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Final Website Delegate List 2017
Delegate List Updated 27th August 2017 First Name Surname Company Lucy Acfield Guinness World Records Sara Acworth Zeamu Music Patrick Adam The Eggleys Lindsey Adams Daily Madness Productions Rick Adams Rick Adams Productions Folake Adigun Nickelodeon Ivan Agenjo Peekaboo Animation Metsamarja Aittokoski Sun In the Eye Productions Lisa Akhurst DNA Creative Ltd waed al ghabra Sheffield Hallam University Madawi Alahmad University of Sheffield Margret Albers Association for the Promotion of German Milly Ali Timeline Television Shazia Ali Mint Research Ltd Foz Allan Bryncoed Productions Ltd Jo Allen CBBC Ollie Alsop Serious Lunch/Eye Present Vanessa Amberleigh CBeebies Val Ames Kindle Entertainment Xiaomei An The University of Sheffiled Steven Andrew Zodiak Kids Nicola Andrews Keshet International UK Ltd Chris Andrews CA Dev Valentina Andries University of Edinburgh Tom Angell Tom Angell Ltd Laura Annis Blue Zoo Productions Laverne Antrobus Tavistock and Portman NHS Trust Rhodri ap Dyfrig S4C Will Appiah Digital Shoguns Thomas Archibald BT Ben Armstrong BBC Finn Arnesen Hasbro Studios Helen Arntsen Blue Zoo Keith Arrowsmith The Children's Media Conference Nihal Arthanayake BBC Abhi Arya Sandbox Corrina Askin Corrina Askin Films Leigh Aspin BBC Sarah Aspinall Virgin Media Martin Athanasiou I'm Hungry Studios Isabella Atkin Volunteer Tessa Atkins Small Fry Animation Lucy Atkinson BBC Jonathan Attenborough Lost My Name Ros Attille BBC Ami Aubrey The Children's Media Conference Jake Aubrey-Bentley Freelance Lauren Auty Finger Industries Tristan -
2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
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. -
Adding Value Report Vol.1
ADDING VALUE a report by Northern Ireland Screen NORTHERN BOOSTING CELEBRATING ENHANCING CONTENTS THE THE THE IRELAND OUR OUR OUR CHILDREN'S ECONOMIC CULTURAL EDUCATIONAL SCREEN ECONOMY CULTURE EDUCATION VALUE VALUE VALUE 08 Large-scale Production 44 Writers 84 Creative Learning Centres 18 Independent Film 46 Short Film 90 Moving Image Arts (MIA) 22 Animation 48 ILBF / CCG 92 After School FilmClub 26 Factual / Entertainment 56 USBF 30 Television Drama 64 Film Culture 34 Gaming and Mobile 74 Heritage and Archive 38 Skills Development 78 Awards 04 05 INTROduCTION As the government-backed lead Of course certain activity intersects In a similar vein, the work of the agency in Northern Ireland for the film, more than one area and the inter- Education Department, with regard to television and digital content industry, connectivity of the agency’s work will its intervention through FilmClub, has Northern Ireland Screen is committed become apparent. For example, the value in both education and culture; as to maximising the economic, cultural development and production funding for children learn through film in a pure and educational value of the screen indigenous projects made in Northern educational sense as well as gain a wider industries for the benefit of Northern Ireland by Northern Ireland film-makers appreciation of film culture and of the Ireland. This goal is pursued through our and shown at a Northern Ireland festival, culture of Northern Ireland through mission to accelerate the development will have value in all areas. An obvious watching content-relevant films. of a dynamic and sustainable screen case in point is the feature film Good industry and culture in Northern Ireland. -
Uk Films for Sale in Cannes 2009
UK FILMS FOR SALE IN CANNES 2009 Supported by Produced by 1234 TMoviehouse Entertainment Cast: Ian Bonar, Lyndsey Marshal, Kieran Bew, Mathew Baynton Gary Phillips Genre: Drama Rés. Du Grand Hotel 47 La Croisette, 6Th Director: Giles Borg Floor Producer Simon Kearney Tel: +33 4 93 38 65 93 Status : Completed [email protected] Home Office Tel: +44 20 7836 5536 Synopsis Ardent musician Stevie (guitar, vocals) endures a day-job he despises and can't find a girlfriend but... at least he has his music! With friend Neil (drums) he's been kicking around for a while not achieving much but when the pair of misfits team-up with the more-experienced Billy (guitar) and his cute pal Emily (bass) the possibility they might be on to something really good presents itself. For Stevie this is the opportunity he's been waiting for with the band and just maybe... Emily too! 13 Hrs TEyeline Entertainment Cast: Isabella Calthorpe, Gemma Atkinson, Tom Felton, Joshua Duncan Napier-Bell Bowman Lerins Stand R10 Genre: Horror Tel: +33 4 92 99 33 02 Director: Jonathan Glendening [email protected] Writer: Adam Phillips Home Office Tel: +44 20 8144 2994 Producer Nick Napier-Bell, Romain Schroeder, Tom Reeve Status : Post-Production Synopsis A full moon hangs in the night sky and lightning streaks across dark storm clouds. Sarah Tyler returns to her troubled family home in the isolated countryside, for a much put-off visit. As the storm rages on, Sarah, her family and friends shore up for the night, cut off from the outside world. -
Review of the Film Sector in Scotland Creative Scotland
Review of the Film Sector in Scotland Creative Scotland January 2014 This report was produced by: BOP Consulting (www.bop.co.uk) in partnership with: Whetstone Group (www.whetstonegroup.org) Jonathan Olsberg (www.o-spi.com) If you would like to know more about the report, please contact the project’s director, Barbara McKissack: Email: [email protected] Tel: 0207 253 2041 i Contents 4.6 Festivals ........................................................................................... 17 1. Executive Summary ............................................... 1 4.7 Archives ........................................................................................... 18 1.1 Introduction ....................................................................................... 1 4.8 Cultural impact of film ................................................................... 18 1.2 Watching film ..................................................................................... 1 4.9 Consultants’ assessment of the issues ..................................... 19 1.3 Learning about film .......................................................................... 1 1.4 Making film ........................................................................................ 2 5. Learning about film ............................................. 21 1.5 Earning from film – supporting enterprises and 5.1 Introduction .....................................................................................21 employment ...................................................................................... -
BFI Statistical Yearbook 2016 1
BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS PUBLISHED JUNE PRELIMS PRELIMS 2016 PUBLISHED APRIL PUBLISHED APRIL PUBLISHED APRIL PUBLISHED APRIL 2016 2016 BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS 2016 BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS 2016 BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS DISTRIBUTION T O P F I L M S O F Image: Jurassic World ©2015 Universal Pictures. Courtesy of Universal Studios Licensing LLC ALL TIME AT THE SCREEN SECTORUK BOX OFFICE SCREEN SECTOR PRODUCTIONSImage: Star Wars: The Force Awakens ©2015 Lucasfilm Ltd. & TM. All Rights Reserved. PRODUCTION CERTIFIED AS T O P F I L M S PUBLISHED JUNE IN 2015 PUBLISHED APRIL PUBLISHED JUNE BRITISH, Image: A United Kingdom courtesy of Pathé UK PUBLISHED JUNE IN 2015 PUBLISHED JUNE Image: Legend courtesy of StudioCanal BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS 2006-2015 Image: Brooklyn courtesy of Lionsgate Films BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS 2016 2016 2016 2016 BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS 2016 BFI RESEARCH AND STATISTICS BFI RESEARCH AND STATISTICS PUBLISHED JUNE EMPLOYMENT PUBLISHED JUNE THE BOX FILM INDUSTRYTHE UK FILM IN THE FILM PUBLISHED JUNE PUBLISHED JUNE STATISTICALPUBLISHED JUNE ECONOMY YEARBOOK 2016 OFFICE 2015COMPANIESImage: The Martian courtesy of Twentieth Century Fox. -
Commercials Issueissue
May 1997 • MAGAZINE • Vol. 2 No. 2 CommercialsCommercials IssueIssue Profiles of: Acme Filmworks Blue Sky Studios PGA Karl Cohen on (Colossal)Õs Life After Chapter 11 Gunnar Str¿mÕs Fumes From The Fjords An Interview With AardmanÕs Peter Lord Table of Contents 3 Words From the Publisher A few changes 'round here. 5 Editor’s Notebook 6 Letters to the Editor QAS responds to the ASIFA Canada/Ottawa Festival discussion. 9 Acme Filmworks:The Independent's Commercial Studio Marcy Gardner explores the vision and diverse talents of this unique collective production company. 13 (Colossal) Pictures Proves There is Life After Chapter 11 Karl Cohen chronicles the saga of San Francisco's (Colossal) Pictures. 18 Ray Tracing With Blue Sky Studios Susan Ohmer profiles one of the leading edge computer animation studios working in the U.S. 21 Fumes From the Fjords Gunnar Strøm investigates the history behind pre-WWII Norwegian animated cigarette commercials. 25 The PGA Connection Gene Walz offers a look back at Canadian commercial studio Phillips, Gutkin and Associates. 28 Making the Cel:Women in Commercials Bonita Versh profiles some of the commercial industry's leading female animation directors. 31 An Interview With Peter Lord Wendy Jackson talks with co-founder and award winning director of Aardman Animation Studio. Festivals, Events: 1997 37 Cartoons on the Bay Giannalberto Bendazzi reports on the second annual gathering in Amalfi. 40 The World Animation Celebration The return of Los Angeles' only animation festival was bigger than ever. 43 The Hong Kong Film Festival Gigi Hu screens animation in Hong Kong on the dawn of a new era. -
Written Evidence Submitted by UK Screen Alliance/Animation UK to the Treasury Select Committee
Written evidence submitted by UK Screen Alliance/Animation UK to the Treasury Select Committee 23/03/2020 1. About UK Screen Alliance/Animation UK 1.1. UK Screen Alliance in partnership with Animation UK is the trade association that represents Visual Effects (VFX), TV & Film Studios, Post-Production and Animation in the UK. It is the membership organisation for over 100 leading employers in the film, TV and advertising sectors and its primary purpose is advocacy for its member companies and the wider screen industries. 2. The impact of Covid-19 on the Film, TV and advertising supply chain 2.1. Our members rely on an inflow of business from film, TV and advertising productions, but as a result of the Covid-19 virus virtually all global filming has stopped. Film crews utilise large numbers of people working in close proximity, so social distancing measures have made them impossible to operate and insurers will not cover disruption from Covid-19. 2.2. This means that there is no raw unedited material flowing into post-production and VFX for them to work on. This has had an immediate effect on some companies and for others the effect will become apparent over the next few weeks as the projects that they already have in their systems come to completion and are not replaced by new work. Their business interruption insurance will not cover them in these circumstances. 2.3. This sector, which was vibrant until just two weeks ago, is about to come to a dead stop. VFX alone contributes more than £1 billion GVA to the economy and attracts considerable inward investment from the USA. -
Paddington Free
FREE PADDINGTON PDF Michael Bond,R. W. Alley | 32 pages | 27 Mar 2012 | HarperCollins Publishers | 9780007236336 | English | London, United Kingdom Paddington (film) - Wikipedia A young Peruvian bear travels to London in search of a home. Finding himself lost and alone at Paddington Station, he meets the kindly Brown family, who offer him a temporary haven. For an enhanced browsing experience, Paddington the IMDb app on your smartphone or tablet. Paddington the IMDb app. Gwen Stefani and Pharrell Williams collaborated on creating the song "Shine" for the soundtrack. Before Stefani worked on the song, she Paddington a rough cut of this movie, early in post-production, that didn't feature the Paddington character, as the CGI wasn't completed. Paddington : Mrs Brown says that in London everyone is different, and that means anyone can fit in. I think she must be right - because although I don't look like anyone else, I really do feel at home. I'll never be like other people, but that's alright, because When Millicent is in the phone box just Paddington she meets Mr. Curry, Paddington damage to the glass in the Paddington box is inconsistent between shots. The credits feature the assurance "No bears were harmed in the making of this film. Looking for a movie the Paddington family can enjoy? Check out our picks for family friendly movies movies that transcend all ages. For even more, visit our Family Entertainment Guide. See the full list. Sign In. Added to Watchlist. Watch on Prime Video included with Prime. Madeleine Worrall. Lottie Steer. Geoffrey Palmer. -
Made in Britain: Warp Films at 10
13/14 Made in Britain: Warp Films at 10 A 10th Anniversary celebration at BFI Southbank In spring last year BFI Southbank launched Made in Britain, an annual exploration of contemporary British Cinema. In April the strand returns with a selection of the most ground- breaking titles from Warp Films, as we celebrate this seminal production companyǯ ͳͲ anniversary. Warp Films have in their way defined a decade and are helping to shape the future of British cinema, offering the opportunity for highly original and exciting talent to make films that might otherwise be overlooked. BAFTA-winning films such as the This is England (2006), Four Lions (2010) and Tyrannosaur (2011) will all feature, but the season will launch with what promises to be a truly awesome event when ǯ (2004), directed by Shane Meadows, will screen with a live music accompaniment Ȃ featuring musicians from UNKLE and Clayhill plus Jah Wobble - at the Queen Elizabeth Hall on Friday 29 March. There will also be a Warp Films Shorts Programme, including work by Lynne Ramsay, Chris Cunningham and Paddy Considine plus a BUG: Warp Records Special, followed by an aftershow in benugo with Warp DJs hitting the decks. To complement this amazing showcase there will be an exhibition of newly designed Warp Film posters, by Sheffield-based artist Pete McKee, displayed exclusively in The Atrium at BFI Southbank. Warp Films have been at the heart of a new wave of filmmaking in the UK and have provided a platform for fresh, radical ideas and emerging talent from film and TV. -
British Film Institute
Triennial Review of the British Film Institute 12 September 2014 Publication date 12 September 2014 We can also provide documents to meet the specific requirements for people with disabilities. Please email [email protected] Department for Culture, Media & Sport, 100 Parliament Street, Westminster, London, SW1AH 2BQ Printed in the UK on recycled paper. ©Crown copyright 2014 You may re-use this information (excluding logos) free of charge in any format or medium, under the terms of the Open Government Licence. To view this licence, visit http://www.nationalarchives.gov.uk/doc/ open-government-licence/ or e-mail: [email protected]. Where we have identified any third party copyright information you will have to obtain permission from the copyright holders concerned. Any enquiries regarding this document should be sent to us at [email protected] This document is also available from our website at www.gov.uk /dcms Department for Culture, Media & Sport 3 Triennial Review of the British Film Institute Contents Executive Summary……………………………………………………….……....5 Full list of recommendations……………………………………………………...7 Chapter 1:Background and Introduction……………………………………….12 Chapter 2: Findings on the functions and form of the BFI………….….........19 Evidence and analysis of the BFI's functions………………………… … ... 21 Is an arm's length body the most efficient and effective way to deliver those functions?.....................................................................................................22 Chapter 3: Efficiency…………………………………………………………......28