Your Contact with the Central and Eastern European Animation Industry
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The 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
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. -
Giovanna Belico Cária Guimarães O Boneco – Personagem
Giovanna Belico Cária Guimarães O Boneco – Personagem: Caracterização do personagem de animação Stop-motion Universidade Federal de Minas Gerais Escola de Belas Artes Mestrado em Artes 2012 1 Giovanna Belico Cária Guimarães O Boneco – Personagem: Caracterização do personagem de animação Stop-motion Dissertação apresentada ao Programa de Pós-Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes. Área de Concentração: Arte e Tecnologia da Imagem. Orientador: Maurício Silva Gino Belo Horizonte Escola de Belas Artes /UFMG 2012 2 Ficha catalográfica (modelo) Guimarães, Giovanna Belico Cária, 1975. O Boneco-Personagem: caracterização do personagem de animação stop-motion / Giovanna Belico Cária Guimarães. – 2012 102 f.: il. – Orientador: Maurício Silva Gino Dissertação apresentada ao Programa de Pós-Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes. 1. Boneco – Personagem - stop-motion - Arte – Cinema de Animação 2. Escultura - Teatro I. Gino, Maurício Silva, 1966 - III. Universidade Federal de Minas Gerais. Escola de Belas Artes IV. Título. CDD: CDU: código p/BIB/EBA 3 AGRADECIMENTOS Ao professor Francisco Marinho, com quem iniciei esse projeto. Ao professor Maurício Gino, pela orientação e apoio ao longo de todo o processo, sobretudo durante as (tantas) crises. Ao professor José Américo (in memorian) que contribuiu com suas sugestões e apontamentos. Aos professores Heitor Capuzzo e Ana Lúcia Andrade, que me contagiaram com o encanto pelo cinema e pelo stop-motion. A todo o apoio recebido da Escola de Belas Artes, da UFMG e da CAPES, fundamental para a conclusão desse projeto. -
Comparative Collective Biography Animated Film Studios in Zlín (Czech
Animation studios in Gottwaldov and Lodz (1945/47-1990) - Comparative Collective Biography Animated film studios in Zlín (Czech Republic) and Łódź (Poland) were among the most successful film production centers in the Eastern Bloc. World-renowned personalities such as Karel Zeman, Hermina Týrlová, Daniel Szczechura or Zbigniew Rybczyński have worked there, and their films have won the world's most prestigious awards at festivals in Cannes, Venice, and Locarno or the Oscar Academy Award. During their existence, both studios have produced thousands of animated, puppet and combined films; an important part of their work was custom production as well, especially for television. Besides animation movies, also fiction, documentary, school or advertising films were produced in these studios. However, the history of the successful and prominent animated production of these studios has so far been presented only by popularizing or commemorative publications, portraits of individual filmmakers or analysis of selected films. The project aims to analyze and compare Gottwaldov and Lodz film animation centers. The animated production of the Short Film company´s branch in Gottwaldov (which later became an independent Film Studio Gottwaldov) followed the film production of the Baťa Company in the 1930s, was created outside of the administrative center of film production in Prague. The specific position of the in Zlín/Gottwaldov and Studio of Small Film Forms Se-Ma-For Łódź studios makes them an ideal focus of a comparative research. The research would be methodologically based on prosopographic research (i.e., on collective monographs of a selected group of studio workers). In similarity to Gottwaldov, Łódź has its tradition of film production cultivated outside the administrative center in Warsaw. -
Persistence of Vision: the Value of Invention in Independent Art Animation
Virginia Commonwealth University VCU Scholars Compass Kinetic Imaging Publications and Presentations Dept. of Kinetic Imaging 2006 Persistence of Vision: The alueV of Invention in Independent Art Animation Pamela Turner Virginia Commonwealth University, [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/kine_pubs Part of the Film and Media Studies Commons, Fine Arts Commons, and the Interdisciplinary Arts and Media Commons Copyright © The Author. Originally presented at Connectivity, The 10th ieB nnial Symposium on Arts and Technology at Connecticut College, March 31, 2006. Downloaded from http://scholarscompass.vcu.edu/kine_pubs/3 This Presentation is brought to you for free and open access by the Dept. of Kinetic Imaging at VCU Scholars Compass. It has been accepted for inclusion in Kinetic Imaging Publications and Presentations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Pamela Turner 2220 Newman Road, Richmond VA 23231 Virginia Commonwealth University – School of the Arts 804-222-1699 (home), 804-828-3757 (office) 804-828-1550 (fax) [email protected], www.people.vcu.edu/~ptturner/website Persistence of Vision: The Value of Invention in Independent Art Animation In the practice of art being postmodern has many advantages, the primary one being that the whole gamut of previous art and experience is available as influence and inspiration in a non-linear whole. Music and image can be formed through determined methods introduced and delightfully disseminated by John Cage. Medieval chants can weave their way through hip-hopped top hits or into sound compositions reverberating in an art gallery. -
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. -
Jiří Trnka at BFI Southbank in April 2012
PRESS RELEASE March 2012 12/12 JiĜí Trnka At BFI Southbank in April 2012 Throughout April 2012, BFI Southbank celebrates the work of the Czech animation pioneer JiĜí Trnka (1912- 69) with a retrospective season in this, the centenary of his birth. The so called Walt Disney of the East, Trinka was responsible for introducing the Czech puppet film to the world and, in doing, has influenced the work of the likes of Jean Cocteau and the Quay Brothers. The season spans the director’s career taking in his wildly ambitious feature debut, The Czech Year (1947) that traces the passage of a single year in the Czech countryside, via two programmes of shorts, Trnka Shorts for Children and Trnka Shorts for Adults, adaptations of Shakespeare (A Midsummer Night’s Dream 1959) and Hans Christian Andersen (The Emperor’s Nightingale, 1948) and a very special Q&A with director, animator and protégée of Trinka, Vlasta Pospíšilová Anyone described by Jean Cocteau as ‘a magician who knows how to value childhood dreams’ is clearly very special indeed. The founder not merely of Czech puppet film but of Czech animation in general, Trnka is highly lauded both for the excellence of his own work and for his vast and continuing creative influence. Jan Švankmajer (Greedy Guts, Faust) worked at his studio, one of Trnka’s colleagues taught the Quay Brothers puppet animation, and his associates BĜetislav Pojar and Vlasta Pospíšilová produce stop-motion films like the Fimfárum series (2002-11) to this day. Trnka first established himself as an illustrator and stage designer before co-founding Trick Brothers in May 1945. -
The Society for Animation Studies Newsletter
Volume 19, Issue 1 Summer 2006 The Society for Animation Studies Newsletter ISSN: 1930-191X In this Issue: Letter from the Editor Perspectives on Animation Studies Greetings! 2 ● To Animate in a Different Key As a new SAS member, I have found the Jean Detheux Society to be an active, welcoming, and 5 ● Simple Pivot Hinges for Cut-Out stimulating place where experienced and Animations young scholars alike can share their Mareca Guthrie passion for Animation Studies. 9 ● Czech Animation in 2005, An Artist's The SAS Newsletter represents a Journey supportive and convenient forum for our Brian Wells community to contribute to this growing News and Publications academic field and to get to know each other better. It offers an opportunity for 19 • Introductory Issue of Animation: an members to voice our ideas (Perspectives Interdisciplinary Journal on Animation Studies), to promote our Suzanne Buchan recent accomplishments (News and 22 • The Illusion of Life II and New Essays Publications), to learn what the SAS is Alan Cholodenko working to achieve (SAS Announcements), 24 • Between Looking and Gesturing: and to stay in touch with other members Elements Towards a Poetics of the (Membership Information). Animated Image Having no prior editorial experience, I am Marina Estela Graça deeply grateful to SAS president Maureen 25 • Frames of Imagination: Aesthetics of Furniss, webmaster Timo Linsenmaier, Animation Techniques each of this issue’s contributors, and many Nadezhda Marinchevska others for their indispensable help as I SAS Announcements navigated this exciting learning curve. As the Newsletter is only distributed to SAS 27 ● Animation at the Crossroads: 18th members, it can and ought to be tailored to SAS Conference, 7-10 July 2006 fit the needs of its select readership: you. -
Surrealist Sources of Eastern European Animation Film
BALTIC SCREEN MEDIA REVIEW 2013 / VOLUME 1 / ARTICLE Article Surrealist Sources of Eastern European Animation Film ÜLO PIKKOV, Estonian Academy of Arts; email: [email protected] 28 DOI: 10.1515/bsmr-2015-0003 BALTIC SCREEN MEDIA REVIEW 2013 / VOLUME 1 / ARTICLE ABSTRACT This article investigates the relationship between surreal- ism and animation fi lm, attempting to establish the char- acteristic features of surrealist animation fi lm and to deter- mine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation fi lm and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation fi lm in Eastern Europe can be seen as a continu- ation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period. INTRODUCTION ing also in sight the spatiotemporal context Surrealism in animation fi lm has been of production. an under-researched fi eld. While several It must be established from the out- monographs have been written on authors set that there are many ways to understand whose work is related to surrealism (Jan and interpret the notion of “surrealist ani- Švankmajer, Brothers Quay, Priit Pärn, Raoul mation fi lm”. In everyday use, “surreal” often Servais and many others), no broader stud- stands for something obscure and incom- ies on the matter exist. -
Spanish Animation in 2012
English Information 173 · Molecular Zombi and Pablo Llorens’ · Spanish Animation in 2012 · Martian Parenthood · Keywords Key words Animation, crisis, change, funding, short films, Pablo Llorens, clay, Valencia, Molecular Zombi, feature films. stop-motion. Biography Biography Samuel Viñolo Locuviche (Almeria, 1978) has a Rosa Torres Pujol studied Audiovisual Communi- degree in Communication Studies from the Univer- cation at the University of Valencia (UV). She is in- sidad de Sevilla, and has worked as an animator in terested in the possibilities of animation to approach Germany and Spain. After finishing his Master The- social taboos, subject she has explored in the Artistic sis in Castellon de la Plana (Spain), he is currently Production Master she finished at Universitat Poli- preparing a PhD about CGI Catalonian Animation tècnica de València. She has been a speaker at the at the Universitat of Barcelona (Spain). He also has Seminar on ICT in the UV (2008) and cooperating- been responsible for the animation blog Animaholic teacher offering a class about “The annihilating ani- Magazine since 2005. mation of the stereotypes”, from the Master’s Degree in Languages and Literatures (2010). Her short film Imperfecta was shown at the 26th edition of Cinema · Coffee with Guillermo García Carsí (El Jove, and nowadays she is about to make an animated Señor Studio) · video installation. Key words El Señor Studio, animation, characters’ creation, · O Apostolo, by Fernando Cortizo · 2D, 3D, series, coproduction. Biography Key words Sara Álvarez Sarrat is Senior Lecturer at the Stop-motion, puppets, Spanish film, Paul Naschy, Department of Design, Universitat Politècnica de Galicia. València, and PhD in Fine Arts from 2002. -
BMFF-2017-Program.Pdf
Arch Insurance 2 FUELING THE INDEPENDENT SPIRIT FUELING th THETHE INDEPENDENT 36 ANNUAL BLACK MARIA SPIRITFILM FESTIVALFUELING THE INDEPENDENT SPIRIT FUELING THE INDEPENDENT2017 SPIRIT FUELING THE INDEPENDENT SPIRIT FUELING THE INDEPENDENT This program is copyright © 2017, The Thomas A. Edison Media Arts Consortium, Inc. SPIRIT 3 Lowenstein Sandler 4 The Black Maria Film Festival tour is made possible in part by: New Jersey State Council on the Arts Hudson County Division of Cultural & Heritage Affairs / Tourism Development New Jersey City University Microsoft Corporation* Adobe Systems, Inc. TechSoup Global Individual Donations * “Microsoft is pleased to support Thomas A. Edison Media Arts Consortium, Inc.” The Black Maria Film Festival is a project of the Thomas A. Edison Media Arts Consortium, an independent non-profit organization based at New Jersey City University. The festival was launched in 1981 with the endorsement of the Thomas Edison National Historical Park in West Orange, NJ. To become a sponsor of the Black Maria Film Festival, please contact the consortium’s office or make a donation via the festival website: www.blackmariafilmfestival.org. Thomas A. Edison Media Arts Consortium Black Maria Film Festival c/o Department of Media Arts – Fries Hall NJ City University 2039 Kennedy Blvd., Jersey City, NJ 07305 201.200.2043 [email protected] 5 IN COMMUNITY Withum SM WithumSmith+Brown, PC is proud to support the Black Maria Film Festival for celebrating and preserving the diversity, invention and vitality of the