DOCSLIB.ORG

From Pencil to Mouse: the 21St Century Animation House

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

From Pencil to Mouse: the 21st Century Animation House Author Baker, Kelvin Published 2008 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/169 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366780 Griffith Research Online https://research-repository.griffith.edu.au FROM PENCIL TO MOUSE: THE 21ST CENTURY ANIMATION HOUSE KELVIN BAKER Griffith University Queensland College of Art and The Centre for Learning Research Submitted as part fulfilment of the requirements of the degree of Doctor of Visual Arts June 2007 From Pencil To Mouse: The 21st Century Animation House From Pencil To Mouse: The 21st Century Animation House Statement of Originality This work has not previously been submitted for a degree or diploma in any University. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Kelvin Baker 2007 i From Pencil To Mouse: The 21st Century Animation House ii From Pencil To Mouse: The 21st Century Animation House Abstract The fast pace of change within the animation, computer game and post production industries has presented a problem for Vocational Education and Training (VET) programme developers who are finding it increasingly difficult to stay relevant and up- to-date with the latest employability skill-sets in this industry sector. A comprehensive study of the Australian digital media industry - including the latest systems, software, technologies and production pipelines - is not readily available, making it difficult for Training Package developers to create up-to-date, flexible, meaningful and transferable qualifications. In response to this problem, this research was undertaken to identify the needs and realities of work required for the production of digital content within the Australasian digital media and post-production industry sectors. Employability skill-sets and attributes have been recognized and categorized through a skills audit (quantitative data) of position descriptions and role statements advertised over a six year period. Progressive levels of skill, knowledge, problem solving and attitude have been applied to the researcher’s own studio production through an Action Research process. This report documents the research and reports on findings identified through industry position descriptors making recommendations to support the integration of the new digital animation skills through a framework of progressive qualifications. Acknowledgements Keith Bradbury Dr Glenda Nalder Professor John Stevenson Andrew Goode iii From Pencil To Mouse: The 21st Century Animation House iv From Pencil To Mouse: The 21st Century Animation House LIST OF CONTENTS 1.0 RESEARCH CONTEXT 1 1.1 Introduction 1 1.2 The research question 1 1.3 Framing the Research Question: Background to the study and its significance 1 1.4 Definition of Key Terms 2 1.5 Acronyms 2 1.6 Tables and Figures 3 1.7 Significance of the Research 3 1.8 Brief Statement of Research Design/Aims 5 1.9 Phases of the Study 6 1.10 Limitations of the Study 7 1.11 Ethical considerations 7 1.12 Structure of the Study 8 2.0 CONTEXT OF THE PROBLEM 11 2.1 Introduction 11 2.2 The place of Digital (Information) Content in the wider (ICT) sector 11 2.3 The need for training programs to service industry 13 2.4 Employability skills, generic skills and knowledge 17 2.5 Skill Gaps 20 2.6 The growth of computer generated animation 21 2.7 Issues of automated animation processes 23 2.8 Traditional principles in the digital arena 23 2.9 Summary 26 3.0 RESEARCH METHODOLOGY 27 3.1 Introduction 27 3.2 Design 27 3.3 Vocationally Oriented Heuristic Research (VOHR) 30 3.4 Summary of the ten phases of the study 31 3.5 Tasks and Software Used 33 3.6 Recording and documentation procedures 34 v From Pencil To Mouse: The 21st Century Animation House 3.7 Goals of Action Research and Validity Criteria 35 3.8 Summary of this research in relation to Validity Criteria 37 3.9 Conclusion 38 4.0 DATA COLLECTION PROCESS AND PROJECT DEVELOPMENT 39 4.1 Introduction 39 4.2 Overall Timeline and Explanation of Data Collection Activities and Contexts 40 4.3 Research Production Model 43 4.4 The ten phases of the study 45 4.4.1 Phase-1 45 4.4.1.1 Traditional Animation Principles 47 4.4.1.2 Transitions in 2D/3D Animation Production Processes 47 4.4.1.3 The importance of underlying mechanics in Animation Production 48 4.4.1.4 Current Issues in Animation Education and Training Research 48 4.4.1.5 Issues warranting further research 49 Addressing new learning needs for 3DCG production processes 50 4.4.1.7 Knowledge Transfer 52 4.4.1.8 Conclusions 53 4.4.2 Phase 2 - 1st Practical Project – Client Project for CD-ROM 53 4.4.3 Phase 3 - Reflect and refine direction from client communication 55 4.4.4 Phase 4 - Define employability skill-sets 57 4.4.5 Phase 5 - 2nd Practical Project 59 4.4.6 Phase 6 - Data Analysis, identify need to classify generic/domain specific skills 61 4.4.8 Phase 8 - 3rd Practical Project - Short Narrative 62 4.4.8.1 Bully and The Beast – Concept Development 63 4.4.9 Phase-9 – Final Data Analysis and Training model design 65 4.4.10 Phase-10 – Outcomes and Final Report 67 4.5 Summary 67 5.0 DATA ANALYSIS RESULTS AND GENERAL DISCUSSION 69 5.1 Introduction 69 5.2 Formative issues 69 5.3 The local context: industry convergence 69 vi From Pencil To Mouse: The 21st Century Animation House 5.4 Analysis of data from Studio Project–1: 72 5.4.1Foundation Level Skills, Knowledge, and Attributes 72 5.4.2 Adaptations to Traditional Animation Principles for Foundational Level 3DCG production 75 5.4.3 Knowledge Transfer – 2D to 3DCG 78 5.5 Analysis of Data from Studio Project–2: 12 Days of an Aussie Xmas 81 5.5.1 Intermediate Level animation principles identified in Project 2 82 5.5.2 - Lyrics and Model requirements 84 5.5.3 Intermediate-level Project Management 86 5.5.4 Analysis of Maya Script Files – software commands utilised 87 5.6 Initial findings - Character Animator – Employability Skills and Attributes 90 5.7 The Young Vocational Student 94 5.8 Qualifications and skill-sets 97 5.8.1 Proposed Vocational Diploma Screen - Digital Animation 98 5.9 Analysis of Data from Studio Project–3: Bully and The Beast 101 5.10 Australian Digital Media Industry job postings 2001-2006 103 5.10.1 Work Patterns 104 5.10.2 Classification of Job Role descriptors 107 5.11 Summary of the characteristics that define each area of study 114 5.12 Summary 120 6.0 SUMMARY OF OUTCOMES, CONCLUSION AND RECOMMENDATIONS 123 6.1 Introduction 123 6.2 Research Aims and Objectives and Related Findings 124 6.3 Studio production: 134 6.4 Conclusion and recommendations: 136 6.5 Recommendations 142 6.6 Future Research 143 7.0 REFERENCES 145 vii From Pencil To Mouse: The 21st Century Animation House TABLE/FIGURES (in order) Figure 01: Convergence of Telecommunications, IT & Information Content (OECD1997:8) 12 Figure 02: Vocationally Oriented Heuristic Research Cycle 30 Table 01: Overview of steps taken in Vocationally Oriented Heuristic Research (VOHR). 30 Figure 03: Summary of the ten phases of the study 31 Figure 04: Ten phases of the study mapped to the cyclic nature of VOHR. 32 Table 02: Tasks/Software used in research, project creation and management. 33 Table 03: Anderson and Herr’s Goals of Action Research and Validity Criteria 36 Table 04: PAR & VOHR Validity Criteria 36 Table 05: Overall Timeline for Research and Studio Production 40 Table 06: The traditional three-step production process (applied to 3d animation) 43 Table 07: The four step Production Workflow (applied to 3d animation) 44 Table 08: Initial categories selected for examination 46 Table 09: Production Schedule 54 Table 10: Occupational Indicators selected from Animator and Project Manager job-role descriptors 55 Table 11: Production Schedule 12 Days of an Aussie Xmas 60 Table 12: Occupational Indicators selected from Animator and Project Manager job-role descriptors 61 Table 13: Production Schedule for Bully and The Beast 63 Table 14: Occupational Indicators selected from Animator job-role descriptors 63 Table 15: Character Profiles for Bully and The Beast 65 Table 16: Occupational Indicator classification system 66 Table 17: Number of Companies offering Animation by Category – Qld 2003 70 Table 18: Production Sectors and Categories of animation 71 Table 19: Foundation Level Occupational Indicators 72 Table 20: Client/practitioner interaction summary 74 Table 21: Export settings of animated segments for CD-ROM 75 Figure 05: Concept Map – Traditional Animation Principles 77 Table 22: Frequency Count of Traditional Animation Principles 78 Table 23: Discriminating, stable and multivariate indices 79 Table 24: Intermediate level occupational indicators 82 Table 25: 12 days of Xmas rendering and compositing checklist 85 Table 26: Template for Project Management tracking and documentation 86 Figure 06: Concept Map – Maya Script files 88 Table 27: Frequency Counts – Maya Script files 89 Table 28: Character Animator Occupational Indicators 2001-2003 Australia 90 viii From Pencil To Mouse: The 21st Century Animation House Table 29: General guidelines for ‘The Demo Reel’ 92 Figure 07: Persons enrolled in a course of study leading to an arts qualification 95 Figure 08: Concept Map – Generation_Y 96 Figure 09: Persons in study leading to and not leading to a qualification 97 Table 30: Structure for Team Projects
Recommended publications
  • The Uses of Animation 1

    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.
  • [Japan] SALA GIOCHI ARCADE 1000 Miglia

    [Japan] SALA GIOCHI ARCADE 1000 Miglia

    SCHEDA NEW PLATINUM PI4 EDITION La seguente lista elenca la maggior parte dei titoli emulati dalla scheda NEW PLATINUM Pi4 (20.000). - I giochi per computer (Amiga, Commodore, Pc, etc) richiedono una tastiera per computer e talvolta un mouse USB da collegare alla console (in quanto tali sistemi funzionavano con mouse e tastiera). - I giochi che richiedono spinner (es. Arkanoid), volanti (giochi di corse), pistole (es. Duck Hunt) potrebbero non essere controllabili con joystick, ma richiedono periferiche ad hoc, al momento non configurabili. - I giochi che richiedono controller analogici (Playstation, Nintendo 64, etc etc) potrebbero non essere controllabili con plance a levetta singola, ma richiedono, appunto, un joypad con analogici (venduto separatamente). - Questo elenco è relativo alla scheda NEW PLATINUM EDITION basata su Raspberry Pi4. - Gli emulatori di sistemi 3D (Playstation, Nintendo64, Dreamcast) e PC (Amiga, Commodore) sono presenti SOLO nella NEW PLATINUM Pi4 e non sulle versioni Pi3 Plus e Gold. - Gli emulatori Atomiswave, Sega Naomi (Virtua Tennis, Virtua Striker, etc.) sono presenti SOLO nelle schede Pi4. - La versione PLUS Pi3B+ emula solo 550 titoli ARCADE, generati casualmente al momento dell'acquisto e non modificabile. Ultimo aggiornamento 2 Settembre 2020 NOME GIOCO EMULATORE 005 SALA GIOCHI ARCADE 1 On 1 Government [Japan] SALA GIOCHI ARCADE 1000 Miglia: Great 1000 Miles Rally SALA GIOCHI ARCADE 10-Yard Fight SALA GIOCHI ARCADE 18 Holes Pro Golf SALA GIOCHI ARCADE 1941: Counter Attack SALA GIOCHI ARCADE 1942 SALA GIOCHI ARCADE 1943 Kai: Midway Kaisen SALA GIOCHI ARCADE 1943: The Battle of Midway [Europe] SALA GIOCHI ARCADE 1944 : The Loop Master [USA] SALA GIOCHI ARCADE 1945k III SALA GIOCHI ARCADE 19XX : The War Against Destiny [USA] SALA GIOCHI ARCADE 2 On 2 Open Ice Challenge SALA GIOCHI ARCADE 4-D Warriors SALA GIOCHI ARCADE 64th.
  • Animation Is a Process Where Characters Or Objects Are Created As Moving Images

    Animation Is a Process Where Characters Or Objects Are Created As Moving Images

    3D animation is a process where characters or objects are created as moving images. Rather than traditional flat or 2d characters, these 3D animation images give the impression of being able to move around characters and observe them from all angles, just like real life. 3D animation technology is relatively new and if done by hand would take thousands of hours to complete one short section of moving film. The employment of computers and software has simplified and accelerated the 3D animation process. As a result, the number of 3D animators as well as the use of 3D animation technology has increased. What will I learn in a 3D animation program? Your 3D animation program course content depends largely upon the 3D animation program in which you enroll. Some programs allow you to choose the courses that you are interested in. Other 3D animation programs are more structured and are intended to train you for a specific career or 3D animation role within the industry. You may learn about character creation, storyboarding, special effects, image manipulation, image capture, modeling, and various computer aided 3D animation design packages. Some 3D animation courses may cover different methods of capturing and recreating movement for 3D animation. You may learn "light suit" technology, in which suits worn by actors pinpoint the articulation of joints by a light. This if filmed from various different angles and used to replicate animated movement in a realistic way). What skills will I need for a 3D animation program? You'll need to have both creativity and attention to detail for a career in 3D animation.
  • 3D Computer Animated Walkthroughs for Architecture, Engineering, and Construction Applications

    3D Computer Animated Walkthroughs for Architecture, Engineering, and Construction Applications

    3D Computer Animated Walkthroughs for Architecture, Engineering, and Construction Applications Clark A. Cory, W. Scott Meador and William A. Ross Purdue University West Lafayette, Indiana, USA Abstract The assumption in most walkthroughs is that the animation will The purpose of this paper is to discuss the basic issues involved be a fairly accurate approximation of the finished building or site and to suggest methods for the planning and creation of 3D from the point of view of an observer. The height of the camera computer animation walkthroughs and flythroughs for for a walkthrough gives the viewer a visual cue as to his or her architectural, engineering, and construction applications. The relationship to the scale of the model. Most film directors intended audience for this paper is international educators seeking position the camera about a foot below eye level. (Weishar). to incorporate useful methods and techniques into their Just as in filming home movies, a camera is used to establish the curriculum when 3D walkthroughs are needed. point of view and the path of the observer moving in a Keywords: 3D computer animation, walkthrough, flythrough, walkthrough. For this reason it is important to be knowledgeable architectural animation of the basic mechanics of field of view and movement with cameras. Understanding camera movement is also highly 1. INTRODUCTION important when applied to typical foot speed and head turn rates created in a walkthrough Further study to understand the role of Walkthroughs, as they are commonly called, are not only valuable motion blur and depth of field is also valuable for adding realism for conveying information about a building, structure, or large to motion in walkthrough scenes.
  • SEASON ONE PRESS KIT Episodes 1-13

    SEASON ONE PRESS KIT Episodes 1-13

    SEASON ONE PRESS KIT Episodes 1-13 Connor Undercover is a Shaftesbury Films and Heroic Film Company production. Produced and developed in association with Family Channel. Produced with the participation of the Canadian Television Fund, produced with the financial participation of the Shaw Rocket Fund and produced with the participation of Independent Production Fund, and the Ontario Film and Television Tax Credits. Developed with the assistance of the COGECO Program Development Fund. Connor Undercover is distributed by Shaftesbury Sales Company. The series was filmed in and around Toronto, Hamilton and Dundas, Ontario. 163 Queen Street East, Suite 100, Toronto, Canada, M5A 1S1 Tel: 416.363.1411 Fax: 416.363.1428 Website: www.shaftesbury.ca FACT SHEET Starring: Max Morrow as Connor Heath Lola Tash as Gisela Calicos Jordan Francis as Dave ‘Whynot’ Whynacht Dylan Authors as Ty Heath Howard Hoover as Reuben Heath Judy Coffee as Julia Heath Ana Golja as Lily Bagdakovitch Tattiawna Jones as Zatari Gavin Fox as Ed ‘The Bodyguard’ Randy Thomas as President Calicos Executive Producers: Christina Jenning Scott Garvie John May Suzanne Bolch Producers: Suzanne French Jennifer Morrissette Supervising Producers: Jan Peter Mayboom Laura Harbin Created by: John May Suzanne Bolch Writers: John May Suzanne Bolch Tatyana Terzopoulos Evan Thaler Hickey John Slama Directors: John May David Warry-Smith Steve Wright Executives in Charge of Production for Family Channel: Sandra Walmark Swin Chang Director of Photography: Yuri Yakubiw Editors: Terrance Odette Jeff Geisel Production Designer: Marilyn Kiewiet Key Hair Stylist: Katrin Clark-Citroen Key Makeup Artist: Dorota Mitoraj Costume Designer: Michael Ground Unit Publicist: Sue Baldaro 2 SERIES LOGLINE Fifteen-year-old Connor Heath’s world is rocked when a beautiful president’s daughter is sent – for her own safety – to live with his family.
  • Representation Matters: Video Games in Mainstream Media

    Representation Matters: Video Games in Mainstream Media

    Representation Matters: Video games in mainstream media Nave Barlev Abstract This study aims to explore how the medium of video games is being represented across several mainstream media forms. It will unfold some of the complexities of the medium using theories constructed by video games scholars such as Henry Jenkins and Jane McGonigal, and place them against what most video games fans consider as misrepresentation of the medium. While video games were considered in their early commercial days as a novelty, a niche hobby or an entertaining pass-time, they are used today as an essential tool in advanced science, health care, fitness, warfare and education, and are being played or watched online by billions of people around the world. In order to understand the dynamics between mainstream media and the medium of video games, a multi-perspectives approach has been devised that includes cultural, historical, technological, and commercial aspects, and is explored using content analysis of news reports and TV shows. The approach thus includes both quantitative content analysis based on a movies database created for the purpose of this study, and a questionnaire aimed to examine if and how media representation of video games affect the decision of players and non-players to engage with the medium The study has found that the representation of video games in mainstream media has evolved considerably in recent years and reflects to some extent the evolution of the medium it intends to represent, yet despite such progress video games, partly due to the medium’s own faults, are still often being either misrepresented or underrepresented.
  • The Animated City

    The Animated City

    Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Please cite this publication as follows: Pallant, C. (2013) New York: the animated city. Comparative American Studies, 11 (4). pp. 349-360. ISSN 1477-5700. Link to official URL (if available): http://dx.doi.org/10.1179/1477570013Z.00000000056 This version is made available in accordance with publishers’ policies. All material made available by CReaTE is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Contact: [email protected] New York: The Animated City Chris Pallant Canterbury Christ Church University Abstract The urban landscape of New York City is one that is familiar to many, but through the medium of animation this familiarity has been consistently challenged. Often metamorphic, and always meticulously constructed, animated imagery encourages reflective thinking. Focussing on the themes of construction, destruction, and interactivity, this article seeks to cast critical light upon the animated double life that New York City has lived through the following moving image texts: Disney’s Fantasia 2000 (1999), Patrick Jean’s computer- generated short Pixels (2009), and Rockstar Games’ open-world blockbuster Grand Theft Auto IV (2008). Keywords animation, cinema, Disney, Fantasia 2000, Grand Theft Auto IV, New York, Pixels, video games Introduction Of all the major global cities, New York ‘is perhaps the most storied, photographed and – of course – filmed on earth. A capital of culture, finance, politics and business, an entry point for immigrants, an empire for crime lords and, subsequently, the setting for a multitude of movies, New York is a uniquely cinematic city’ (Harris, 2012: 5).
  • SCMS 2012 INT FP-No Rooms.Indd

    SCMS 2012 INT FP-No Rooms.Indd

    SCMS 2012 Conference Program Boston Park Plaza Hotel and Towers March 21–25, 2012 Schedule of Events at a Glance Wed, March 21 10:00 – 11:45am Session A 12:15 – 2:00pm Session K 12:00noon – 1:45pm Session B 12:15 – 2:00pm Special Event— New England Archive 2:00 – 3:45pm Session C Showcase—Northeast 4:00 – 5:45pm Session D Historic Film Thurs, March 22 9:00 – 10:45am Session E 2:15 – 4:00pm Orientation for New Members 11:00am – 12:45pm Orientation for New Members 2:15 – 4:00pm Session L 11:00am – 12:45pm Session F 2:15 – 4:00pm Special Event— New England Archive 11:00am – 12:45pm Special Event— Showcase—The Harvard New England Archive Film Archive Showcase—The National Center for 4:15 – 5:30pm Awards Ceremony Jewish Film 5:30 – 7:30pm Reception 1:00 – 2:45pm Session G 8:15pm Special Event— 1:00 – 2:45pm Special Event— Women Make Movies New England Archive 40th Anniversary Showcase—WGBH Sat, March 24 9:00 – 10:45am Session M Media Library and Archives 11:00am – 12:45pm Session N 3:00 – 4:45pm Session H 1:00 – 2:45pm Session O 5:00 – 6:45pm Session I 3:00 – 4:45pm Session P 7:00pm Reception Special Event— 5:00 – 6:45pm Session Q 8:00pm Screening An Evening with 8:00pm Special Event— Experimental Screening of The Last Filmmaker Ernie Gehr Command with Alloy Fri, March 23 9:00 – 10:45am Session J Orchestra 11:00am – 12:00noon Members’ Business Sun, March 25 9:00 – 10:45am Session R Meeting 11:00am – 12:45pm Session S 10 WEDNESDAY MARCH 21, 2012 SESSION A 10:00 – 11:45am Cyborgs, Avatars, A1 Political Cinema from the A2 Immigrant Terminators

  • Canadian Claimants Group (CCG)

    WRITTEN DIRECT TESTIMONY OF JANICE DE FREITAS (CBC - RIGHTS ADMINISTRATION) 2004—2005 Cable Royalty Distribution Proceeding Docket No. 2007-03 CRB CD 2004-2005 1. Introduction I am Manager of Rights Administration for the Canadian Broadcasting Corporation/Radio-Canada (CBC/Radio-Canada) at the Head Office in Ottawa. I have worked for the CBC since 1980. For the last 15 years, I have served as Chairman of the Canadian Claimants Group (CCG). Before assuming my current position, I spent nine years in CBC’s television program distribution department eventually managing the Educational Sales unit. Those responsibilities called for me to be familiar with the English television network’s programming, and rights administration. CBC/Radio-Canada is Canada’s national public broadcaster, and one of its largest and most important cultural institutions. It was created by an Act of Parliament in 1936, beginning with Radio. Bilingual television services were launched in 1952. CBC/Radio-Canada is licensed and regulated by the Canadian Radio-television and Telecommunications Commission (CRTC)1. CBC/Radio-Canada employs approximately 9,930 Canadians in 27 regional offices across the country. CBC programming is provided on multiple platforms: television (both traditional over-the-air and cable networks), radio, the Internet, satellite radio, digital audio and a recording label. Through this array of activities, CBC/Radio-Canada delivers content in English, French, and eight aboriginal languages. In addition to this, programming is available in seven other languages including Spanish, Russian and Mandarin on both Radio Canada International, and Web-based www.rciviva.ca, a radio service for recent and aspiring immigrants to Canada.

  • Computer Animation for Architectural Visualisation

    Department of Architecture and Building Science University of Strathclyde, Glasgow COMPUTER ANIMATION FOR ARCHITECTURAL VISUALISATION by AHMAD RAFI MOHAMED ESHAQ A thesis submitted in partial fulfilment of the requirements of the University of Strathclyde for the Degree of Doctor of Philosophy. Glasgow, Scotland, United Kingdom. APRIL 1998 i The copyright of this thesis belongs to the author under the terms of the United Kingdom Copyright Acts as qualified by University of Strathclyde Regulation 3.49. Due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. ii acknowledgement acknowledgement In the Name of Allah, the Most Gracious and the Most Merciful. By the time, Verily Man Is in lost, Except such as have Faith, And do righteous deeds, And join together In the mutual enjoining Of Truth, and of Patience and Constancy. Quran Al-'Asr 133 : 1-3 I wish to acknowledge the help and assistance of all the individuals who gave their time to discuss and contribute to this thesis. I would like to thank my supervisor Dr. Alan Bridges for his determination and responsibility in guiding my understanding on the principle issues and design of the thesis ; ABACUS, the Department of Architecture and Building Science and AV Media Services staffs. Thanks are also due to Professor Abu Hasan Ismail ( former head of CAD Centre, Universiti Teknologi Malaysia - UTM ) who encouraged me to take a PhD at Strathclyde University ; Mohd Fuzi Musa, Zulkarnain Hasan and Fauzee Nasir who in particular helped me to retrieve, supply and create the live project animation production sequences ; Alan Ricthie and George Neilson from Television Production, College of Building and Printing, Glasgow, who helped to produce the special effects.
  • 2012 Preliminary Program Draft 02

    2012 Preliminary Program Draft 02

    Program Sessions Wednesday, March 21, 2012 10:00AM-11:45PM (Session A) A1: Political Cinema from the "Periphery" Room: Alcott Chair: Bruce Williams (William Paterson University) Leslie Marsh (Georgia State University), "Postmemory, Violence, and Trauma in La teta asustada (2009) and Quase Dois Irmãos (2004)" Alex Lykidis (Montclair State University), "Allegories of Peripheral Modernity in Giorgos Lanthimos’ Dogtooth" Ali Sengul (University of Texas, Austin), "Transnationality and the Geopolitics of Kurdish Cinema" Bruce Williams (William Paterson University), "In the Heat of Agitprop: The Global Fires of The Hour of the Furnaces" A2: Cyborgs, Avatars, Immigrant Terminators: Eye-Jabbing Aesthetics and the Cinematic Body Room: Cambridge Chair: Katarzyna Marciniak (Ohio University) Respondent: Neda Atanasoski (University of California, Santa Cruz) Allison de Fren (Occidental College), "Eye Robot: The Critical Function of the Visual Uncanny in Ghost in the Shell 2: Innocence" Bruce Bennett (Lancaster University), "An Eye-Watering Aesthetic: Avatar and the Technological Fantasies of 3-D Cinema" Katarzyna Marciniak (Ohio University), "Immigrant Rage Fantasy and Mexican Terminators: Robert Rodriguez’s Machete" A3: Teaching the Moving Target Room: Beacon Hill Chair: Craig Dietrich (University of Southern California) Workshop Participants: Virginia Kuhn (University of Southern California) Vicki Callahan (University of Wisconsin, Milwaukee) Sean O'Sullivan (Ohio State University) Anne Moore (Tufts University) Craig Dietrich (University of Southern
  • Testimony of Lucy Medeiros

    Testimony of Lucy Medeiros

    TESTIMONY OF ALISON SMITH (Canadian Broadcasting Corporation) Introduction My name is Alison Smith. I am currently a Washington Television News Correspondent for the Canadian Broadcasting Corporation. I have worked for CBC News for more than 30 years in a variety of positions, but primarily as a news anchor and reporter. I am now based in Washington DC covering US news of interest to Canadians. That includes US politics, foreign affairs, the economy and news features that reflect American life. The CBC The CBC’s mandate is to provide programming that is predominantly and distinctively Canadian and to actively contribute to the flow and exchange of cultural expression. CBC News The CBC News Service was established almost 70 years ago in 1941. As an important component of CBC, the mandate for CBC News mirrors that of the corporation. With its team of experienced and highly professional journalists it is seen as one of the greatest strengths of the CBC. It is Canada’s largest news service with more than 800 journalists employed at home and around the world. It currently has more bureaus across Canada than any other network and 14 outside of the country. There are three bureaus in the US – Washington, New York and Los Angeles. Other locations include London, Paris, Jerusalem, Mexico City, Moscow, Beijing, Shanghai, Nairobi, Bangkok and Kandahar. From the inception of the news service, CBC news and current affairs journalists have won international recognition for their work. A list of international awards covering the time period at issue here is attached to this testimony (Exhibit CDN-2-A).