman;” Wollen; Lye; Kepes Week 3 [June 21]: Political Parables and Animated Notebooks Home Viewings Norman McLaren, Neighbours (NFBC, 1952) Montreal, 8 mins. Jiři Trnka, The Hand [Ruka] (Krátký Film, 1965) Prague, 18 mins. Frédéric Back, Crac! (Production Societé Radio-Canada, 1981) Ville de Québec, 14 mins. Piotr Dumala, Freedom of the Leg ( Se-Ma-For, 1989) Łódź 10 mins. Jan Švankmajer, Rakvickárna [The Coffin House/ Punch and Judy] (Krátký Film, 1966) Prague, 10 mins. Yuri Norstein, Tale of Tales (Russia: Soyuzmultfilm, 1979) 30 mins. Readings: Russett & Starr; Lawrence; Kitson Week 4 [June 28]: Wired Animation Home Screening Henry Selick, Coraline (Laika/ Pandemonimum, 2009) 1 1 hr 40 mins [and, if you have time] Suzie Templeton, Peter and the Wolf (Poland/ U.K., 2008) 30 mins. -
22 VII. the New Golden Age Then Something Wonderful Happened. Just When Everything Was Looking As Grim As It Could for the Art O
VII. The New Golden Age Then something wonderful happened. Just when everything was looking as grim as it could for the art of animation, technology came to the rescue. Here was an art form born only because technology made it possible, almost died when the human costs in time and effort became too high, and now was rescued by technology again. The computer age saved animation. Since computers first came on the scene in the 50s, there have been people who have tried to create machinery and programs to make animation faster, easier and cheaper to both make and distribute. From machines like copiers and scanners, to computers that can draw and render, to the distribution of animation by cable, Internet, phones, tablets and video games - as one character says, “To infinity and beyond” - animation has been totally reborn. As the old animators of the Golden Age were dying off, the new technologies created a huge demand for the old craft. Fortunately, many of the old men were able to pass on their skills to a younger generation, which has helped the quality of today's animation meet and exceed the animation of the Golden Age. In 1985, Girard and Maciejewski at OSU publish a paper describing the use of inverse kinematics and dynamics for animation.! The first live-action film to feature a complete computer-animated character is released, "YOUNG SHERLOCK HOLMES."! Ken Perlin at NYU publishes a paper on noise functions for textures. He later applied this technique to add realism to character animations. In 1986, "A GREEK TRAGEDY" wins the Academy Award. -
Animation Fandom in North America and East Asia from 1906–2010 By
Animating Transcultural Communities: Animation Fandom in North America and East Asia from 1906–2010 By Sandra Annett A thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of English, Film, and Theatre University of Manitoba Winnipeg © 2011 Sandra Annett Abstract This dissertation examines the role that animation plays in the formation of transcultural fan communities. A ―transcultural fan community‖ is defined as a group in which members from many national, cultural, and ethnic backgrounds find a sense of connection across difference, engaging with each other through a mutual interest in animation while negotiating the frictions that result from their differing social and historical contexts. The transcultural model acts as an intervention into polarized academic discourses on media globalization which frame animation as either structural neo-imperial domination or as a wellspring of active, resistant readings. Rather than focusing on top-down oppression or bottom-up resistance, this dissertation demonstrates that it is in the intersections and conflicts between different uses of texts that transcultural fan communities are born. The methodologies of this dissertations are drawn from film/media studies, cultural studies, and ethnography. The first two parts employ textual close reading and historical research to show how film animation in the early twentieth century (mainly works by the Fleischer Brothers, Ōfuji Noburō, Walt Disney, and Seo Mitsuyo) and television animation in the late twentieth century (such as The Jetsons, Astro Boy and Cowboy Bebop) depicted and generated nationally and ethnically diverse audiences. -
Meiermovies Short Films by Star Rating
MeierMovies Short Films by Star Rating Theatrically released motion pictures of 40 minutes or less For every great feature, there’s a great short, and this list attempts to chronicle just some of those tiny masterpieces – and their not-so-masterful counterparts. For films to make this list, they must have played in at least one film festival or showcase, or theatrical venue, for a paying audience. Films shown only on television (or available only on DVD, Blu-ray, video or online) are reserved for my Television list. Also not included here are student films and similar projects that have never been presented at a theatrical venue that charged admission to viewers. (Please note that this is slightly more lenient than the qualifications for the feature- film lists, which require that a film of more than 40 minutes play at least two major festivals, or have a limited or general release.) Theatrical newsreels (pre-television) and theatrically released trailers are not eligible for this list, although mini-documentaries and travelogues (typically playing alongside trailers and B-features in the 1930-1950s) are. Short films shown at theme parks and museums are eligible, but not if they rely on animatronic/interactive/live elements. Shorts produced for timed competitions, such as 48-hour or 24-hour projects, are not included here, unless those films were subsequently screened at a second venue. The ratings system is the same as that of the feature-film list, just with no half or quarter stars. That difference is due to simplification and also to the fact that it’s admittedly difficult, and perhaps somewhat unfair, to compare a 2-minute film to a 40- minute one using quarter stars. -
Animation: a World History
ANIMATION: A WORLD HISTORY Volume I: Foundations— The Golden Age Giannalberto Bendazzi CRC Press Taylor &. Francis Croup A FOCAL PRESS BOOK Contents Contributors and Collaborators xi Pre-History II 14 A Static Mirror? 14 Acknowledgements xii The Flipbook 15 1 Foundations 1 Emile Reynaud 15 Birth of the Theatre 16 What It Is 1 Optique The Theatre and How Mapping Chaos 1 Optique It Worked 18 Turning Points 1 On with the Lantern Show 19 Periods 1 Colour Music 19 Guilty, but with an Explanation 2 Cinema of Attractions 21 Traces 2 Frame Frame 21 You Won't Find... 3 by Arthur 22 A Hybrid 3 Melbourne-Cooper Walter Robert Booth 23 Edwin Stanton Porter 24 The First Period 5 James Stuart Blackton 25 The First Period spans the years before the screening of Emile CohTs film Fantasmagorie in The Second Period 27 France. There is no 'animation' as such Paris, The Second Period embraces the entire silent there, but the film still incorporates many fea¬ film era and ends with a specific date: 18 Novem¬ tures that look like what nowadays we would ber 1928, the day of the public screening of Walt consider to be animation. We will call this Disney's first 'talkie', the short film Steamboat Wil¬ period 'Before Fantasmagorie (0-1908)'. lie. We will call this period 'The Silent Pioneers (1908-1928)'. 2 Before Fantasmagorie (0-1908) 7 3 The Silent Pioneers (1908-1928) 29 Archaeology 7 The Cradle 29 Phidias' Animating Chisel 8 Days of Heaven and Hell 29 Representation 8 Culture 29 The Motion Analysis 8 Cinema 30 Music 9 Narrative and Non-Narrative 30 The Meaning -
MAGAZINE Vol
July 1996 MAGAZINE Vol. 1, No. 4 ANIMATION WORLD MAGAZINE July 1996 The Great Adventures of Izzy — An Olympic Hero for Kids by Frankie Kowalski 35 A look at the making of the first TV special based on an Olympic games mascot. “So,What Was It Like?” The Other Side Of Animation's Golden Age” by Tom Sito 37 Tom Sito attempts to puncture some of the illusions about what it was like to work in Hollywood's Golden Age of Animation of the 1930s and 40s, showing it may not have been as wild and wacky as some may have thought. When The Bunny Speaks, I Listen by Howard Beckerman 42 Animator Howard Beckerman explains why, "Cartoon characters are the only personalities you can trust." No Matter What,Garfield Speaks Your Language by Pam Schechter 46 Attorney Pam Schechter explores the ways cartoon characters are exploited and the type of money that's involved. Festival Reviews and Perspectives: Cardiff 96 by Bob Swain 49 Zagreb 96 by Maureen Furniss 53 Film Reviews: The Hunchback of Notre Dame by William Moritz 57 Desert Island Series... The Olympiad of Animation compiled by Frankie Kowalski 61 Picks from Olympiad animators Melinda Littlejohn, Raul Garcia, July 1996 George Schwizgebel and Jonathan Amitay. News Tom Sito on Virgil Ross + News 63 Preview of Coming Attractions 67 © Animation World Network 1996. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. Cover: The Spirit of the Olympics by Jonathan Amitay 3 ANIMATION WORLD MAGAZINE July 1996 The Great Adventures of Izzy — An Film Roman’s version of Izzy. -
1985 – Sept – Rock N Rule Trickfilm 85 – Howard
c E N T R A L INTERNATIONAL ANIMATED FILM ASSOCIATION ASSOCIATION INTERNATIONALE DU FILM D·ANIMATION TRICKFILM '85 TO PREMIERE 'ROCK AND RULE' TO CHICAGO AUDIENCES The dates for TRICKFILM '85, the retrospective animation festival produced by the Film Center of the Art Institute, have been announced. The programs include the feature film Rock and Rule, produced by Canada's Nelvana Productions, for its Chicago premiere. The film is a sci-fi, pop music fantasy, featuring the music of Iggy Pop, Lou Reed, Cheap Trick, and Debbie Harry. The interna• tional scene will be highlighted by animation programs from. Poland, the Soviet Union, Hungary, and Romania. The Chinese feature The Monkey King, and Cuban feature Elpidio Valdes will also be screened. Two pioneers, Charles Bowers and experimental filmmaker Len Lye, will be featured in retrospectives. American animation will be represented by two Hollywood cartoon programs and a compilation of the best American animation of the '80's. Twice Upon a Time, the Lumage cut-out feature produced in San ?rancisco, will receive its Chicago theatrical premiere during the festival. ASIFA ~entral served as program consultant to the Film Center. See the special TRICKFILM '85 insert for specific program details. The film departm~nt of the School of the Art Institute has begun a search for an animation instructor. Candidates should have a strong emphasis in fine arts and animation, while commercial experience will not be a major consideration. Please send resumes to~ Sandra Davis, Film Department, School of the Art Institute, Columbus Drive and Jackson Blvd., Chicago, IL 60603. -
JURIED AWARDS June Foray I Winsor Mccay I Ub Iwerks I Special Achievement I Certificate of Merit
JURIED AWARDS June Foray I Winsor McCay I Ub Iwerks I Special Achievement I Certificate of Merit Named in honor of animator Winsor McCay, best known as a prolific artist and pioneer in the art of comic strips and animation, the Winsor McCay Award stands as one of the highest honors given to an individual in the animation industry in recognition for career contributions to the art of animation. The following is a list of all past and present Winsor McCay recipients: 1972 Max Fleischer, Dave Fleischer 1973 Walter Lantz 1974 Tex Avery, Friz Freleng, Chuck Jones, Art Babbit, Winsor McCay 1975 Walt Disney, John Hubley, Faith Hubley, Norman McLaren 1976 Robert Cannon, Hugh Harman, Rudolph Ising, Mike Maltese, George Pal, Ward Kimball 1977 Bill Hanna, Joe Barbera, Mel Blanc, Oskar Fischinger, Bill Scott, Milt Kahl 1978 Jay Ward, Ub Iwerks, Dick Huemer, Carl Stalling, Hans Conreid 1979 Clyde Geronomi, Bill Melendez, Mae Questel, Otto Messmer 1980 Ollie Johnston, Frank Thomas, Cal Howard, Paul Julien, La Verne Harding 1981 T. Hee, Bill Peet, Bill Tytla, John Whitney, Ken Harris 1982 Ken Anderson, Bruno Bozzetto, June Foray, Don Graham, Marc Davis 1983 Eric Larson, Fred Moore, Clarence Nash, Wolfgang Reitherman, Leo Salkin, Steven Bosustow, Wilfred Jackson 1984 Daws Butler, David Hand, Jack Kinney, Michael Lah, Robert McKimson, Richard Williams, Hamilton S. Luske 1985 Robert Abel, Preston Blair, Joe Grant, John Halas, Sterling Holloway, Jim McDonald, Phil Monroe, Ben Washam 1986 Frederic Back, Shamis Culhane, William T, Hurtz, Irven Spence, Emery Hawkins, John Lounsbery 1987 Paul Dressien, Jack Hannah, Bill Littlejohn, Maurice Noble, Ken O'Connor 1988 Ralph Bakshi, Bob Clampett, Tissa David, Kihachiro Kawamoto, Virgil Ross 1989-90 Art Clokey, Hicks Lokey, Don Messick, Osamu Tezuka, Lester Novros 1991 Ray Harryhausen, Herb Klynn, Bob Kurtz, Yuri Norstein, Joe Siracusa, Ruth Kissane 1992 Les Clark, Stan Freberg, David Hilberman 1993 George Dunning, Roy E. -
Jim Story : Former Disney Feature Animation Story Artist
Sullivan, Alexander, Mintz, and Besen Jim Story: former Disney Feature Animation Story Artist Instructor of Story at University of Central Florida, Orlando Q: What background skills do Storyboard artists need to be successful? What would you tell a student to do to prepare themselves for this profession? Jim Story: Let’s put drawing skills aside for the moment, for me it’s most important to be an interestedCopyright observer of the Taylorworld and theand life goingFrancis on around 2013 you. Story’s boil down to human personalities in relationships, if you don’t have any insight into different types of personalities or how human’s interact by way of analytic experience, reading and observation then it will be difficult for you to create interesting characters through their behavior in relationship. Think of it as if you are an animal behaviorist writing about a troop of baboons without ever having observed the social structure of baboons. They are primates, I am a primate therefore I can write about them. Experience and observation has to be thought about, analyzed and broken down into motivation, action and reaction, then it can be translated into ammunition you can use is creating believable characters in believable relationships. Character is made evident by behavior – posture, walk, clothing, and little pieces of business that are unique to the character and give the character dimension. Observation supplies us with this kind of “business” we can give to a character. For example in Sylvain Chomet’s Belleville Rendezvous, Madame Sousa (who wears glasses) has an endearing habit of pausing, staring open-eyed for a moment Sullivan, Alexander, Mintz, and Besen thinking, and then very quickly shoving her glasses back up her nose with her index finger and acting. -
La Chaise Berçante" Lara Lomicka University of South Carolina - Columbia, [email protected]
University of South Carolina Scholar Commons Faculty Publications Linguistics, Program of 9-2004 Review of the software "La Chaise Berçante" Lara Lomicka University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/ling_facpub Part of the Linguistics Commons Publication Info Published in Language Learning & Technology, Volume 8, Issue 3, 2004, pages 35-39. Lomicka, L. (2004). Review of the software La Chaise Berçante. Language Learning & Technology, 8(3), 35-39. Retrieved from http://llt.msu.edu/vol8num3/pdf/review2.pdf. Copyright © 2004. This Article is brought to you by the Linguistics, Program of 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]. Language Learning & Technology Septemocr 2004. Volume 8. Numocr 3 http://l1t.msu.edulvo 18num3/review2/ pp.35-39 REVlEW OF LA CHAISE BER(:ANTE Title La Chaise Ben;anle (The Rocking Chair; 2001-2002) Platforms PC/Mac System Windows 95 or higher; 200 MHz; 64MB RAM; 8X CD-ROM requirements Macintosh as 8.6 or higher; 233 MHz; 64 MB RAM; 8X CD-ROM Publisher Les Editions 3D & CBC Radio Canada ed it ions3 D@te lusplanet.net http://www.telusplanet.net/public/dddware/chaise/ Support offered CD leaflet, Web site (see "Troubleshoot" section) Targcllanguage French Target audience those who enjoy French language and culture -- age II and up Price $24.95 + GST (if applicable) + shipping and handling (rates are in Canadian dollars for Canadian customers, and in U.S. dollars for all others) ISBN nfa Review by Lara Lomicka, the University of South Carolina OVERVIEW La Chaise Ber,;;anle CD-ROM is designed around a IS-minute S a Chaise ber<;anle animated film, C RAC.