Surfing the Long Wave Knowledge Entrepreneurship in Britain
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Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel -
SCAN | Journal of Media Arts Culture
Scan Journal vol 7 number 1 april 2010 Fable 2 as Simulation, Game and Narrative: A Contest Adam Ruch The study of a videogame is a complicated undertaking. One must address many features of the artefact, ranging from story and narrative, visual aesthetic, and musical score, to gameplay mechanics and interface. Peter Molyneux's Fable 2 (2008) here will provide a case study for many of these features, as its mechanics design push its narrative to the edge of coherence. The position this game occupies between algorithmic and expository makes it a fertile area for examining new ways of "story-telling", including the use of narrative architectures, database narrative, or interactive narrative. Whatever term we apply, we must continue to apply stringent critical awareness to the material itself, as is the aim here. As this article will assume prior knowledge of Fable 2, it is highly recommended that the reader at least be familiar with the material here1 before proceeding. Better yet, play the game! Fable 2 is a classic example of the tendency of Peter Molyneux's games to err on the side of over-ambition. Molyneux is well-known for his bombastic press releases and zealous language when describing the mechanics of his games. Words like "completely" riddle his speeches, as well as "revolutionary" or "totally new". (Molyneux, Peter Molyneux Interview 2008) (Molyneux 2009) (Kikizo 2004) (Wilcox 2008) Molyneux's games tend to focus on "revolutionary" mechanics to create gameplay experiences (Black & White, Fable and Fable 2 all support increasingly dynamic AI features, for example). Fable 2 relies on its mechanics to create interesting gameplay, rather than on an original narrative. -
Art Worlds for Art Games Edited
Loading… The Journal of the Canadian Game Studies Association Vol 7(11): 41-60 http://loading.gamestudies.ca An Art World for Artgames Felan Parker York University [email protected] Abstract Drawing together the insights of game studies, aesthetics, and the sociology of art, this article examines the legitimation of ‘artgames’ as a category of indie games with particularly high cultural and artistic status. Passage (PC, Mac, Linux, iOS, 2007) serves as a case study, demonstrating how a diverse range of factors and processes, including a conducive ‘opportunity space’, changes in independent game production, distribution, and reception, and the emergence of a critical discourse, collectively produce an assemblage or ‘art world’ (Baumann, 2007a; 2007b) that constitutes artgames as legitimate art. Author Keywords Artgames; legitimation; art world; indie games; critical discourse; authorship; Passage; Rohrer Introduction The seemingly meteoric rise to widespread recognition of ‘indie’ digital games in recent years is the product of a much longer process made up of many diverse elements. It is generally accepted as a given that indie games now play an important role in the industry and culture of digital games, but just over a decade ago there was no such category in popular discourse – independent game production went by other names (freeware, shareware, amateur, bedroom) and took place in insular, autonomous communities of practice focused on particular game-creation tools or genres, with their own distribution networks, audiences, and systems of evaluation, only occasionally connected with a larger marketplace. Even five years ago, the idea of indie games was still burgeoning and becoming stable, and it is the historical moment around 2007 that I will address in this article. -
Programming and Engagement Coordinator Kathleen Lacey, SWPACA Awards Coordinator and Michael K
#SWPACA17 Southwest Popular/American Culture Association 38th Annual Conference February 15–18, 2017 — Albuquerque, New Mexico Welcome 2017 Southwest Popular/American Culture Association Conference Bienvenidos a Albuquerque! Welcome to the 38th Annual Southwest Popular/American Culture Association Conference—we are so pleased that you have joined us. We look forward to sharing the week with the diverse group of scholars who join us here in Albuquerque this year. We have a full complement of panels this year, drawn from our 71 subject areas and ranging in topic from adaptation studies to zombie culture. We hope you will have opportunity to sample a variety of these offerings. In particular, we would like to highlight the Grateful Dead Scholars Caucus, which is celebrating its 20th anniversary at this year’s conference. You can locate the Grateful Dead in Grand Pavilion IV all week, where they will be holding 14 sessions over the course of four days. Join them as they consider the intersections between the band and cinema, philosophy, and literature, among other topics. To further commemorate this anniversary, David Gans will perform on Friday night with Albuquerque's own Dead cover band Let It Grow, at Low Spirits (2823 2nd Street NW). Doors open at 8:00pm, and the show starts at 9:00. Thank you, Nick Meriwether and all of the Caucus faithful, for your continued contributions to our organization. We are excited to announce our inaugural SWPACA film series, taking place on Thursday and Friday in Grand Pavilion I-II. Invited filmmakers will be screening their original work, with question-and-answer opportunities to follow. -
ACADEMY of INTERACTIVE ARTS and SCIENCES (AIAS) to PRESENT PETER MOLYNEUX with COVETED HALL of FAME AWARD at 7Th ANNUAL INTERACTIVE ACHIEVEMENT AWARDS
For Immediate Release ACADEMY OF INTERACTIVE ARTS AND SCIENCES (AIAS) TO PRESENT PETER MOLYNEUX WITH COVETED HALL OF FAME AWARD AT 7th ANNUAL INTERACTIVE ACHIEVEMENT AWARDS LOS ANGELES, CA – (March 2, 2004) – The Academy of Interactive Arts & Sciences (AIAS), the professional organization of the interactive entertainment industry, today announced that it will present Peter Molyneux, Managing Director, Lionhead Studios with its illustrious Hall of Fame award. The Hall of Fame award will be presented to Mr. Molyneux during the Annual Interactive Achievement Awards, which will be held at Rain in the Palms Casino Resort in Las Vegas on March 4. Peter Molyneux is one of the best-known names in the international world of computer games. He co-founded Bullfrog Productions in 1987 and created a new genre of computer games, “the god game” with the release of Populous. Since then Peter has been responsible for a string of massive selling games including Powermonger, Theme Park, Magic Carpet and Dungeon Keeper. Cumulative sales of his games are now approaching the ten million mark worldwide. In 1997 Peter left Bullfrog Productions to form a new games development company Lionhead Studios. The company’s first game Black & White was released to wide spread critical acclaim in April 2001 and sales currently top the two million mark. Peter is recognized as one of the computer games industry’s most articulate and eloquent speakers on the subject of the development of computer games. He has spoken at the American Museum of the Moving Image, the British Film Institute, ICA (London), the Tate Gallery and the Dortmund Museum of History and Culture. -
High-Performance Play: the Making of Machinima
High-Performance Play: The Making of Machinima Henry Lowood Stanford University <DRAFT. Do not cite or distribute. To appear in: Videogames and Art: Intersections and Interactions, Andy Clarke and Grethe Mitchell (eds.), Intellect Books (UK), 2005. Please contact author, [email protected], for permission.> Abstract: Machinima is the making of animated movies in real time through the use of computer game technology. The projects that launched machinima embedded gameplay in practices of performance, spectatorship, subversion, modification, and community. This article is concerned primarily with the earliest machinima projects. In this phase, DOOM and especially Quake movie makers created practices of game performance and high-performance technology that yielded a new medium for linear storytelling and artistic expression. My aim is not to answer the question, “are games art?”, but to suggest that game-based performance practices will influence work in artistic and narrative media. Biography: Henry Lowood is Curator for History of Science & Technology Collections at Stanford University and co-Principal Investigator for the How They Got Game Project in the Stanford Humanities Laboratory. A historian of science and technology, he teaches Stanford’s annual course on the history of computer game design. With the collaboration of the Internet Archive and the Academy of Machinima Arts and Sciences, he is currently working on a project to develop The Machinima Archive, a permanent repository to document the history of Machinima moviemaking. A body of research on the social and cultural impacts of interactive entertainment is gradually replacing the dismissal of computer games and videogames as mindless amusement for young boys. There are many good reasons for taking computer games1 seriously. -
Theme-Hospital-Manual.Pdf
ThmHsptl/v3 7/13/98 1:24 AM Page ii Table of Contents Command Reference ..................................................................................................................1 Introduction........................................................................................................................................2 Part 1: Setting Up ......................................................................................................................4 Installation Instructions..............................................................................................................4 Running Theme Hospital..............................................................................................................5 Part 2: Playing Theme Hospital ....................................................................................8 The Main Screen Elements..........................................................................................................8 Using the Control Panels ..........................................................................................................10 Using Pop-Up Panels ..................................................................................................................12 Pop Up Icons ................................................................................................................................31 Disasters ......................................................................................................................................34 Using -
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. -
John Fu March 1, 2000 History 274B Prof
Marmalade, Jute, and Video Games: The story of how Dundee, Scotland became the home of a thriving video game development community John Fu March 1, 2000 History 274B Prof. Thomas Hughes 2 Video Games…In Scotland? Japan and the United States are sometimes thought to be the sole creators of the world’s video games. This belief may stem from the fact that the most famous video game console and arcade game manufacturers (such as Atari, Midway, Namco, Nintendo, Sega, Sony, and Capcom) are located in Japan and the US. And with few exceptions, the best-known, most heavily merchandized video game characters (for example, Mario of Super Mario Bros. and Sonic the Hedgehog of the game of the same name) are of American or Japanese origin. Over the past decade, however, many best-selling video games have come from Great Britain. English and Scottish developers have been responsible for such hits as Populous, Syndicate, Lemmings, Goldeneye, and Tomb Raider. Lara Croft, the main character in the Tomb Raider series of adventure games, has become a worldwide star, and Tomb Raider is currently set to be made into a motion picture. Nonetheless, with few characters as recognizable as Mario or Sonic and the absence of a major game console manufacturer, it is remarkable that game development has flourished in specific communities within Great Britain, namely Guildford (near London), northwest England (Liverpool/Birkenhead) and Scotland. Guildford is the home of Bullfrog, a development studio that has created numerous hit games such as Syndicate and Dungeon Keeper, and of a number of companies founded by ex-Bullfrog employees. -
Shaun the Sheep's Creator
PRODUCTION NOTES STUDIOCANAL RELEASE DATES: UK – OCTOBER 18th 2019 SOCIAL MEDIA: Facebook - https://www.facebook.com/shaunthesheep Twitter - https://twitter.com/shaunthesheep Instagram - https://www.instagram.com/shaunthesheep/ YouTube - https://www.youtube.com/user/aardmanshaunthesheep For further information please contact STUDIOCANAL: UK ENQUIRIES [email protected] [email protected] 1 Synopsis Strange lights over the quiet town of Mossingham herald the arrival of a mystery visitor from far across the galaxy… For Shaun the Sheep’s second feature-length movie, the follow-up to 2015’s smash hit SHAUN THE SHEEP MOVIE, A SHAUN THE SHEEP MOVIE: FARMAGEDDON takes the world’s favourite woolly hero and plunges him into an hilarious intergalactic adventure he will need to use all of his cheekiness and heart to work his way out of. When a visitor from beyond the stars – an impish and adorable alien called LU-LA – crash-lands near Mossy Bottom Farm, Shaun soon sees an opportunity for alien-powered fun and adventure, and sets off on a mission to shepherd LU-LA back to her home. Her magical alien powers, irrepressible mischief and galactic sized burps soon have the flock enchanted and Shaun takes his new extra-terrestrial friend on a road-trip to Mossingham Forest to find her lost spaceship. Little do the pair know, though, that they are being pursued at every turn by a mysterious alien- hunting government agency, spearheaded by the formidable Agent Red and her bunch of hapless, hazmat-suited goons. With Agent Red driven by a deep-seated drive to prove the existence of aliens and Bitzer unwittingly dragged into the haphazard chase, can Shaun and the flock avert Farmageddon on Mossy Bottom Farm before it’s too late? 2 Star Power The creative team behind the world’s favourite woolly wonder explain how, in Farmageddon, they’ve boldly gone where no sheep has gone before.. -
Proceedings of the World Summit on Television for Children. Final Report.(2Nd, London, England, March 9-13, 1998)
DOCUMENT RESUME ED 433 083 PS 027 309 AUTHOR Clarke, Genevieve, Ed. TITLE Proceedings of the World Summit on Television for Children. Final Report.(2nd, London, England, March 9-13, 1998). INSTITUTION Children's Film and Television Foundation, Herts (England). PUB DATE 1998-00-00 NOTE 127p. AVAILABLE FROM Children's Film and Television Foundation, Elstree Studios, Borehamwood, Herts WD6 1JG, United Kingdom; Tel: 44(0)181-953-0844; e-mail: [email protected] PUB TYPE Collected Works - Proceedings (021) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS Children; *Childrens Television; Computer Uses in Education; Foreign Countries; Mass Media Role; *Mass Media Use; *Programming (Broadcast); *Television; *Television Viewing ABSTRACT This report summarizes the presentations and events of the Second World Summit on Television for Children, to which over 180 speakers from 50 countries contributed, with additional delegates speaking in conference sessions and social events. The report includes the following sections:(1) production, including presentations on the child audience, family programs, the preschool audience, children's television role in human rights education, teen programs, and television by kids;(2) politics, including sessions on the v-chip in the United States, the political context for children's television, news, schools television, the use of research, boundaries of children's television, and minority-language television; (3) finance, focusing on children's television as a business;(4) new media, including presentations on computers, interactivity, the Internet, globalization, and multimedia bedrooms; and (5) the future, focusing on anticipation of events by the time of the next World Summit in 2001 and summarizing impressions from the current summit. -
History of Video Games-Wikipedia
History of video games From Wikipedia, the free encyclopedia The Atari VCS was a popular home video game console in the late 1970s and early 1980s. Pictured is the four-switch model from 1980–1982. An Atari CX40 joystick controller, with a single button The history of video games goes as far back as the early 1950s, when academic computer scientists began designing simple games and simulations as part of their research or just for fun. At M.I.T. in the 1960s, professors and students played games such as 3D tic-tac-toe and Moon Landing. These games were played on computer such as the IBM 1560, and moves were made by means of punch cards. Video gaming did not reach mainstream popularity until the 1970s and 1980s, when video arcade games and gaming consoles using joysticks, buttons, and other controllers, along with graphics on computer screens and home computer games were introduced to the general public. Since the 1980s, video gaming has become a popular form of entertainment and a part of modern popular culture in most parts of the world. One of the early games was Spacewar!, which was developed by computer scientists. Early arcade video games developed from 1972 to 1978. During the 1970s, the first generation of home consoles emerged, including the popular game Pong and various "clones". The 1970s was also the era of mainframe computer games. The golden age of arcade video games was from 1978 to 1982. Video arcades with large, graphics- decorated coin-operated machines were common at malls and popular, affordable home consoles such as the Atari 2600 and Intellivision enabled people to play games on their home TVs.