DOCSLIB.ORG

S~Q~~A,;U,Q , , H~Ait#Q~ Ar 79.5111 J...FJ/.5 ~.3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
S~Q~~A,;U,Q , , H~Ait#Q~ Ar 79.5111 J...FJ/.5 ~.3 S~Q~~A,;u,Q , , H~Ait#Q~ Ar 79.5111 J...FJ/.5 ~.3 Five Improvisations by Paul Glabicki. ' ' ' ' Moon Breath Beat by Lisze Bechtold . The following film programs include a collection of films that are diverse in their style and content but similar in their independent production values. The artists behind each film chose to produce their films outside the commercial film industry thus enabling them the freedom to personally form their film and, oftentimes, find alternatives to the traditional formats . s~ THE PERSONAL CINEMA . ...... .. .... ... ..... ..... .............. 2-5 ANIMATION ... .... .... .. .. .. ....... .... .... .... ...... 6-8 DOCUMENTARY ................................. ... .. ... ....... 9-10 SOUTHERN SNAPSHOTS . .. ..................................... 11-14 NEW FILMS FROM THE NEW SOUTH .......... ....................... 15 DANCE ... .. .... .. .............. .......... .. ....... .. ...... 16 DREAMS, TALES AND LEGENDS .. .... .. ............ .. ......... 17-19 HUMOR, PARODY & SATIRE ........ .. ....... ..................... 20 CREATIVITY ....... .. .... .. .... .. ......... ... ... ... ............ 21 ADVENTURES ................................................... 22-23 TEACHING FILM WITH FILM ....................................... 24-26 STUDENT-MADE FILMS ................... .. .. .... .. .. ......... 27 *AT THE MOVIES WITH BAD DOG ...... .. ....... ................... 28-33 INDEX OF FILMS ...... .... ......... .. ......................... 34-35 GENERAL INFORMATION ....... ................................. .. 36 *AT THE MOVIES WITH BAD DOG :s designed to promote children's media awareness through films, discussions, art, creative writing, and dramatics. Each program comes with a guide to each film including planned activities for age groups 4 to 8 and 9 to 12. The Media Arts Center staff will provide additional information and assistance. r:l .. ,l...... , . J ~"f STATE UB~~ 0" SEP 1 5 1986 STATE DOCUMENTS Born for Hard Luck: Peg Leg Sam by Tom Davenport. The South Carolina Arts Commission Media Arts Center 1800 Gervais Street Columbia, South Carolina 29201 803/734-8684 The South Carolina Arts Commission is a state agency which promotes the visual, literary, performing and media arts in South Carolina . The South Carolina Arts Commission Media Arts Center supports media artists and media arts in a ten-state southeastern region which includes Alabama , Florida , Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee and Virginia . Both the South Carolina Arts Commission and South Carolina Arts Commission Media Arts Center receive funding support from the National Endowment for the Arts . Published May 1986 I Samadhi by Jordan Belson. Tk~~ PROGRAM 1 43 Minutes $25 FRANK FILM NY, NY SAMADHI POLAR MOMENTUM FRANK FILM . Frank & Caroline Mouris. 10m. Color. Academy Award-winning animation that traces the life of the filmmaker. NY,NY. Francis Thompson . 15m. Color . Special visual effects convey the multiplicity, glitter and excitement of the Big Apple. SAMADHI. Jordan Belson . 6m. Color. A film poem which illustrates the progression of Samadhi, a Mahayana Buddhist term for ultimate state of consciousness, as the individual merges with the universal soul. POLAR. Peter Bundy. 2m. B&W. A mysterious image is given close scrutiny through varying camera lenses. MOMENTUM . Ray Day. 10m. Color. An artistic insight into the day in life of an auto mechanic. Page 2 Moon Breath Beat by Lisze Bechtold . PROGRAM 2 43.5 Minutes $25 MOON BREATH BEAT SOFT SAND MESHES OF THE AFTERNOON FAMILY DREAM HOMAGE TO MAGRITTE MOON BREATH BEAT. Lisze Bechtold. 5m . Color. A woman and her two cats are diverted by their natural attraction to birds and the whims of the moon . SOFT SAND . Nancy Yasecko . 3m . Color. The film by South Carolina Filmmaker Nancy Yasecko moves like soft sand , sifting and chang­ ing found footage . The sound is from natural sources and electron ic synthesizers . MESHES OF THE AFTERNOON . Maya Deren . 20m . B&W . One of the major American Experimental films of all time , laying bare a woman 's (Deren 's) inner obsession and hallucinations , through a choreography of movement and personal drama. FAMILY DREAM . Jan Millsapps. 5.5m. Color. A film by South Carolina filmmaker Jan Millsapps exploring dreams and dreaming based on an intriguing , disturbing dream about her family. HOMAGE TO MAGRITTE . Anita Thacher. 10m. Color. The film fully embodie.s the spirit of surrealist painter Renee Mag ritte , capturing the beautiful , subtle , restrained , uncanny nature of his vision which is interpreted by Thacher as five in­ dividual filmic paintings . Page 3 Five Improvisations by Paul Glabicki. Tk~~ PROGRAM 3 41 .5 minutes $25 PLACE OF EMERGENCE ZONES FIVE IMPROVISATIONS PLACE OF EMERGENCE . Paul Brekke . 20m . Color . A haunting vision of the primordial existence of animal/man. ZONES . Dan Curry . 18m. Color. A sometimes humorous cinematic diary of Curry's life in Virginia that explores the relationship of sound, image and narrative . FIVE IMPROVISATIONS. Paul Glabicki . 3.5m . B&W. A playful scrambling of outlined images that includes a scintillating homage to early filmmakers such as George Melies and Windsor McCay . -...JO J~;-vlS Page 4 Murita Cycles by Barry Braverman . PROGRAM 4 38 Minutes $25 MILL HUNK HERALD SWEET SAL MILL HUNK HERALD . Tony Buba. 13m. Color and B&W. A film dedicated to the spirit of Lech Walesa and union struggles set in Buba's hometown of Braddock, Pennsylvania . SWEET SAL. Tony Buba. 25m B&W. A straight on portrait of a fast-talking , woman-chasing pool hustler living in the dying Penn ­ sylvania mill town of Braddock , Pennsylvania . PROGRAM 5 63 minutes $25 MURITA CYCLES THE MAN WHO COULD NOT SEE FAR ENOUGH MURITA CYCLES . Barry Braverman . 28m . Color. Braverman's portrait of his father whose enthusiasm for collecting has overwhelmed the size of his house and neighborhood bicycle fix-it garage. THE MAN WHO COULD NOT SEE FAR ENOUGH . Peter Rose . 35m . Color. Varying in style from parody to elegy to spectacle to confession to a kind of rite-of-passage , the film includes Rose 's spectacular ascent, with camera in hand, of the Golden Gate Bridge. Page 5 The Sound Collector by Lynn Smith. =~~ PROGRAM 1 42 minutes $20 RED BALL EXPRESS STARCYCLE CONEY AMERICAN TIME CAPSULE HEN HOP RED BALL EXPRESS . Steve Segal. 2m . Color. UP IS DOWN Virginia animator Steve Segal draws directly on film creating a playful , animated train which PANDORA 'S BOX spins, romps and changes its shape. THE SOUND COLLECTOR STARCYCLE . Deanna Morse. 3m . Color. Using techniques of metamorphosis, the film follows the birth, death and rebirth of an orange cartoon star. The soundtrack is children 's reactions to the visuals . CONEY . Frank & Caroline Mouris . 5.5m . Color. An amusing jaunt via time-lapse photography through New York's infamous Coney Island amuse­ ment park . AN AMERICAN TIME CAPSULE . Charles Braverman . 3m . Color. A landmark work which established the art of kinestasis (animating still photographs) . This widely-acclaimed film visually compresses 200 years of American history into 3 pounding minutes . HEN HOP . Norman Mclaren . 4m . Color. The economic designs perfected by Mclaren for drawing directly on film create a sprightly new puzzle of the classic egg-before-chicken, chicken-before-egg dilemma. UP IS DOWN . Goldsholl Associates . 6m. Color. A classic tale about a boy who walks on his hands illustrates the conflict between conformity and creative growth. PANDORA 'S BOX. Steve Segal. 7.5m . Color. A continually revolving box reveals odd bits of old films, cartoons and humorous clips of Segal himself. THE SOUND COLLECTOR . Lynn Smith . 11m. Color. Leonard, a six-year-old, has an unusual hobby that his brother and father think is strange . He collects sounds and builds a story in which Dracula meets a knight-in-armor. Page 6 Boccioni's Bike by Skip Battaglia . PROGRAM 2 46 minutes $20 QUASI AT THE QUACKADERO BOCCIONI'S BIKE COMPOSITION IN BLUE THE MYSTERIANS HEAD AN OLD BOX QUASI AT THE QUACKADERO. Sally Cruikshank. 10m. Color. Quasi, Anita and Rollo visit a Coney Island of the future where hotels stage conventions for talking vegetables and thoughts are made into paintings while-u-wait. BOCCIONI'S BIKE. Skip Battaglia. Sm . Color. A lyrical interpretation of the movements of a bicyclist depicted in the graphic style of the Italian Futurists . COMPOSITION IN BLUE. Oskar Fischinger. 4m . Color. One of the classic examples of the traditional abstract expression of film art produced in Ger­ many in 1933. THE MYSTERIANS. Kathy Rose . 4m . Color. An excellent line animation which uses a metamorphosis style in which strange forms evolve into and out of each other. HEAD . George Griffin . 11m. Color. An ingenious film in which the animator's own face, hands and voice are involved in the un­ folding of his animation techniques, including some extraordinary optical illusions. AN OLD BOX. Paul Driessen. 9m . Color. Created with the barest of lines, flashes of color, street sounds and music, this magical journey speaks of loneliness and joy, old age and human values , and the spell of Christmas . Page 7 Tango by Zbigniew Rybczynski . PROGRAM 3 41 minutes $20 HALLELUJAH FUJI THE STREET PRECIOUS METAL FURIES TWO SPACE TANGO HALLELUJAH . Mark Henriksen . 4m . B&W. South Carolina filmmaker Mark Henriksen animates the experimental photographs of motion picture pioneer Edweard Muybridge to the music of Handel 's Chorus. FUJI. Robert Breer. Bm. Color. A voyage made by tracing , frame by frame,
Load more

Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • 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.
    [Show full text]
  • Viewing Film from a Communication Perspective
    Communication and Theater Association of Minnesota Journal Volume 36 Article 6 January 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Purdue University, [email protected] Rebekah L. Fox Purdue University Jennifer L. Bezek Purdue University Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Curriculum and Social Inquiry Commons, Film and Media Studies Commons, and the Speech and Rhetorical Studies Commons Recommended Citation Clair, R., Fox, R., & Bezek, J. (2009). Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom. Communication and Theater Association of Minnesota Journal, 36, 70-87. This Teacher's Workbook is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Clair et al.: Viewing Film from a Communication Perspective: Film as Public Rel 70 CTAMJ Summer 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Professor [email protected] Rebekah L. Fox, Ph.D. Jennifer L. Bezek, M.A. Department of Communication Purdue University West Lafayette, IN ABSTRACT Academics approach film from multiple perspectives, including critical, literary, rhetorical, and managerial approaches. Furthermore, and outside of film studies courses, films are frequently used as a pedagogical tool.
    [Show full text]
  • Here Comes Television
    September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business.
    [Show full text]
  • Cineprobe Begins Its Thirteenth Consecutive
    The Museum of Modern Art 50th Anniversary fO NQ.^ CINEPROBE SCHEDULE Evenings at 6:00 FILMMAKERS WILL BE PRESENT MONDAY, OCT. 6: RUDY BURCKHARDT from New York, with the premiere of MOBILE HOMES; also SQUARE TIMES and SONATINA AND FUGUE MONDAY, OCT. 20: ERIC MITCHELL from New York, with his independent feature UNDERGROUND U.S.A. (1980), with Patti Astor, Rene Ricard, Taylor Mead and Jackie Curtis TUESDAY, OCT. 28: JEAN-PIERRE GORIN from La Jolla, California, with his documentary POTO AND CABENGO (1979) (Courtesy New Yorker Films). Presented in conjunction with What's Happening? MONDAY, NOV. 10: ROBERT ATTANASIO from New York, with recent short films including SOUND CAMERA ROTATION #1, #2, #3; ECHO, ECHO; LIGHT SOURCES; and others MONDAY, NOV. 17: DORIS CHASE from New York, with the premiere of PLEXI; also JAZZ DANCE, MOON REDEFINED and others MONDAY, NOV. 24: STAN VANDERBEEK from Baltimore, Maryland, with an evening of computer-generated videographics including EUCLIDEAN ILLUSIONS and NEWSREEL OF DREAMS. This program will be supplemented by screenings on NOV. 24 and NOV. 25 at NOON of early animated collage films by Stan VanDerBeek. MONDAY, DEC. 8: BOBBY ROTH from Los Angeles, California, with his independent feature THE BOSS' SON (1979), with Rita Moreno (Courtesy Lagoon Releasing) MONDAY, DEC. 15: GEORGE GRIFFIN from New York, with animated short films including LINEAGE (1980) COMING UP: KEN JACOBS (New York), R. BRUCE ELDER (Toronto), CAROLINE LEAF (Montreal), WALTER UNGERER (Vermont), PAUL WINKLER (Australia), STAN BRAKHAGE (Colorado), ROBERT RUSSET (Louisiana), MATTHEW PATRICK (New York), TAKA IIMURA (New York), SALLY CRUIKSHANK (California), and others' 11 West 53 Street, New York, N.Y.
    [Show full text]
  • 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.
    [Show full text]
  • Photography and Cinema
    Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion.
    [Show full text]
  • Teachers Guide
    Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation.
    [Show full text]
  • Free-Digital-Preview.Pdf
    THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
    [Show full text]
  • Portland State Magazine Productions
    Portland State University PDXScholar University Archives: Campus Publications & Portland State Magazine Productions Winter 1-1-2013 Portland State Magazine Portland State University. Office of University Communications Follow this and additional works at: https://pdxscholar.library.pdx.edu/psu_magazine Let us know how access to this document benefits ou.y Recommended Citation Portland State University. Office of University Communications, "Portland State Magazine" (2013). Portland State Magazine. 4. https://pdxscholar.library.pdx.edu/psu_magazine/4 This Book is brought to you for free and open access. It has been accepted for inclusion in Portland State Magazine by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. WINTER 2013 STOP-MOTION MAGIC Travis Knight ’98 leads the enchantment / 10 Cinematic craft / 13 A kinder, greener classroom / 16 Is Portland really Portlandia? / 18 Culture shift / 21 DRIVING THE CLEAN ECONOMY Researchers at PSU are teaming up with Portland General Electric, public agencies, and Oregon’s growing electric vehicle industry to understand how EVs will impact infrastructure, drivers, and the environment. Moving Oregon to a cleaner future—part of PSU’s $1.4 billion annual economic impact. Oregon is our classroom pdx.edu 2 PORTLAND STATE MAGAZINE WINTER 2013 CONTENTS Features 10 STOP-MOTION MAGIC Travis Knight ’98 leads the enchantment at the Laika animation Departments studio in Hillsboro. 13 CINEMATIC CRAFT The University’s film program is 2 FROM THE PRESIDENT 8 FANFARE attracting the next generation of Onstage at the Met Campus life thrives in the heart cinematographers. of the city Opera in the spring Haunting imagery 3 LETTERS Clowning around 16 A KINDER, GREENER Transformative times New Works CLASSROOM Early student housing Too many students? It’s off to the 24 GIVING portable classroom, but this one is 4 PARK BLOCKS Honoring those who give something special.
    [Show full text]
  • National Film Registry
    National Film Registry Title Year EIDR ID Newark Athlete 1891 10.5240/FEE2-E691-79FD-3A8F-1535-F Blacksmith Scene 1893 10.5240/2AB8-4AFC-2553-80C1-9064-6 Dickson Experimental Sound Film 1894 10.5240/4EB8-26E6-47B7-0C2C-7D53-D Edison Kinetoscopic Record of a Sneeze 1894 10.5240/B1CF-7D4D-6EE3-9883-F9A7-E Rip Van Winkle 1896 10.5240/0DA5-5701-4379-AC3B-1CC2-D The Kiss 1896 10.5240/BA2A-9E43-B6B1-A6AC-4974-8 Corbett-Fitzsimmons Title Fight 1897 10.5240/CE60-6F70-BD9E-5000-20AF-U Demolishing and Building Up the Star Theatre 1901 10.5240/65B2-B45C-F31B-8BB6-7AF3-S President McKinley Inauguration Footage 1901 10.5240/C276-6C50-F95E-F5D5-8DCB-L The Great Train Robbery 1903 10.5240/7791-8534-2C23-9030-8610-5 Westinghouse Works 1904 1904 10.5240/F72F-DF8B-F0E4-C293-54EF-U A Trip Down Market Street 1906 10.5240/A2E6-ED22-1293-D668-F4AB-I Dream of a Rarebit Fiend 1906 10.5240/4D64-D9DD-7AA2-5554-1413-S San Francisco Earthquake and Fire, April 18, 1906 1906 10.5240/69AE-11AD-4663-C176-E22B-I A Corner in Wheat 1909 10.5240/5E95-74AC-CF2C-3B9C-30BC-7 Lady Helen’s Escapade 1909 10.5240/0807-6B6B-F7BA-1702-BAFC-J Princess Nicotine; or, The Smoke Fairy 1909 10.5240/C704-BD6D-0E12-719D-E093-E Jeffries-Johnson World’s Championship Boxing Contest 1910 10.5240/A8C0-4272-5D72-5611-D55A-S White Fawn’s Devotion 1910 10.5240/0132-74F5-FC39-1213-6D0D-Z Little Nemo 1911 10.5240/5A62-BCF8-51D5-64DB-1A86-H A Cure for Pokeritis 1912 10.5240/7E6A-CB37-B67E-A743-7341-L From the Manger to the Cross 1912 10.5240/5EBB-EE8A-91C0-8E48-DDA8-Q The Cry of the Children 1912 10.5240/C173-A4A7-2A2B-E702-33E8-N
    [Show full text]
  • The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA)
    Recordings at Risk Sample Proposal (Fourth Call) Applicant: The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project: Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Portions of this successful proposal have been provided for the benefit of future Recordings at Risk applicants. Members of CLIR’s independent review panel were particularly impressed by these aspects of the proposal: • The broad scholarly and public appeal of the included filmmakers; • Well-articulated statements of significance and impact; • Strong letters of support from scholars; and, • A plan to interpret rights in a way to maximize access. Please direct any questions to program staff at [email protected] Application: 0000000148 Recordings at Risk Summary ID: 0000000148 Last submitted: Jun 28 2018 05:14 PM (EDT) Application Form Completed - Jun 28 2018 Form for "Application Form" Section 1: Project Summary Applicant Institution (Legal Name) The Regents of the University of California, Berkeley Applicant Institution (Colloquial Name) UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project Title (max. 50 words) Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Project Summary (max. 150 words) In conjunction with its world-renowned film exhibition program established in 1971, the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) began regularly recording guest speakers in its film theater in 1976. The first ten years of these recordings (1976-86) document what has become a hallmark of BAMPFA’s programming: in-person presentations by acclaimed directors, including luminaries of global cinema, groundbreaking independent filmmakers, documentarians, avant-garde artists, and leaders in academic and popular film criticism.
    [Show full text]