DOCSLIB.ORG

Tim Burton Tim Burton's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tim Burton Tim Burton's TIM BURTON -AND- TIM BURTON’S “THE NIGHTMARE BEFORE CHRISTMAS” (1993) For pricing inquiries contact AFA Gallery by email at [email protected] or by phone at 212.226.7374 TIM BURTON In 2009 the Museum of Modern Art (MoMA) presented a major retrospective on Tim Burton, exploring the full scale of the artist’s career, which encompassed his work as a director and concept artist for live-action and animated films as well as an artist, illustrator, photographer, and writer. The exhibition brought together over 700 examples of his work, resulting in MOMA’s most comprehensive exhibition devoted to a filmmaker. AFA Gallery has acquired a small collection of original works from friends and colleagues of the artist, including Henry Selick, Director of Tim Burton’s Nightmare Before Christmas (1993). “While Burton’s unique visuals and specific themes contribute to his auteur aesthetic and style, the linchpin of Burton’s work is his embrace of character. Despite the fact that the majority of his films become blockbusters, Burton’s projects are all intimate affairs, inhabited by elaborately developed characters who provide the emo- tional depth to the films. Burton has said of this motivation, ‘I love extreme characters who totally believe them- selves.’” -Jenny He “Tim Burton”, The Museum of Modern Art, 2009 54 GREENE ST. NEW YORK, NY 10013 P: 212.226.7374 E: [email protected] WWW.AFANYC.COM Tim Burton “Sketchbook Drawing 1” Pen and Ink on Paper 6 x 9” Unframed 15 x 18” Framed Tim Burton “Sketchbook Drawing 2” Pen and Ink with Watercolor on Paper 9 x 12” Unframed 15.5 x 19.5” Framed Tim Burton “Sketchbook Drawing 3” Pen, Ink, and Watercolor on Paper 6 x 9” Unframed 15 x 18” Framed Tim Burton “Sketchbook Drawing 4” Pen and Ink with Watercolor on Paper 9 x 12” Unframed 20 x 23.75” Framed Tim Burton “Black Cauldron Conceptual” Pen and Ink with Watercolor on Paper 10.5 x 8.5” Unframed 15.5 x 13.5” Framed Tim Burton “Mummy Boy” Mixed Media on Paper and Board Signed in LR 19.5 x 15” Unframed 30 x 25” Framed Tim Burton “Mummy Boy” Mixed Media on Paper and Board Signed in LR 19.5 x 15” Unframed 30 x 25” Framed TIM BURTON’S “THE NIGHTMARE BEFORE CHRISTMAS” (1993) AFA Gallery is proud to present a rare collection of concept storyboards from Tim Burton’s The Nightmare Before Christmas (Walt Disney Studios, 1993). Pinned to a cork wall during the conceptual phase, these storyboards mim- icked the emotion, music, landscape, and general momentum of each scene prior to the laborious stop-motion process. These storyboards retain the original pinholes acquired from the production process. The following artwork was acquired from studio artists who worked on the film, including Henry Selick, the direc- tor of Nightmare. Many of these conceptual drawings were created by Joe Ranft (1960-2005), who was the story- board supervisor for Nightmare and arguably the best storyboard artist of his time. A true renaissance man, he also worked as a screenwriter, animator, and voice actor for both Pixar and Walt Disney Animation Studios. Ranft was also the storyboard supervisor for James and the Giant Peach and the Executive Producer for Corpse Bride, which was dedicated to him. 54 GREENE ST. NEW YORK, NY 10013 P: 212.226.7374 E: [email protected] WWW.AFANYC.COM Joe Ranft “Asleep in Christmastown” Pastel on Board 15.5 x 14” Unframed 25.5 x 24” Framed Joe Ranft “Asleep in Christmastown” Pastel on Board 15.5 x 14” Unframed 25.5 x 24” Framed Joe Ranft “Dr. Finklestein” Mixed Media on Board 11.5 x 7.25” Unframed 19 x 12.25” Framed Joe Ranft “Dr. Finklestein” Mixed Media on Board 11.5 x 7.25” Unframed 19 x 12.25” Framed Joe Ranft “Jack and Oogie Boogie“ Pastel on Board 8.5 x 6.75” Unframed 21.25 x 19.25” Framed Joe Ranft “Jack and Oogie Boogie“ Pastel on Board 8.5 x 6.75” Unframed 21.25 x 19.25” Framed Joe Ranft “Jack as Santa” Pastel on Board 9 x 12.5” Unframed 20.5 x 24” Framed Joe Ranft “Jack as Santa” Pastel on Board 9 x 12.5” Unframed 20.5 x 24” Framed Joe Ranft “Jack Loves Sally” Mixed Media on Board 6.75 x 12.75” Unframed 14 x 20.5” Framed Joe Ranft “Kidnapped” Graphite and Pastel on Board 10 x 6” Unframed 23.25 x 19” Framed Joe Ranft “Lock, Shock, and Barrel with Oogie” Pastel on Board 9 x 7” Unframed 19 x 17” Framed Joe Ranft “Lock, Shock, and Barrel 1” Pastel on Board 18.75 x 10.25” Unframed 26.5 x 18” Framed Joe Ranft “Lock, Shock, and Barrel 1” Pastel on Board 18.75 x 10.25” Unframed 26.5 x 18” Framed Joe Ranft “Lock, Shock, and Barrel on Santa’s Doorstep” Mixed Media on Board 6.75 x 12.5” Unframed 17.75 x 23.5” Framed Joe Ranft “Lock, Shock, and Barrel 2” Tempera on Board 9 x 7.5” Unframed 18.5 x 17” Framed Joe Ranft “Lock, Shock, and Barrel 3” Pastel on Board 11 x 13” Unframed 18.5 x 20.5” Framed Joe Ranft “Lock, Shock, and Barrel 3” Pastel on Board 11 x 13” Unframed 18.5 x 20.5” Framed Joe Ranft “Lock, Shock, and Barrel 4” Tempera on Board 8 x 6.75” Unframed 18.5 x 15” Framed Joe Ranft “Lock, Shock, and Barrel 4” Tempera on Board 8 x 6.75” Unframed 18.5 x 15” Framed Joe Ranft “Concept for Musician” Pen and Ink on Paper Signed by Joe Ranft and Henry Selick 8.5 x 11” Unframed 16.25 x 19.25” Framed Joe Ranft “Sally and Dr. Finklestein 1” Pastel on Board 7.75 x 6.25” Unframed 18.75 x 14.25” Framed Joe Ranft “Sally and Dr. Finklestein 1” Pastel on Board 7.75 x 6.25” Unframed 18.75 x 14.25” Framed Joe Ranft “Sally and Dr. Finklestein 2” Mixed Meida on Board 6 x 10.5” Unframed 13.5 x 18.75” Framed Joe Ranft “Oogie Boogie’s Lair” Mixed Media on Paper 20 x 13” Unframed Joe Ranft “Citizens of Halloweentown” Pen and Marker on Paper 9 x 8.75” Unframed 19.25 x 19” Framed Joe Ranft “Concept Storyboard 23” Mixed Media on Board 20.5 x 8” Unframed 44.5 x 19.75” Framed Joe Ranft “Jack Skellington” Graphite and Pastel on Board 14.5 x 15.5” Unframed 28 x 29” Framed Joe Ranft “Lock, Shock, and Barrel with Santa” Oil on Panel 12 x 13” Unframed 22.5 x 24” Framed Joe Ranft “Jack Skellington 2” Mixed Media on Board 12.5 x 17.5” Unframed 25 x 30” Framed Joe Ranft “Jack Skellington 2” Mixed Media on Board 12.5 x 17.5” Unframed 25 x 30” Framed Joe Ranft “Oogie Boogie” Pastel on Board 9.25 x 10.25” Unframed 17.5 x 18” Framed Joe Ranft “Oogie Boogie” Pastel on Board 9.25 x 10.25” Unframed 17.5 x 18” Framed Joe Ranft “Oogie Boogie and Santa” Pastel on Board 8 x 12.5” Unframed 19 x 23.75” Framed Joe Ranft “Oogie Boogie in Moonshadow” Tempera on Board 6.5 x 6.5” Unframed 17 x 17” Framed Joe Ranft “Oogie Boogie in Moonshadow” Tempera on Board 6.5 x 6.5” Unframed 17 x 17” Framed Joe Ranft “Oogie Boogie in the Moon” Pen and Marker on Board 8.75 x 8” Unframed 14.75 x 13.75” Framed Joe Ranft “Oogie Boogie, Santa, and Sally” Pastel on Board 17.5 x 20.25” Unframed 29.5 x 32” Framed Joe Ranft “Sally and Santa in Oogie’s Lair” Pastel on Board 8.5 x 6.75” Unframed 20 x 16.25” Framed Joe Ranft “Sally and Halloween Tree” Mixed Media on Board 7.5 x 9” Unframed 19.5 x 25.75” Framed Joe Ranft “Sally with Statue” Mixed Media on Board 8 x 7” Unframed 22.75 x 21.75” Framed Joe Ranft “Sally with Statue” Mixed Media on Board 8 x 7” Unframed 22.75 x 21.75” Framed Joe Ranft “Jack as Santa and Moon” Pastel and Tempura on Board 23 x 12.5” Unframed 36.25 x 25.75” Framed Joe Ranft “Jack as Santa in the Graveyard” Mixed Media on Board 8.25 x 5” Unframed 20.75 x 17.5” Framed Joe Ranft “Jack as Santa in the Graveyard” Mixed Media on Board 8.25 x 5” Unframed 20.75 x 17.5” Framed Joe Ranft “The Finale” Pastel and Tempura on Board 26.25 x 17” Unframed 40.5 x 21” Framed Joe Ranft “The Finale” Pastel and Tempura on Board 26.25 x 17” Unframed 40.5 x 21” Framed Joe Ranft or Tim Burton “Oogie’s Song” Mixed Media on Paper and Board 9.75 x 12.25” Unframed 17 x 18.75” Framed Joe Ranft or Tim Burton “Oogie’s Song” Mixed Media on Paper and Board 9.75 x 12.25” Unframed 17 x 18.75” Framed Joe Ranft “Jack and Santa” Mixed Media 10 x 9.5” Unframed 19 x 18” Framed Joe Ranft “Jack and Santa” Mixed Media 10 x 9.5” Unframed 19 x 18” Framed Joe Ranft or Tim Burton “In a Bag” Pen, Ink, and Watercolor on Paper 9 x 9” Unframed 19 x 19.25” Framed Joe Ranft “Dr.
Load more

Recommended publications
  • Suggestions for Top 100 Family Films
    SUGGESTIONS FOR TOP 100 FAMILY FILMS Title Cert Released Director 101 Dalmatians U 1961 Wolfgang Reitherman; Hamilton Luske; Clyde Geronimi Bee Movie U 2008 Steve Hickner, Simon J. Smith A Bug’s Life U 1998 John Lasseter A Christmas Carol PG 2009 Robert Zemeckis Aladdin U 1993 Ron Clements, John Musker Alice in Wonderland PG 2010 Tim Burton Annie U 1981 John Huston The Aristocats U 1970 Wolfgang Reitherman Babe U 1995 Chris Noonan Baby’s Day Out PG 1994 Patrick Read Johnson Back to the Future PG 1985 Robert Zemeckis Bambi U 1942 James Algar, Samuel Armstrong Beauty and the Beast U 1991 Gary Trousdale, Kirk Wise Bedknobs and Broomsticks U 1971 Robert Stevenson Beethoven U 1992 Brian Levant Black Beauty U 1994 Caroline Thompson Bolt PG 2008 Byron Howard, Chris Williams The Borrowers U 1997 Peter Hewitt Cars PG 2006 John Lasseter, Joe Ranft Charlie and The Chocolate Factory PG 2005 Tim Burton Charlotte’s Web U 2006 Gary Winick Chicken Little U 2005 Mark Dindal Chicken Run U 2000 Peter Lord, Nick Park Chitty Chitty Bang Bang U 1968 Ken Hughes Chronicles of Narnia: The Lion, PG 2005 Adam Adamson the Witch and the Wardrobe Cinderella U 1950 Clyde Geronimi, Wilfred Jackson Despicable Me U 2010 Pierre Coffin, Chris Renaud Doctor Dolittle PG 1998 Betty Thomas Dumbo U 1941 Wilfred Jackson, Ben Sharpsteen, Norman Ferguson Edward Scissorhands PG 1990 Tim Burton Escape to Witch Mountain U 1974 John Hough ET: The Extra-Terrestrial U 1982 Steven Spielberg Activity Link: Handling Data/Collecting Data 1 ©2011 Film Education SUGGESTIONS FOR TOP 100 FAMILY FILMS CONT..
    [Show full text]
  • Ballas 175 Pixar with Lacan
    CINEMA 11 · BALLAS 175 PIXAR WITH LACAN: THE HYSTERICS GUIDE TO ANIMATION Anthony J. Ballas (University of Colorado at Denver) Lilian Munk Rösing. New York: Bloomsbury Academic, 2017. 192 pp. ISBN: 9781501320170. Lilian Monk Rösing’s Pixar With Lacan, departs from a perhaps over-theorized realm of psychoanalytic film theory—that “fugitive moment” of capture of live-action cinema—to the repeatable, readily reproducible, and seemingly inconsequential forms of computer animation: a dimensional shift seldom entertained in the tradition of psychoanalysis (27). Rösing’s argument is cleverly premised upon the extended allegory between the animated forms and figures in Pixar films and the question of “what animates the human being?” (168); how Pixar offers insight into the ways in which the big Other, objet a, the voice and gaze and other foundational concepts of Lacanian psychoanalysis function in the psychic economy of the subject, or, as Rösing quotes Žižek from Pervert’s Guide to Ideology (Sophie Fiennes, 2014), “Humanity means: the alien is controlling our human bodies” (17). Rösing offers an extended analysis of individual Pixar films, including early shorts such as the production company’s first Red’s Dream (John Lasseter, 1987), using them as the cultural material from which to introduce Freud and Lacan. Thus, this volume does a lot of heavy lifting in only 190 pages; the reader will gain insight not only to foundational concepts such as Lacan’s notion of fantasy, objet a, the name-of-the-father, das Ding, and the Real, and as well those perceived by many Lacanians as less foundational (depending on who you ask) but more difficult (though no less important) theoretical insights of Lacan’s such as his formulae of sexuation, lamella and sinthome.
    [Show full text]
  • MONSTERS INC 3D Press Kit
    ©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor .
    [Show full text]
  • Torrent 1001 Pattes
    Torrent 1001 pattes Continue Synopsis : The clumsy Tilt destroyed the harvest season of his anthill. Such a mistake is not made to please the fierce Le Borgne, who came to racketeering ants with his group of locusts. Forced to turn around empty-handed, the ugly insect promises to return in the fall to double its normal diet. To make amends, Tilt offers to go in search of mercenaries to fight the invader ... Size: 837mb Download torrent here 1998 Director: John Lasseter, Andrew StantonS: Denis Leary, Jonathan Harris, Madeline Kahn, Brad Garrett, Roddy McDowell, Edie McClurg, Alex Rocco, Roger Bampass, Michael McShane, John Ratzenberger, Joe Ranft, Ashley Tisdale Genre: Animation, Adventure, Comedy, Comedy Is Not Made to Please Cruel Legne Borgne Forced to turn around empty-handed, the ugly insect promises to return in the fall to double its normal diet. To make amends, Tilt offers to go in search of mercenaries to fight the invader? ...© Wikipedia - Licensed GFDL Year of Production: 1998 Movie Release Date: 10/02/1999 See also English Film Listing: Error of Life Download 1001 Paws (VOD) Borrow 1001 Paws (Dropspot) September 1, 30, 2020 Download 1001 Paws on a straight torrent without registration, 1001 Paws Dave Foley, Kevin Spacey, Julia Louis-Dreyfus, summary : Tilt, ant several head ... Link ratio between site and query: 92% Query quality and density/Crawled Pages: 3.88% See: libertyland.tv September 2, 2020 Cpasbien.pw is a torrent download site: Movies, Series, Albums, Software, Games. Link relationship between site and query: 91% Query quality and density/ Crawled Pages: 0.71% See: cpasbien.pw September 3.30, 2020 1001 Unlimited streaming feet 100% free and easy to watch, 1001 Dave Foley Paws, Kevin Spacey, Julia Louis- Dreyfus, summary: Tilt, some..
    [Show full text]
  • Chapter Template
    Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade.
    [Show full text]
  • Annotating Columns with Pre-Trained Language Models
    Annotating Columns with Pre-trained Language Models Yoshihiko Suhara Jinfeng Li Yuliang Li Megagon Labs Megagon Labs Megagon Labs [email protected] [email protected] [email protected] Dan Zhang Çağatay Demiralp∗ Chen Chen† Megagon Labs Sigma Computing Megagon Labs [email protected] [email protected] [email protected] Wang-Chiew Tan∗ Facebook AI [email protected] ABSTRACT systems (e.g., Google Data Studio1, Tableau2) also leveraged such Inferring meta information about tables, such as column headers meta information for better table understanding. or relationships between columns, is an active research topic in Figure 1 shows two tables with missing column types and col- data management as we find many tables are missing some of these umn relations. The table in Figure 1(a) is about animation films and information. In this paper, we study the problem of annotating the corresponding director/producer/release countries of the films. table columns (i.e., predicting column types and the relationships In the second and third columns, person names will require context, between columns) using only information from the table itself. We both in the same column and the other columns, to determine the 3 show that a multi-task learning approach (called Doduo), trained correct column types. For example, George Miller appears in using pre-trained language models on both tasks outperforms indi- both columns as a director and a producer and it is also a common vidual learning approaches. Experimental results show that Doduo name. Observing other names in the column helps better under- establishes new state-of-the-art performance on two benchmarks stand the semantics of the column.
    [Show full text]
  • Feature Films and Licensing & Merchandising
    Vol.Vol. 33 IssueIssue 88 NovemberNovember 1998 1998 Feature Films and Licensing & Merchandising A Bug’s Life John Lasseter’s Animated Life Iron Giant Innovations The Fox and the Hound Italy’s Lanterna Magica Pro-Social Programming Plus: MIPCOM, Ottawa and Cartoon Forum TABLE OF CONTENTS NOVEMBER 1998 VOL.3 NO.8 Table of Contents November 1998 Vol. 3, No. 8 4 Editor’s Notebook Disney, Disney, Disney... 5 Letters: [email protected] 7 Dig This! Millions of Disney Videos! Feature Films 9 Toon Story: John Lasseter’s Animated Life Just how does one become an animation pioneer? Mike Lyons profiles the man of the hour, John Las- seter, on the eve of Pixar’s Toy Story follow-up, A Bug’s Life. 12 Disney’s The Fox and The Hound:The Coming of the Next Generation Tom Sito discusses the turmoil at Disney Feature Animation around the time The Fox and the Hound was made, marking the transition between the Old Men of the Classic Era and the newcomers of today’s ani- 1998 mation industry. 16 Lanterna Magica:The Story of a Seagull and a Studio Who Learnt To Fly Helming the Italian animation Renaissance, Lanterna Magica and director Enzo D’Alò are putting the fin- ishing touches on their next feature film, Lucky and Zorba. Chiara Magri takes us there. 20 Director and After Effects: Storyboarding Innovations on The Iron Giant Brad Bird, director of Warner Bros. Feature Animation’s The Iron Giant, discusses the latest in storyboard- ing techniques and how he applied them to the film.
    [Show full text]
  • Press Release
    Press release CaixaForum Madrid From 21 March to 22 June 2014 Press release CaixaForum Madrid hosts the first presentation in Spain of a show devoted to the history of a studio that revolutionised the world of animated film “The art challenges the technology. Technology inspires the art.” That is how John Lasseter, Chief Creative Officer at Pixar Animation Studios, sums up the spirit of the US company that marked a turning-point in the film world with its innovations in computer animation. This is a medium that is at once extraordinarily liberating and extraordinarily challenging, since everything, down to the smallest detail, must be created from nothing. Pixar: 25 Years of Animation casts its spotlight on the challenges posed by computer animation, based on some of the most memorable films created by the studio. Taking three key elements in the creation of animated films –the characters, the stories and the worlds that are created– the exhibition reveals the entire production process, from initial idea to the creation of worlds full of sounds, textures, music and light. Pixar: 25 Years of Animation traces the company’s most outstanding technical and artistic achievements since its first shorts in the 1980s, whilst also enabling visitors to discover more about the production process behind the first 12 Pixar feature films through 402 pieces, including drawings, “colorscripts”, models, videos and installations. Pixar: 25 Years of Animation . Organised and produced by : Pixar Animation Studios in cooperation with ”la Caixa” Foundation. Curator : Elyse Klaidman, Director, Pixar University and Archive at Pixar Animation Studios. Place : CaixaForum Madrid (Paseo del Prado, 36).
    [Show full text]
  • Animation Guide
    Animation Guide Summer 2017 Preface & Acknowledgements This text represents the work of a group of 28 teachers enrolled in a Media Studies course at the University of British Columbia in the summer of 2017, instructed by Dr. Rachel Ralph. The challenge for the group was to write a Media Studies text that appealed to students in a range from grades 8-12 in the school system, providing teachers with an interesting, diverse, and rich resource for use in the classroom. The individual sections can be adopted and integrated into any number of subjects or adopted as a textbook for New Media Studies in the schools. Many of the Media Study Guides span provincial curricula, exploring commonalities and differences. We acknowledge the support of family and friends and the various cultural agents and artists whose illustrations or texts were incorporated into the sections of the book. We acknowledge the work of students who contributed towards publishing this textbook. We hope you are as inspired with the insights within each section, as we were producing these, and we encourage you to continue learning about media, culture, and technology. Table of Contents Media Guide and Major Themes……………………..……….……………………..……………....Page Preface and Acknowledgments…………….………..………..………..………….………………………………2 Cars (Friendship, Community and Environment, Diversity).……..………..………………….……..……4 Finding Dory (Abilities and Disabilities, Family & Friendship, Identity) …………………….………………….…12 Inside Out (Emotions, Memories, Family, Grief/Loss) ………………………………………….………..………….…22 The Legend
    [Show full text]
  • Masculinity, Fatherhood, and the Hardest Bodies in Pixar
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ David S. Braught Date In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S. Braught Master of Arts Film Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Michele Schreiber Committee Member _________________________________________ Eddy Von Mueller Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S. Braught M.A., Emory University, 2010 B.A., Emory University, 2008 Advisor: Matthew Bernstein, PhD An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2010 Abstract In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S.
    [Show full text]
  • The Animated Movie Guide
    THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues.
    [Show full text]
  • 1 “I Grew up Loving Cars and the Southern California Car Culture. My Dad Was a Parts Manager at a Chevrolet Dealership, So V
    “I grew up loving cars and the Southern California car culture. My dad was a parts manager at a Chevrolet dealership, so ‘Cars’ was very personal to me — the characters, the small town, their love and support for each other and their way of life. I couldn’t stop thinking about them. I wanted to take another road trip to new places around the world, and I thought a way into that world could be another passion of mine, the spy movie genre. I just couldn’t shake that idea of marrying the two distinctly different worlds of Radiator Springs and international intrigue. And here we are.” — John Lasseter, Director ABOUT THE PRODUCTION Pixar Animation Studios and Walt Disney Studios are off to the races in “Cars 2” as star racecar Lightning McQueen (voice of Owen Wilson) and his best friend, the incomparable tow truck Mater (voice of Larry the Cable Guy), jump-start a new adventure to exotic new lands stretching across the globe. The duo are joined by a hometown pit crew from Radiator Springs when they head overseas to support Lightning as he competes in the first-ever World Grand Prix, a race created to determine the world’s fastest car. But the road to the finish line is filled with plenty of potholes, detours and bombshells when Mater is mistakenly ensnared in an intriguing escapade of his own: international espionage. Mater finds himself torn between assisting Lightning McQueen in the high-profile race and “towing” the line in a top-secret mission orchestrated by master British spy Finn McMissile (voice of Michael Caine) and the stunning rookie field spy Holley Shiftwell (voice of Emily Mortimer).
    [Show full text]